Lesson. Simple processing of a portrait in Adobe Photoshop. Skin retouching
So we have a portrait. And we are happy with everything in it, except for some flaws on the face (moles, bruises under the eyes, an unsuccessful hairline crossing the cheek, etc.) and some blurring along the contours. A small problem, really. So, we need Photoshop CS and patience, because everything may not work out at once on the first try.
To begin with, we scale the image up to 100-150% and find the area we are going to work on. For example, the eye, under which we have small bruises (photo 0_1).
Select the Healing Brush Tool in the toolbar (photo 1) and set its values (photo 2) Hardness 5-8%, Spacing 4-10% (depending on the intensity of the bruise or skin defect). Select the diameter (brush size) according to the scale of the picture. It should be 3-5 times smaller than the size of the treated area. With the Alt button pressed, we find the place on the face of the model, which, in your opinion, should be the same as the area that we want to get (usually this is the area slightly below the bruise itself or around the defect). Now, releasing Alt with a neat stroke, we draw along the bottom edge of the area that we want to get rid of. The main thing here is not to overdo it and not to gloss over the whole thing in a fit of enthusiasm. Let's look at the result. If you did everything correctly, then the lower part of the damaged area became 50% consistent with the desired result, i.e. the border of "acceptable" has shifted. We make the next stroke, then another one ... and so on until we get rid of the bruise altogether. Rubbing these unwanted little things under the eyes, one should not get carried away and forget that there are no people completely without bruises. One way or another, we will always have a shadow under our eyes. So don't clean it all up - you'll get a doll. Just make it a shadow of eyelashes and eyebrows, and not a print of sleepless nights or some other misfortune. From the first time it is unlikely to succeed, but in the process of mastering and bold experiments, it is easy to quickly learn to feel the strength of your stroke and the desired diameter of the brush at one time or another.
By the way, for simpler procedures (removal of a scar, pimple, mole) it is easier to use the Spot Healing Brush Tool (photo 3), located in the same menu. It is necessary to carefully select with this brush the point that you are correcting - Photoshop itself will do the rest, moreover, based on the texture surrounding this very point.
Note that unlike using the Clone Stamp feature, these brushes more accurately capture the texture of the skin and convey its sharpness, while modifying and changing them with each other, so that the skin looks native and natural. This method is best suited when processing a portrait in Photoshop.
So, we did the “cosmetics”, now everything suits us, only there is not enough sharpness along the contours. It would be better to emphasize thick areas and a little less - areas of hair, but in some places there would be none at all. Easily.
Create a duplicate layer. Go to Filters - Other - High Pass (photo 4) and set the Radius (photo 5) from 1 to 2. It all depends on the number of lines in your picture and how much you want to sharpen the contours. In a portrait, this is usually 1.6.
Next, go to the layer blending mode and set our gray contour layer to the mode (photo 6) Overlay or Soft Light. And it depends on how intensively you want to influence and on which areas; try one first, then the other and choose the one you like best.
Now, if you want to make some area even less sharp or don’t want to sharpen at all, then you can go over the top layer with an elastic band with a transparency value of 20-30% and control the sharpness intensity in certain areas with your hands.
Well, everything is ready. We have a big beautiful picture, the texture of the skin is in place, there are no bruises and flaws, the sharpness suits us, it remains only now to compress it in order to put it somewhere and show it, and at the same time leave all this sharpness and texture of ours.
The first and easiest way to do this right there is to resize to the size we need, make a sharp and enjoy the result. Unfortunately, in this case, in 80%, if we had a portrait that was not very close-up, that is, initially the texture of the skin was not very clearly visible, then the small size will be blurry plastic. And if we already made software or glamor, then the small size can be safely called a barbie doll made of polished plastic and enjoy life.
Or you can not be too lazy and spend an extra three minutes on proper compression.
So, we make an increase to 1600% and find the eye area. Since we are working on a portrait, this is the most important part of our shot. Go to Filter – Sharpen – Unsharp Mask (photo 7) and set the values (photo 8) Radius 0.2 or 0.3 pixels, Thereshold set to zero. And now the main rule in order for your picture to be sharp enough at your 1600% scale, the pixel boundaries should be clear and even. Drag the Amount float 0.2 px on the Radius forward until you achieve the effect, and only if you don't have enough value for the definition you want, change the Radius to 0.3. Usually, after applying the High Pass filter, you don’t even have to touch anything.
Now start resizing the image properly. The smaller the step for resizing (photo 9) you choose, the more clearly you will be able to control the process and influence the result. Usually a step of 20% or 300 pixels in width is enough for adequate control. So, we reduced the image by 20% and returned to the Unsharp Mask. We again corrected the sharpness until the pixel borders appeared (smooth, but not overly contrasting) on a scale of 1600 and resized again ... And so on until the size you need was reached.
Now compare the results.
Not only that, in comparison with the first reduction option, the picture did not lose its sharpness and texture, but in some cases it also acquired the effect of a photograph printed on glossy paper (the smaller the resize step, the more gloss you will get in the end result) . By the way, this is also one of the only ways to save the noise texture in its original form when resizing from a large format (photo 0_2).
Dare! Everything ingenious is simple.
As always, you can of course use your chosen photos.
Step 1. Open the man image and cut it out. Use any method familiar to you for this. I usually use the pen tool penTool, but here we have no hair and the background is white, so there's nothing to worry about. That's why I took my magic wand here MagicwandTool to highlight white. Then I feathered 1 pixel (selection > feather), increased it to 2 pixels (Select > Modify > Expand) and hit delete 2-3 times until the white background was gone. Name this layer "MAN." Take the Dodge Tool DodgeTool, set the range to Lights and Exposure to 15% and go over the man a couple of times. This should make the eyes look like below.
Step 2 Open the cloud image. sxc.hu and import it into our document under the "MAN" layer. Resize to 130% and paste (hold Ctrl click on the image and drag), duplicate it 3 times. Place them as shown below. Then take an eraser Eraser, set a large soft-edged brush and run it over the hard edges of the clouds, where the junction between the layers passes.
Step 3 Now select the stamp tool cloneTool, set it to 400 pixels and soft edges (0% hardness) and improve the cut layers.
Step 4 The next steps are much easier if you're good at graphics, but you can also draw with the mouse. Create a new Curves Adjustment Layer above the "MAN" layer and use the previous layer to create a Clipping Mask. Do as shown below and name the layer "CURVES_DARK." Select the "CURVES_DARK" layer mask and fill it with black, this should hide the effect obtained from the Curves.
Take a brush with 0% hardness, 15% opacity and 65% pressure. Change the brush to match the image. Naturally, the larger the brush, the smoother the transition. Make the base color white and start painting directly on the mask. Some areas require more careful work, so don't be afraid to apply strokes several times.
Compare with the image below for a more appropriate brush size. Treat both skin and clothes. There are no exact rules for doing this work, of course you have to try, you can’t do without mistakes.
To paint the desired details, you will need to reduce the size of the brush. Eyebrows, for example, need to be painted with a 3 pixel thick brush, but I increased the opacity to 40%. I did the same with wrinkles and other fine details.
Ultimately, your mask should look like this (press Alt and click on the layer mask to see where you painted on the mask). I didn't do enough, and there are 3 ways to fix it. Option 1 - click 2 times on the circle, which is half black, half gray. Open Curves to darken the result. Option 2 is to continue painting on the layer mask, but in that case you run the risk of messing up your well started work. Option 3 - duplicate the Curves adjustment layer and then you can reduce the effect by lowering the layer's opacity.
Step 5 Create a new adjustment layer above the "MAN" and "CURVES_DARK" layers in the layers palette. Use the previous layer to create a Clipping Mask and name it "CURVES_LIGHT." Pull the top up to lighten the image. Note: How long you work with the Curves layers, including ("CURVES_DARK"), depends on how much you have to draw on the mask layer and how much you have to reduce the exposure after that.
Fill the "CURVES_LIGHT" layer mask with black and paint directly on it with a soft white brush. Adjust the size and opacity of your brush. When you're done, go over the mistakes with a black brush.
You have to walk wherever there is light. To enhance details such as wrinkles, you need to paint light after dark, but not on top of it. Use a small brush on hard lines and then a large brush to spray the transition.
Alt-click on the layer mask to see where you painted. It should look like the image below. Pay attention to the layers palette, all my layers are in normal mode and at 100% opacity. The small arrow next to the circle indicates that the bottom layer is being used as a clipping mask. If yours isn't, select the "CURVES" layer and go to and go to layer >
Createclippingmask(Layer > Create Clipping Mask). To make some areas visible, such as the tip of the nose, simply outline it using the Pen Tool. penTool, select and paint on the appropriate layer mask.
Step 6 Create on top of "MAN," "CURVES_DARK" and "CURVES_LIGHT." Use the bottom layers as a Clipping Mask. Adjust the gradient as shown below and then change the Blending Mode to Soft Layer and Opacity 75%. Now you can turn down the Hue/Saturation, work with the Channel Mixer and add a suitable background and stop there for now.
Step 7 Add new Gradient Map Adjustment Layer below the "MAN" layer and above the "CLOUD." Paste in a darker cloud #164370 (dark blue) and a lighter color #e2dc9a (dirty yellow). Okay, set the mode to Soft layer and 68% opacity. Add a Curves layer right below the gradient map. Set the following and opacity to 60%. Your layers palette should be in this state.
Step 8 Add a new layer right above the "CLOUD" layer and fill it with 60% black. Set the mode to Overlay (it should disappear). Select Dimmer BurnTool and set a large brush (917 diameter, 0% hardness), range midtones and exposure 15%. Then darken the corners to create a vignette. Name the layer "VIGNETTE" and set the opacity to your liking. I have 77%
Step 9 Create a new layer above the "MAN" layer (the "MAN" layer serves as a clipping path) and another below the "CLOUD_CURVES" and "GRADIENTMAP" layers. Name the new layers "WHITEGLOW." Take a white brush and work with it on the layers as shown below. Create a gentle glow below the man to separate him from the background. Then a glow over it, as if the light is coming from behind the object. Follow the pink path in the picture, then walk again.
Step 10 The next step is choosing a stylist, as we want to give the image a stylish look. However, if you want a more natural finish, you can skip this step. Select all working layers, including "MAN."
Then go to filter > Style > GlowingEdges(Filter> Styling> Edge Glow) and set the following settings
We want to exclude the midtones here, so we go to Image > Adjustments > Levels(Image > Adjustments > Levels) and do as below.
Then change the mode to Screen and lower the opacity to 34%. Duplicate the layer and set the mode to Overlay, change the opacity to 13%. I also removed the area around the chin on the image Glowing Edges Layer (glow edges) (Screen, 34%).
Step 11 Duplicate the "CLOUD" layer and place it above the "GLOW_EDGES" layers. Use 2-3 pixel Gaussian Blur(Gaussian blur), set mode to Screen and opacity 50%. Take an eraser with soft edges and remove all parts of the cloud that overlap the face and other details. Duplicate and paste it and move it around until you get fog at the bottom of the image. Name these layers "CLOUD_BLURRED."
Step 12 Download spray and open. Go to Image > RotateCanvas > 180 degrees(Image>Rotate Canvas>180). Erase the big splashes and the broken part of the ball.
Then take the dimmer tool Burn, the Shadows range at 35% exposure and go over where you worked with the eraser.
Paste the image right above the "CLOUD_BLURRED" layers and set the mode to Screen. Position the layer so that it overlaps slightly with the shoulders. You will need to spin it. Then drag the duplicate along the shoulder, twist and lock. Name these layers "DROPS_RIGHT."
Duplicate both "DROPS_RIGHT" layers and with the duplicates selected, go to Edit > Transform > FlipHorizontal (Edit>Transform>Flip Horizontally). Rotate them to match the shoulder line and name them "DROPS_LEFT."
Download and open the drops 2 image from sxc.hu. We want only splashes here, so remove the ball and the main part of the water (eraser and dimmer). Paste into your working paper. Screen blend mode. If you want even smaller splashes, just reduce them and that's it.
To get raindrops, paste a duplicate and scale it up. Do it a few times until you get what you want. Use Stamp cloneTool for a more accurate finish. Group the layers and go to layer > layerMask > Revealall(Layer>Layer Mask>Show All). Use this mask to soften the impact of the rain.
Step 13 Create a new layer above the "WATER_DROPS" group (the rain and stuff) and name it "STARBURST." Fill it with 60% black and go to filter > noise > Addnoise(Filter > Noise > Add Noise) and install the following.
Then go to filter > Blur > RadialBlur(Filter > Blur > Radial Blur). Set the blur level as below. The center of the blur should be right on the man's shoulder. If you haven't, then simply reposition the layer and resize it so it covers the entire canvas.
Then work with the levels like in the image below and set the blend mode to overlap. 60% is sufficient in Overlay mode for natural color. Add a layer mask to mask out areas that shouldn't be lit by the rays. I masked parts of the face and shirt.
Step 14 Create a new layer above the "STARBURST" layer and name it "FAKE_RAIN." Fill with 60% black, add noise (as you did for the "STARBURST" layer) and resize.
Increase the settings. (Click on the f symbol in the black circle at the bottom of the layers palette) and drag the black slider up to 130.
Apply a little Gaussian blur.
And filter Smart Sharpen.
At the end turn down the levels and set the blending mode to hard light.
Step 15 Duplicate "FAKE_RAIN," name it "FAKE_RAIN_BGROUND" and move it below the "VIGNETTE" layer. Rotate it 10 degrees and change the opacity to 75%.
Step 16 Create a New Gradient Map Adjustment Layer above the "FAKE_RAIN." Set a darker color to #075053 and a lighter color like white. Then set the Blending Mode to Color and Opacity to 55%. Add a layer mask layer > layerMask > RevealAll(Layer > Layer Mask > Show All), take a soft large black brush, lower the opacity to 20% and brush over the face a few times.
Step 17 Add Hue/Saturation adjustment layer on top of the Gradient Map. Set the saturation slider to -68% and OK. At this point, I added a mask and painted over the red color of the tie using a soft brush with 25% opacity.
Step 18 Add Curves adjustment layer above that and put the following. Somehow looks gloomy, it's time to make the final touches.
Step 19 Create a new adjustment layer on top of the three new layers and name it "OVERLAY_DODGE/BURN." Fill it with 60% black and change the mode to Overlay. Using Dodge and Burn, we will add some shadows and highlights.
Here's what we got after a series of changes.
Roughly, our "OVERLAY_DODGE/BURN" layer should look like this with Normal mode. Note that some areas are whiter than others, more painting in these areas than in the dark areas.
Step 20 As a little decoration, I added a flash of light. Fill the new layer with black. go with filter > Render > lensFlare(Filter > Render > Flare) and select the 105mm lens type. Untouched settings will be fine. Blending mode to Screen and place the highlight over the shoulder. It's worth mentioning that I also added some noise, followed by a Gaussian blur (about 4 pixels) and then a smart sharpening (about 150 with 7 pixels).
Step 21 Select all your layers and duplicate them. Merge all copies into one, making sure you don't touch the originals. Duplicate this layer and name it "HIGH_PASS" and one "INVERTED." Highlight "HIGH_PASS" and use filter > Other > highPass(Filter>Other>Maximum).OK 2 pixel radius and overlay mode. Mask out areas that you think are too saturated. I reduced the flash of light in this way.
Step 22 Select the "INVERTED" layer and desaturate it (Command + Shift + U). Then invert it (Command + I), set it to 40 pixel Gaussian Blur and then set the Blending Mode to Overlay. Lower the opacity to 45% or whatever you see fit.
(ISO 800 | 300mm | f/5.6 | 1/100) of the beautiful girl Masha was made a long time ago and was gathering dust in the archives, waiting for her time:
1. First of all, I converted it to 16-bit TIFF in Lightroom, practically without touching anything in the settings (I just removed blacks by 0 and raised fill light by 20):
2. The resulting “gray” image, deliberately made so low-contrast (this is good for processing, because a low-contrast image can be made more contrasty, but on the contrary it will be much more difficult), loaded into Photoshop:
3. I made a copy of the layer (Cmd + J) and cleaned the skin of small defects using the healing Brush (this is a very convenient tool for this, the main thing is to make sure that the Brush has hard edges, no transparency and that the textures match - those from which we take and those where we transfer):
4. Then I created a new adjustment layer (Layer -> New Adjustment Layer -> Curves…) and stuck a mask to it so that it would only affect the skin tone. I created the mask itself using the Select -> Color Range tool ... And then I adjusted it using simple brushes: if you Alt + click on the mask, then only the mask will be in full screen:
5. After creating the mask, I edited the curve, increasing the contrast of the skin:
6. Next, I created another adjustment layer (again Layer -> New Adjustment Layer -> Curves…), but the curve is already different, which increases the brightness of the eyes. Accordingly, I already drew another mask for it, which allowed the adjustment layer to act only on the eyes:
In general, using adjustment layers along with masks is a very convenient solution for such work. You can always go back to the settings and tweak the curves, and you can also edit the masks, limiting the impact area of such layers.
7. The next step I decided to sharpen the image. To do this, I copied the clear skin layer and processed it using the High Pass:
8. Radius is selected to taste. =:) To see its result immediately on the picture, you must immediately fold the sharpening layer using Soft Light (weaker effect) or Overlay (stronger than Soft Light):
9. In High Pass, I chose a radius of 5 and layer addition using Soft Light:
10. The next step was to lighten the lower eyelids a little. To do this, I created a clean new layer, folded it using Screen:
11. ... and painted on this layer with a soft translucent brush a couple of strokes that brightened the eyes. I chose the color with a pipette from the areas that need to be brightened:
12. Then I created another new layer to darken the bright areas and set it to Multiply:
13. The principles of work are exactly the same - the areas are painted over with a soft, translucent brush with the color of the zone that needs to be “turned off” (taken with an eyedropper or using the Alt key):
14. The next step is to create a vignette. To begin with, I marked with the usual Polygonal Lasso Tool the area that I want to leave bright, where the Vignette should not work. Moreover, which is convenient - the selection can be moved after "drawing" it:
15. Inverted selection:
16. And with the Refine Edge tool…:
17. … blurred the selection, it became soft:
18. Created a new clean layer and filled it with the resulting selection with black:
After that, the selection can be removed and erased with an eraser those areas, the darkening turned out to be excessive or very dense.
19. I fold the resulting layer over Soft Light and get a neat darkening at the edges of the picture:
20. The final touch - a slight shift of the shadows in blue, to enhance the color contrast of the picture:
The result is this portrait:
In this tutorial, we will look at several techniques for creating a dramatic portrait in Adobe Photoshop. Here the tool will be actively used mixerBrush(Mixing brush) and retouching technique Dodge and Burn(Lighten and darken), to emphasize the main details and get a dramatic effect.
To complete this tutorial, you will need the version AdobephotoshopCC, as it was in it that significant updates took place. We will use an adjustment layer colorlookup(Search for color), retouch the skin of the model, and also try out a new filter cameraRaw, which has become available since version CC. But one way or another, if you have a different version of the program installed, you will get a similar result.
The translation is based on the lesson posted on the YouTube video portal, so we will do our best to make it clear and easy for you to complete.
Step 1
First, you need to separate the model from the background. For this, the author used the tool pen(Feather) (P), for more precise selection. After the model is completely selected, press the right mouse button and select MakeSelection(Create selection). Radius (feather) put feathers - 1 px. Then apply a layer mask to the selected model. If there are still some errors, you can remove them with a black brush on the layer mask.
To make the edges of the model look more neat, you can use the function Refineedge(Refine Edge) with the settings as in the screenshot.
Also, the author advises to pay attention to the remaining contour around the model. It can be darkened with layerstyle(Layer style) InnerShadow(Inner shadow) with the settings shown in the screenshot.
Name the model layer « Model».
Step 2
Now let's open the background image (ctrl + O) , or just transfer the picture to the program. Blur the background with a filter GaussianBlur(Gaussian blur). Blur the background so that no details are visible. The author used a filter with a radius 106 .
Step 3
Let's start removing defects on the face. Let's create a new layer (Ctrl+Shift+N). name it fix. Let's use it as clippingMask(clipping mask) to the layer with the model « Model» . Also, check the box next to sampleallLayers(Sample from all layers).
Now, using the tool HealingBrushTool(Spot Healing Brush), remove some defects on the face.
Next, create a new layer (Ctrl+Shift+N ) and let's call it soft. Apply it as a clipping mask to the layer fix. With the help of a tool mixerBrush(Mixing brush) with the settings shown in the screenshot, smooth out the skin of the model. Also, don't forget to check the box next to sampleallLayers(Sample from all layers).
The result you should get:
Step 4
Let's create a new layer (Ctrl+Shift+N ). Let's call it R. Let's use the tool again pen(Feather)(P). In the settings, on the options panel at the top, instead of Path, put shape. Thus, the new contour will be automatically filled with a fill. Let's create a contour around the right (from us) lens on the glasses. For ease of selection, it is recommended to slightly reduce Fill(Fill), this layer, up to 64% .
Now let's move on to the selection of the second lens. Create a new layer (Ctrl+Shift+N) and call it L. Also select the lens along the contour and slightly reduce Opacity(Opacity) of this layer, up to 64% .(Translator's note) For a closer acquaintance with the instrument pen(Feather) (P) you can study this article https://site/articles/tools_a/kak-rabotat-s-perom.html
Once everything is ready, go to the layer R and apply for it layerstyle(layer style) Gradientoverlay(Gradient overlay) (or by double-clicking on the layer with the left mouse button) with the settings as in the screenshot.
Use a gradient from #2 f2368 to # ffffff. The result you should get:
Now let's just move layerstyle(Layer style) (hold down the alt) from layer R per layer L.
This is how the glasses of the model should turn out:
Create a group and move both layers there. name the group « Glasses».
Now let's create an adjustment layer Hue/Saturation(Hue/Saturation) and apply it as clippingMask(Clipping Mask) to the lens group.
Move the slider Hue(Color tone) to value -37 .
Step 5
Now we need to create a small shadow from the glasses. To do this, create a new layer under the group « Glasses» . name it « glassShadow» .
Next, with the key pressed ctrl, click on layer L. Thus, a circular selection will appear around the lens. Go to Select(Highlight) - Modify(Modification) - Expand(Expand). Set the expansion radius 5px. The selection will become wider. Next, go Select(Highlight) - inverse(Invert) (or right click on selection and Selectinverse) (Alt+Ctrl+I). Now, using the tool Brush(Brush) (B) With Feather(Opacity) and flow(Pressed) by 50% and low hardness , leave a slight shadow around the outline of the frame, leaving the shadow behind the glasses.
Then, do the same manipulation for the right frame.
If you have extra traces of the shadow, just remove them with the help of the tool Eraser(Eraser) (E).
If the shadow seems unrealistic to you, i.e. too dark, you can apply a filter GaussianBlur(Gaussian blur).
Translator's note: to select the shadow, you can use any selection tool. The author used RectangularMarqueeTool(rectangular selection) (M)).
Leave the blur radius at 3px. Drag the final option to the group « Glasses» .
So, the result of the performed actions:
Step 6
GradientFill(Gradient fill) on top of all layers. Make a gradient from white to transparent.
Note. author: The pink light falling on the model on the left is shown in such a way that it can be seen better. Also, the blend mode was used for this layer.Softlight(Soft light). LowerOpacity(Opacity) of this layer until you are satisfied with the result.
Turn down Opacity(Opacity) of this layer to 30% and change the blend mode to Softlight(Soft light).
Step 7
Create a New Adjustment Layer colorlookup(Color search). In subsection 3DLutFile select EdgyAmber 3 DL. Reduce Opacity(Opacity) of this layer up to 15%.
Step 8
Create a New Adjustment Layer Curves(Curves). Go to the blue channel in this layer and drag the bottom point to toned the image in shadows and highlights, thereby adding a split toning effect, as in the screenshot.
And the top point.
The result that should be
Step 9
Create an adjustment layer again GradientFill(Gradient fill) with color from f6dfb2 to transparent with the settings as in the screenshot.
Now move the gradient to the top left corner like in the screenshot:
Also, there is another alternative way.
Create a new layer (Ctrl+Shift+N ) with blend mode Screen(Screen). With a tool Brush(Brush) (B) with a large radius (3500-4000 px) and color 90856 b, make one click in the upper left corner and use the tool FreeTransform(Free transform) (Ctrl + T) increase the resulting glow, as in the screenshot.
Name this layer « SoftGlow». The result can be seen in the screenshot:
Step 10
Create a New Adjustment Layer colorBalance(Color balance) with the settings as in the screenshot.
Step 11
Create a new layer (Ctrl+Shift+N ) over all layers. Go to Edit(Editing) - Fill(Fill). Leave all settings as they are and change the blending mode of this layer to overlay(Overlap).
Use the tool DodgeTool(Clarifier)(O) with exposure(by exposure) 20% and slightly lighten the contours of the lapels of the jacket, the pleats on the sleeves, the light areas of the belt and trousers. It is also necessary to lighten the contour of the chin, the light areas on the glasses, the light areas of the lips, eyebrows, as well as the light areas of the face, neck and hair (do not forget about the parting). As in the screenshot
And here is the result:
If suddenly you crawled with a tool DodgeTool(Clarifier) (o) on the background, then use a gray brush ( #808080 ) and paint over the extra lightened area.
Step 12
Merge all layers into one (alt + Shift+ ctrl+ E) and place this layer on top of all layers. Using a filter cameraRaw. To do this, go to filter(Filter) -cameraRAW and apply the settings as in the screenshot. You can learn more about this filter in this article: http://photo-monster.ru/postobrabotka/rub/adobe-camera-raw/page/2
It turned out to be a pretty good result. I hope that you got a lot of knowledge during the lesson, and you liked the result.
