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using PhotoshopScott KelbyCATEGORY:	Digital Photography, Retouching,Adobe Photoshop, Photography	USER LEVEL: Intermediate$...
using PhotoshopScott Kelby
Published by New RidersCopyright ©2011 by Scott KelbyAll rights reserved. No part of this book may be reproduced or trans-...
To my daughter Kira:You’ve been blessed withso many of your mom’s gifts—I can’t wait to see the amazingwoman you, too, wil...
Professional Portrait Retouching Techniques Using PhotoshopivAcknowledgmentsAfter writing books for 13 years now, I still ...
Professional Portrait Retouching Techniques Using PhotoshopvThe look of the book comes from an amazing designer, a creativ...
Professional Portrait Retouching Techniques Using PhotoshopviOther Books by Scott KelbyThe Adobe Photoshop Lightroom 3 Boo...
Professional Portrait Retouching Techniques Using PhotoshopviiScott KelbyAbout the AuthorScott is Editor, Publisher, and c...
Professional Portrait Retouching Techniques Using PhotoshopviiiContentsCHAPTER 1 1NAKED EYESRetouching EyesIncreasing Cont...
Professional Portrait Retouching Techniques Using PhotoshopixContentsCHAPTER 4 191HAIRRetouching HairAdding Highlights to ...
Professional Portrait Retouching Techniques Using Photoshopx Seven Things You’ll Wish You Had Known©ISTOCKPHOTO/GCHUTKA#1 ...
Seven Things You’ll Wish You Had Known xiProfessional Portrait Retouching Techniques Using Photoshop#2 Download the practi...
xii Seven Things You’ll Wish You Had KnownProfessional Portrait Retouching Techniques Using Photoshop#4 The intro pages at...
Seven Things You’ll Wish You Had Known xiiiProfessional Portrait Retouching Techniques Using Photoshop#6 Do I need to do a...
Professional Portrait Retouching Techniques Using Photoshopxiv
Professional Portrait Retouching Techniques Using PhotoshopWhy We Retouch xvWhy We RetouchBefore you dive into the book, I...
Professional Portrait Retouching Techniques Using Photoshopxvi 12 Things You Need to Know Now#1 Think SmallIf I could only...
(Continued)12 Things You Need to Know Now xviiProfessional Portrait Retouching Techniques Using PhotoshopCOURTESYOFWACOM;I...
xviii 12 Things You Need to Know NowProfessional Portrait Retouching Techniques Using Photoshop#4 Walk Away After a WhileI...
(Continued)12 Things You Need to Know Now xixProfessional Portrait Retouching Techniques Using Photoshop#6 Learn This Keyb...
xx 12 Things You Need to Know NowProfessional Portrait Retouching Techniques Using Photoshop#8 The Direction of YourStroke...
(Continued)12 Things You Need to Know Now xxiProfessional Portrait Retouching Techniques Using Photoshop#10 Use a BW or Cu...
xxii 12 Things You Need to Know NowProfessional Portrait Retouching Techniques Using Photoshop#11 Use Actions to WorkEven ...
12 Things You Need to Know Now Introduction xxiiiProfessional Portrait Retouching Techniques Using Photoshop#12 How Long Y...
1If you came to this chapter intro pageexpecting to read something insightfulabout retouching eyes—stop right now,turn bac...
Professional Portrait Retouching Techniques Using Photoshop2 Chapter 1 Retouching EyesOne of the secrets to really making ...
Retouching Eyes Chapter 1 3(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Three:Press-and-hold...
4 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopTIP: Adding More ContrastIf, after p...
Retouching Eyes Chapter 1 5Professional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!Do...
Professional Portrait Retouching Techniques Using Photoshop6 Chapter 1 Retouching EyesIf you look closely at a person’s ir...
Retouching Eyes Chapter 1 7(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Three:Go under the S...
8 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Five:At the top of the Layers p...
Retouching Eyes Chapter 1 9(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Seven:Make sure your...
10 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Nine:If you want to adjust how...
Retouching Eyes Chapter 1 11Professional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!D...
Professional Portrait Retouching Techniques Using Photoshop12 Chapter 1 Retouching EyesThis is another quick trick you can...
Retouching Eyes Chapter 1 13(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Three:Now, get the ...
14 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Five:Go under the Filter menu,...
Retouching Eyes Chapter 1 15(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Seven:If you think ...
16 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!B...
Professional Portrait Retouching Techniques Using PhotoshopRetouching Eyes Chapter 1 17(Continued)Step One:Here’s the firs...
18 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Three:Press Command-I (PC: Ctr...
Retouching Eyes Chapter 1 19Professional Portrait Retouching Techniques Using Photoshop(Continued)Try thistechnique onanot...
20 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Five:Here’s our second image a...
Retouching Eyes Chapter 1 21(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Seven:If you’re usi...
22 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Nine:You’ll need to raise your...
Retouching Eyes Chapter 1 23Professional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!B...
Professional Portrait Retouching Techniques Using Photoshop24 Chapter 1 Retouching EyesStep One:I’m going to show you two ...
Retouching Eyes Chapter 1 25(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Three:The problem w...
26 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Five:The tricky part of this t...
Retouching Eyes Chapter 1 27(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Seven:When you’re d...
28 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopBEFORE AFTER
Retouching Eyes Chapter 1 29(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Eight:The alternati...
30 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep 10:Press Command-I (PC: Ctrl-I...
Retouching Eyes Chapter 1 31Professional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!D...
Professional Portrait Retouching Techniques Using Photoshop32 Chapter 1 Retouching EyesStep One:Here’s the image we’re goi...
Retouching Eyes Chapter 1 33(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Three:Let go of the...
34 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!D...
Professional Portrait Retouching Techniques Using PhotoshopRetouching Eyes Chapter 1 35(Continued)Step One:In this image, ...
36 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Three:To keep the entire photo...
Retouching Eyes Chapter 1 37Professional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!T...
Professional Portrait Retouching Techniques Using Photoshop38 Chapter 1 Retouching EyesStep One:Open a photo that has dark...
Retouching Eyes Chapter 1 39(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Three:Although the ...
40 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Five:Now, take the Clone Stamp...
Retouching Eyes Chapter 1 41Professional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!D...
Professional Portrait Retouching Techniques Using Photoshop42 Chapter 1 Retouching EyesStep One:Here’s a regular-sized eye...
Retouching Eyes Chapter 1 43(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Three:To help hide ...
44 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Four:Now, you’re going to copy...
Retouching Eyes Chapter 1 45(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Six:Because we feat...
46 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Seven:Another way to increase ...
Retouching Eyes Chapter 1 47(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Nine:Move your brus...
48 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!D...
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  1. 1. using PhotoshopScott KelbyCATEGORY: Digital Photography, Retouching,Adobe Photoshop, Photography USER LEVEL: Intermediate$49.99 USA / $59.99 CANLEARN HOW THE PROS RETOUCH PORTRAITS WITH CLEAN,NATURAL, AND REALISTIC-LOOKING RESULTS IN JUST MINUTESEach year, Scott Kelby, Editor-in-Chief of Photoshop User magazineand the #1 best-selling Photoshop author, trains literally thousands ofphotographers on how to retouch portraits using Photoshop throughhis live seminars, online classes, DVDs, and standing-room only work-shops at the Photoshop World Conference Expo. Now you canlearn the same techniques he uses in his own retouching workflow, inthe only book of its kind—one written expressly for photographerswho do their own retouching.As a pro photographer himself, Scott understands that photogra-phers make their living shooting, not retouching. But, delivering fullyretouched images is now expected by clients. That’s why Scott puttogether this amazing resource for teaching photographers the quick-est, easiest, and most effective ways to create professional-looking,retouched final images without spending hours grinding away atpainstaking, detailed techniques.LEARN HOW THE PROS DO ITIt’s all here—the step-by-step methods for fixing, enhancing, and fin-ishing your portraits in Photoshop. Using the techniques in this book,you’ll create images that will absolutely wow your clients. You’ll learn:• How to soften skin and still retain detail and texture• The best tricks for beautifully enhancing eyes, eyebrows,and eyelashes• How to selectively sharpen portraits without complicated masking• How to create gorgeous-looking lips• How to remove blemishes fast and keep the most detail• The pros’ tricks for body sculpting• How to make your subject’s hair look fabulous• How to give your retouches that natural look that setsthem apart• Plus, you get Scott’s complete 5-minute, 15-minute, and30-minute start-to-finish workflowsIf you’re ready to learn the “tricks of the trade”—the same onesthat today’s leading pro photographers use to retouch, tuck, tighten,and tone their images for that pro-retouched look—you’re holdingthe book that will do exactly that. It will radically change the wayyou retouch your portraits from here on out, and give you thebest-looking, most natural retouches you’ve ever done.Scott Kelby is Editor-in-Chief of Photo­shop User magazine, President of theNational Association of Photoshop Pro­fessionals (NAPP), Training Director forthe Adobe Photoshop Seminar Tour,and one of the leading seminar instruc-tors in the industry today. Scott is authorof the best-selling books, The Light­room 3 Book for Digital Photographers,Photoshop Down Dirty Tricks, andThe Digital Photography Book (volumes1, 2 3), among others. His easy­going,plain-English style of teaching makeslearning Photoshop fun. He trains thou-sands in his live seminars each year andknows firsthand which techniques arein hot demand.BeforeAfterwww.newriders.comwww.kelbytraining.comKELBY
  2. 2. using PhotoshopScott Kelby
  3. 3. Published by New RidersCopyright ©2011 by Scott KelbyAll rights reserved. No part of this book may be reproduced or trans-mitted in any form, by any means, electronic or mechanical, includingphotocopying, recording, or by any information storage and retrievalsystem, without written permission from the publisher, except for theinclusion of brief quotations in a review.Composed in Avenir, Museo, Sling, and FG Grayson by Kelby MediaGroup, Inc.TrademarksAll terms mentioned in this book that are known to be trademarksor service marks have been appropriately capitalized. New Riderscannot attest to the accuracy of this information. Use of a term inthe book should not be regarded as affecting the validity of anytrademark or service mark.Photoshop is a registered trademark of Adobe Systems, Inc.Macintosh and Mac are registered trademarks of Apple Inc.Windows is a registered trademark of Microsoft Corporation.Warning and DisclaimerThis book is designed to provide information for photographers aboutretouching in Adobe Photoshop. Every effort has been made to makethis book as complete and as accurate as possible, but no warranty offitness is implied.The information is provided on an as-is basis. The author and NewRiders shall have neither liability nor responsibility to any person orentity with respect to any loss or damages arising from the informationcontained in this book or from the use of the discs or programs that mayaccompany it.THIS PRODUCT IS NOT ENDORSED OR SPONSORED BY ADOBESYSTEMS INCORPORATED, PUBLISHER OF ADOBE PHOTOSHOP.ISBN 13: 978-0-321-72554-7ISBN 10: 0-321-72554-99 8 7 6 5 4 3 2 1The Professional PortraitRetouching Techniquesfor Photographers UsingPhotoshop TeamCREATIVE DIRECTORFelix NelsonTECHNICAL EDITORSCindy SnyderKim DotyDavid CuerdonASSOCIATE ART DIRECTORJessica MaldonadoTRAFFIC DIRECTORKim GabrielPRODUCTION MANAGERDave DamstraPHOTOGRAPHY BYScott Kelbywww.kelbytraining.comwww.newriders.com
  4. 4. To my daughter Kira:You’ve been blessed withso many of your mom’s gifts—I can’t wait to see the amazingwoman you, too, will become.
  5. 5. Professional Portrait Retouching Techniques Using PhotoshopivAcknowledgmentsAfter writing books for 13 years now, I still find that the thing that’s the hardest for me to write in anybook is the acknowledgments. It also, hands down, takes me longer than any other pages in the book.For me, I think the reason I take these acknowledgments so seriously is because it’s when I get to put downon paper how truly grateful I am to be surrounded by such great friends, an incredible book team, anda family that truly makes my life a joy. That’s why it’s so hard. I also know why it takes so long—you typea lot slower with tears in your eyes.To my remarkable wife, Kalebra: We’ve been married 21 years now, and you still continue to amaze me,and everyone around you. I’ve never met anyone more compassionate, more loving, more hilarious, andmore genuinely beautiful, and I’m so blessed to be going through life with you, to have you as the motherof my children, my business partner, my private pilot, Chinese translator, and best friend. You truly are thetype of woman love songs are written for, and as anyone who knows me will tell you, I am, without adoubt, the luckiest man alive to have you for my wife.To my son, Jordan: It’s every dad’s dream to have a relationship with his son like I have with you, andI’m so proud of the bright, caring, creative young man you’ve become. I can’t wait to see the amazing thingslife has in store for you, and I just want you to know that watching you grow into the person you are is oneof my life’s greatest joys.To my precious little girl, Kira: You have been blessed in a very special way, because you are a littleclone of your mom, which is the most wonderful thing I could have possibly wished for you. I see all hergifts reflected in your eyes, and though you’re still too young to have any idea how blessed you are tohave Kalebra as your mom, one day—just like Jordan—you will.To my big brother Jeff, who has always been, and will always be, a hero to me. So much of who I am, andwhere I am, is because of your influence, guidance, caring, and love as I was growing up. Thank you forteaching me to always take the high road, for always knowing the right thing to say at the right time, andfor having so much of our dad in you.I’m incredibly fortunate to have part of the production of my books handled in-house by my own bookteam at Kelby Media Group, which is led by my friend and longtime Creative Director, Felix Nelson, who ishands down the most creative person I’ve ever met. He’s surrounded by some of the most talented, amazing,ambitious, gifted, and downright brilliant people I’ve ever had the honor of working with.Thank God for Kim Doty, my Editor. She is amazing, and single-handedly keeps me from visiting a nearbytower, and climbing to the top to throw myself off (anyone catch that vague Gilbert O’Sullivan reference there?Anybody? No?). Kim is just an incredibly organized, upbeat, focused person who keeps me calm and on track,and no matter how tough the task ahead is, she always says the same thing, “Ah, piece of cake,” and sheconvinces you that you can do it, and then you do it. I cannot begin to tell you how grateful I am to herfor being my Editor.Working with Kim is Cindy Snyder, who relentlessly tests all the stuff I write to make sure I didn’t leaveanything out, so you’ll all be able to do the things I’m teaching (which with a Photoshop book is an absolutenecessity). She’s like a steel trap that nothing can get through if it doesn’t work just like I said it would.
  6. 6. Professional Portrait Retouching Techniques Using PhotoshopvThe look of the book comes from an amazing designer, a creative powerhouse, and someone whomI feel very, very lucky to have designing my books—Jessica Maldonado. She always adds that little somethingthat just takes it up a notch, and I’ve built up such a trust for her ideas and intuition, which is why I just let herdo her thing. Thanks Jess!I owe a huge debt of gratitude to my Executive Assistant and Chief Wonder Woman, Kathy Siler. She runsa whole side of my business life, and a big chunk of our conferences, and she does it so I have time to writebooks, spend time with my family, and have a life outside of work. She’s such an important part of what I do thatI don’t know how I did anything without her. Thank you, thank you, thank you. It means more than you know.Thanks to my best buddy, our Chief Operating Officer and father of twin little girls, Dave Moser, first forhandling the business end of our book projects, but mostly for always looking out for me.Thanks to everyone at New Riders and Peachpit, in particular, my way cool Editor Ted Waitt, my wonder-ful Publisher Nancy Aldrich-Ruenzel, marketing maven Scott Cowlin, and marketing diva Sara Jane Todd, andthe entire team at Pearson Education who go out of their way to make sure that we’re always working in thebest interests of my readers, and who work tirelessly to make sure my work gets in as many people’s handsas possible.Thanks to my friends at Adobe: John Nack, Mala Sharma, John Loiacono, Terry White, Cari Gushiken,Julieanne Kost, Tom Hogarty, Dave Story, Bryan O’Neil Hughes, Thomas Nielsen, Russell Preston Brown,and the amazing engineering team at Adobe (I don’t know how you all do it). Gone but not forgotten:Barbara Rice, Jill Nakashima, Rye Livingston, Addy Roff, Bryan Lamkin, Jennifer Stern, Kevin Connor,Deb Whitman, and Karen Gauthier.Thanks to Matt Kloskowski for letting me bounce ideas off of him for this book and for his input andsuggestions. A big high-five and thanks to Corey Barker, who developed the cool set of eyelash brushes youguys get with the book. And thanks to professional makeup artist Shelley Giard for all her help and insights.I was very fortunate to have professional retoucher and instructor David Cuerdon as Technical Editorfor the book. The entire book is much better because of his input, and I’m very grateful for his advice andhis friendship.I want to thank all the talented retouchers who I’ve learned so much from over the years: Katrin Eismann,Jane Conner-ziser, Felix Nelson, Natalia Taffarel, Corey Barker, Christy Schuler, Mary DuPrie, Kevin Ames,Dave Cuerdon, Calvin Hollywood, and the community at RetouchPRO.com.Thanks to my mentors, whose wisdom and whip-cracking have helped me immeasurably, includingJohn Graden, Jack Lee, Dave Gales, Judy Farmer, and Douglas Poole.Most importantly, I want to thank God, and His son Jesus Christ, for leading me to the woman of my dreams,for blessing us with two amazing children, for allowing me to make a living doing something I truly love, foralways being there when I need Him, for blessing me with a wonderful, fulfilling, and happy life, and such awarm, loving family to share it with.
  7. 7. Professional Portrait Retouching Techniques Using PhotoshopviOther Books by Scott KelbyThe Adobe Photoshop Lightroom 3 Book for Digital PhotographersThe Digital Photography Book, volumes 1, 2 3The Photoshop CS5 Book for Digital PhotographersThe Photoshop Channels BookPhoto Recipes Live: Behind the Scenes, parts 1 2Scott Kelby’s 7-Point System for Adobe PhotoshopPhotoshop Down Dirty TricksThe iPhone BookThe Mac OS X Leopard BookThe Photoshop Elements Book for Digital Photographers
  8. 8. Professional Portrait Retouching Techniques Using PhotoshopviiScott KelbyAbout the AuthorScott is Editor, Publisher, and co-founder of Photoshop User magazine,host of the top-rated weekly videocast Photoshop User TV, and co-hostof D-Town TV (the weekly videocast for DSLR shooters).He is President of the National Association of Photoshop Professionals(NAPP), the trade association for Adobe®Photoshop®users, and he’s Presidentof the training, education, and publishing firm, Kelby Media Group, Inc.Scott is a photographer, designer, and award-winning author of morethan 50 books, including The Adobe Photoshop Lightroom 3 Book for DigitalPhotographers, The Adobe Photoshop CS5 Book for Digital Photographers,Photoshop Down Dirty Tricks, The Photoshop Channels Book, The iPhoneBook, The iPod Book, and The Digital Photography Book, vols. 1, 2 3.Scott’s book, The Digital Photography Book, vol. 1, is the best-selling bookever on digital photography. In 2010, Scott became the #1 best-selling authoracross all photography book categories. From 2004–2009, he held the honorof being the world’s #1 best-selling author of all computer and technologybooks, across all categories.His books have been translated into dozens of different languages, includingChinese, Russian, Spanish, Korean, Polish, Taiwanese, French, German, Italian,Japanese, Dutch, Swedish, Turkish, and Portuguese, among others, and he isa recipient of the prestigious Benjamin Franklin Award.Scott is Training Director for the Adobe Photoshop Seminar Tour andConference Technical Chair for the Photoshop World Conference Expo.He’s featured in a series of Adobe Photoshop online courses and DVDs atKelbyTraining.com and has been training Adobe Photoshop users since 1993.For more information on Scott, visit his daily blog, Photoshop Insider,at www.scottkelby.com.
  9. 9. Professional Portrait Retouching Techniques Using PhotoshopviiiContentsCHAPTER 1 1NAKED EYESRetouching EyesIncreasing Contrast in the Iris........................................................................................ 2Darkening the Outer Rim of the Iris.............................................................................. 6Adding More Life to the Eyes.......................................................................................12Enhancing and/or Creating Catch Lights.....................................................................17Brightening the Whites of the Eyes............................................................................. 24Removing Eye Veins...................................................................................................... 32Changing Eye Color...................................................................................................... 35Reducing Dark Circles Under Eyes.............................................................................. 38Making Eyes Larger (or Smaller).................................................................................. 42Swapping One Eye for the Other................................................................................ 49Enhancing Eyelashes .....................................................................................................57Creating Beautiful Eyebrows ....................................................................................... 68Making Fuller Eyebrows............................................................................................... 75Darkening the Eyebrows .............................................................................................. 79Sharpening Eyes to Make Them Sparkle .....................................................................81CHAPTER 2 85UNDER MY SKINRetouching SkinRemoving Blemishes..................................................................................................... 86How to Avoid Plastic-Looking Skin.............................................................................. 89Basic “Quickie” Skin Softening....................................................................................90Softening Skin While Retaining Texture...................................................................... 96Softening Skin Adding Texture Back In................................................................. 102High Pass Skin Softening ........................................................................................... 108Softening Skin Using Channels...................................................................................113Reducing or Removing Wrinkles.................................................................................119Removing Hot Spots....................................................................................................127Balancing Skin Tones...................................................................................................131Reducing Stubble........................................................................................................ 136Applying Digital Makeup ........................................................................................... 140Creating Porcelain-Looking Skin ................................................................................151Sharpening Portraits................................................................................................... 160CHAPTER 3 169FACE TO FACEReshaping Facial FeaturesReshaping the Face and Head................................................................................... 170Making Features More Symmetrical ..........................................................................176Sculpting the Face by Dodging Burning............................................................... 184
  10. 10. Professional Portrait Retouching Techniques Using PhotoshopixContentsCHAPTER 4 191HAIRRetouching HairAdding Highlights to Hair .......................................................................................... 192Removing Stray Hair Strands ......................................................................................196Fixing Gaps in Hair .....................................................................................................204Changing Hair Color................................................................................................... 209Darkening a Part Line................................................................................................. 214Hiding Roots.................................................................................................................217CHAPTER 5 223LIPPS, INC.Retouching the Lips and MouthMaking Lips Larger..................................................................................................... 224Creating Glossy Lips....................................................................................................227Applying or Tweaking Lipstick................................................................................... 232Changing the Shade of Lip Color.............................................................................. 236Repairing Teeth........................................................................................................... 243Whitening Teeth and Reducing Yellowing................................................................ 252CHAPTER 6 259SLIM SHADYSlimming and TrimmingOverall Slimming.........................................................................................................260Slimming One Person in a Group Shot .....................................................................263Reducing a Double Chin Thinning the Face.......................................................... 266Thinning Arms or Legs.................................................................................................271Getting Great Abs ......................................................................................................280Fixing Clothes (Lumps, Bagging Folds)................................................................. 285CHAPTER 7 259TAKING FIVEMy 5-, 15-, and 30-Minute RetouchesRetouching Checklist.................................................................................................. 294My Five-Minute Retouch............................................................................................ 296My 15-Minute Retouch............................................................................................... 310My 30-Minute Retouch............................................................................................... 324INDEX ..........................................................................................................................343
  11. 11. Professional Portrait Retouching Techniques Using Photoshopx Seven Things You’ll Wish You Had Known©ISTOCKPHOTO/GCHUTKA#1 This book was writtenfor photographers—notphoto retouchers.Most photographers aren’t able to sendtheir images out to a full-time, high-endretoucher, so we wind up doing our ownportrait retouching in Photoshop. That’sexactly who I wrote this book to help—photographers who want better, faster,more realistic results from their own por-trait retouching. The key word here is“photographers.” This isn’t a book tolearn how to become a high-end portraitretoucher (which is a very hard job, doneby highly skilled, and very patient, pro-fessionals who take whatever time andsteps are necessary to create absolutelyperfect images. I have immense respectfor these folks, who spend an average offour hours on a retouch, and as much astwo to three days on a single cover image).However, as photographers, we usuallydon’t get paid for the retouching part ofour jobs, so we need to get back to shoot-ing as quickly as possible. That’s why I onlyfocus on teaching you the fastest, easiesttechniques to get your retouching donein as little time as possible. That meansdoing things that some high-end retouch-ers would definitely wrinkle their browover, but when you make your living fromshooting, you need to get back to shoot-ing. That’s what this book is about—quick,efficient techniques for great-looking,natural retouches that make you, andyour subject, look great.It’s really important to me that you get a lot out of reading this book, and one way I can help is to get you to read theseseven quick things about the book that you’ll wish later you knew now. For example, it’s here that I tell you about whereto download something important, and if you skip over this, eventually you’ll send me an email asking where it is, but bythen you’ll be really aggravated, and well…it’s gonna get ugly. We can skip all that (and more) if you take two minutesnow and read these seven quick things. I promise to make it worth your while.Seven Things You’ll Wish You Had KnownBefore Reading This Book
  12. 12. Seven Things You’ll Wish You Had Known xiProfessional Portrait Retouching Techniques Using Photoshop#2 Download the practiceimages, so you can followright along with me.I’ve made all of the photos I used herein the book available for you to download,so you can follow right along with me aswe work. For this book, though, I addedsomething extra—a second practice file,so you can try the same technique you justlearned on a totally different image. Withretouching, it’s the repetition that buildsyour speed, so this is another way for youto take what you’ve just learned and applyit somewhere else. You can download theimages at www.kelbytraining.com/books/retouching (see, this is one of those thingsI was talking about that you’d miss if youskipped this and went right to Chapter 1).#3 You don’t have to readthis book in order.I designed this book so you can turn rightto the retouching technique you want tolearn and start there. I explain everythingas I go, step by step, so if you want tolearn how to sharpen your subject’s eyes,just turn to page 81, and in a couple ofminutes, you’ll know how.
  13. 13. xii Seven Things You’ll Wish You Had KnownProfessional Portrait Retouching Techniques Using Photoshop#4 The intro pages at thebeginning of each chapterare not what they seem.The chapter introductions are designed togive you a quick mental break betweenchapters, and honestly, they have littleto do with what’s in the chapter. In fact,they have little to do with anything, butwriting these quirky chapter intros hasbecome kind of a tradition of mine (I dothis in all my books), so if you’re one ofthose really “serious” types, I’m beggingyou—skip them and just go right into thechapter, because they’ll just get on yournerves. However, the short intros at thebeginning of each individual technique,up at the top of the page, are usuallypretty important. If you skip over them,you might wind up missing stuff that isn’tmentioned in the technique itself. So, ifyou find yourself working on a technique,and you’re thinking to yourself, “Why arewe doing this?” it’s probably becauseyou skipped over that short intro.#5 I included a chapter onmy own start-to-finishretouching workflows,but don’t read it yet.At the end of the book, I included aspecial chapter detailing my retouchingworkflows for a 5-minute, 15-minute, and30-minute retouch, but please don’t readit until you’ve read the rest of the bookfirst, because it assumes that you’veread the book already, and understandthe basic concepts. So, it doesn’t spelleverything out (or they would be really,really long, drawn-out workflows). In thischapter, I refer back to things you’vealready learned, and if you haven’tlearned them…well…you’ll get kindastuck there. So, do yourself a favor—read the first six chapters first, thendo the workflows.
  14. 14. Seven Things You’ll Wish You Had Known xiiiProfessional Portrait Retouching Techniques Using Photoshop#6 Do I need to do allthis stuff?Absolutely not. In fact, the goal is todo as little as possible, and be as subtleas possible, so if you can finish off animage with just two or three techniquesfrom the book, that’s fantastic. If you findyourself using 20 or more techniques,maybe it’s time to find some better look-ing subjects (kidding, just a joke). I justdon’t want you to think that you have toapply everything in this book to everyphoto. Start by evaluating the image andwhat needs to be done. I always start bylooking at the image and asking myself,“What do I wish here was different?” (Forexample, I wish his teeth weren’t yellow,and that he didn’t have that big mole onhis neck, and all those stray hairs acrosshis face.) Then you turn to the pages withthose techniques and apply just the onesyou need. Retouching is one of those“less is more” things.#7 I made you aRetouching Checklist.One of the things photographers ask methe most is, “How do you know what toretouch?” So, I made you a checklist ofthings to look for. Now, you don’t have todo all the things on the checklist (in fact, ifyou do, perhaps retouching shouldn’t beyour biggest concern), but at least you’llhave a list to make sure that nothing thatneeds to be retouched slips by you. I putthis checklist right before the workflowchapter that’s at the end of the book (you’llfind it on page 294). Also, I took it a stepfurther by creating a custom Photoshoppanel, so you won’t even have to pull outthe book—the panel will be right insidePhotoshop. You can download it at www.kelbytraining.com/books/retouching.See, I told ya I’d make reading thisworth your while.
  15. 15. Professional Portrait Retouching Techniques Using Photoshopxiv
  16. 16. Professional Portrait Retouching Techniques Using PhotoshopWhy We Retouch xvWhy We RetouchBefore you dive into the book, I hope you’ll invest two minutes in reading my philosophy on why weretouch. I think that, not only will this help you understand where I’m coming from with these retouches,but it also will make you a better, more aware, retoucher. The ability to make people look their best, or betterthan their best, is amazingly powerful and, as someone retouching photos, you have a responsibility to yoursubject, your client, and yourself to do this right.A couple of years ago, my wonderful wife surprised me with a trip to the Tuscany region of Italy. It wasan amazingly beautiful place (and the food was…well, the food was insane!), and one afternoon I grabbedmy camera gear and drove up into the Asciano hills (I couldn’t get anyone in my family to go with me—I think I had already burned them out with all my photography outings that trip).At one point, I pulled to the side of the road when I saw this beautiful little villa, sitting up on a hill, sur-rounded by tall olive trees, and this amazingly green, rolling grass—it was just stunning. I set up my tripod,got out my remote cable release, and really took my time to capture the scene that I wish my family hadbeen there to see. After I was done shooting, I stood there for a moment, took a deep breath of the fresh air,and just gazed upon that perfect little “villa in Tuscany” scene. I couldn’t wait to show my family the pictures.When I got back to our hotel room, I immediately found the image and opened it in Photoshop, soI could rush out and show everybody the image full-screen. But as soon as the image opened, I wasstunned to see something that totally ruined the picture for me—power lines and telephone poles. Notjust one or two. About two dozen. There were lines and cables and 20-foot poles all over the place. I neversaw them while I was standing there right in front of the scene in Tuscany, but the moment I opened theimage in Photoshop, it was the very first thing that jumped out at me. I sighed, and then I spent the nexttwo hours carefully removing every line, every wire, and every pole, because I wanted the scene to looklike what I saw while I was right there, standing in front of it.Well, photos of people are exactly the same. You can have a one-on-one conversation with someonefor a solid hour, take a quick portrait of them, and when you open their image, every flaw, every blemish,and every little imperfection you totally missed during your conversation may as well have a big red circlearound it and a large arrow pointing right to it. I know it’s the truth, because it’s happened to me, and count-less other photographers, again and again over the years.So, our job, when we’re retouching people, is to take that flat, unflattering, two-dimensional still imageof them, where every flaw doesn’t just stand out, but gets magnified, and make them look as good as theydid when they were standing right in front of us.If you go too far, they will know it has been highly retouched and they won’t feel good about it. Worsethan that, their friends and family will know it has been highly retouched. But, if you’re careful to make themlook as good in the photo, or perhaps just slightly better, than they do in real life, their friends and family willlove the photo, and so will your subject.Lastly, here’s one thing I learned the hard way: You’re about to learn some amazing techniques and nodoubt you’ll want to brag to your subject about what an amazing retouch you did for them in Photoshop,and how great you made them look. But, here’s my advice: don’t do it. Never show them the before/after,and don’t show their friends or family, either. This is about making them look their best, not making themfeel their worst. Keep this between you and Photoshop, and I promise you, you’ll be glad you did.
  17. 17. Professional Portrait Retouching Techniques Using Photoshopxvi 12 Things You Need to Know Now#1 Think SmallIf I could only give you one piece ofadvice, one secret about successfulretouching, it would be to work witha small brush as much as possible.Of course, as photographers, most ofus just want to get the job done asquickly as possible, so we use a largebrush, which does get things donefaster, but often picks up a repeatingpattern (repeats a speck, or hair, orblemish from the area where yousampled), or it smudges an area whenyou’ve brushed over it a few times,and generally it’s one of the bigcauses for a retouch looking shabby.Stick with small- or medium-sizedbrushes as much as possible, andI promise you, your retouching willlook more professional. Also, to getmore control, work at low Opacitysettings with your brushes (between10% and 30%), and gradually build upyour strokes, one on top of another.You can’t do this every time you usea brush, but when you can, it makesa big difference.I know you want to get to retouching, but I promise you—if you take just a few minutes to read these 12 things, you’llbetter understand what you’ll be doing, why you’re doing it, and you’ll get better results faster from your retouching.Really. I promise.12 Things You Need to Know Nowto Make Your Retouching Easier
  18. 18. (Continued)12 Things You Need to Know Now xviiProfessional Portrait Retouching Techniques Using PhotoshopCOURTESYOFWACOM;IMAGEWITHINMONITOR©SCOTTKELBY#2 Use a Pen and TabletIf you decided to become a professionalhouse painter, one of the first things you’dbuy is a roller brush, because it makes yourwork easier, and you’d get more done inless time. Then, you’d probably buy a smalledge brush to get the corner details. Theseare the tools of the trade, and about anypro you meet would have these. Well, it’skind of the same with retouching. I don’tknow a single professional retoucher thatdoesn’t use a Wacom pen and tablet. It’sthe retoucher’s tool-of-the-trade, becauseit makes your retouching tasks so mucheasier, and you’ll get more work done inless time. Plus, it will let you do the detailwork (like an edge brush for painters) thatmakes all the difference in the final image.I don’t get a kickback or payout whetheryou buy a tablet or not, but this is the toolwe all use (I use the Intuos4 medium-sizedtablet myself). That being said, you donot need a tablet to do any of the tech-niques in this book—you can tough it outwith a mouse. ;-)#3 Save Time with Tool PresetsYou’ll wind up using the same tools, withthe same custom settings, pretty often,and you can save yourself a lot of time byusing tool presets, which remember allthose settings. For example, let’s say youuse the Clone Stamp tool for removingstubble, and you have the tool’s Mode setto Lighten, the Sample pop-up menu setto All Layers, the Opacity at 40%, and youuse a medium-sized, soft-edged brush.Once all that’s in place, click on the CloneStamp tool icon up at the left end of theOptions Bar (shown circled here in red),and then in the Tool Preset Picker, clickon the right-facing arrow in the top-rightcorner and, from that menu, choose NewTool Preset. Give your tool preset a de-scriptive name (like the ones I’ve alreadyadded to the Picker here) and click OK.Now, anytime you need to remove stubble,you don’t have to enter (or remember) allthose settings, just click on that icon, thenclick on your tool preset, and it’s all set upand ready to go.
  19. 19. xviii 12 Things You Need to Know NowProfessional Portrait Retouching Techniques Using Photoshop#4 Walk Away After a WhileIf you’ve been retouching for a while,you start seeing everything as a problemto be retouched, and after about an hour,most folks start to over-retouch and notrealize it. That’s why, after an hour ofretouching, you need to take a break,do something else for five or ten minutes,and then return to retouching with a freshview. I know this one might sound sillyas you’re reading this right up front, butan hour from now, it will make total sense.This is a more important point than itsounds right now.#5 Why We Work on a LayerWe do most of our retouching on aseparate layer (or a copy of the Back-ground layer, if necessary) for a fewreasons: (1) We can lower the intensityof any retouch by lowering the opacityof the layer we did our retouching on,and we do this a lot throughout the book.(2) It lets us have a quick before/afteranytime by just hiding the layer fromview, and then turning it back on (justclick the Eye icon to the left of the layer’sname in the Layers panel). And, (3) it pro-tects the original background image, sowe can always go back to it if we need to(so, basically, our edits are non-destruc-tive). This is a guideline, but it isn’t a rule,because when you’ve got five minutes todo a retouch, you can’t be working with10 layers, but for the most part, we alwaystry to keep our retouches on one or moreseparate layers.©ISTOCKPHOTO/CONSTINT;IMAGEWITHINMONITOR©SCOTTKELBY
  20. 20. (Continued)12 Things You Need to Know Now xixProfessional Portrait Retouching Techniques Using Photoshop#6 Learn This Keyboard ShortcutCommand-Option-Shift-E (PC: Ctrl-Alt-Shift-E) is the shortcut for creating amerged layer, and what this does is itcreates a brand new layer with a flattenedversion of your multi-layered document(as seen at the top of the layer stack here).That way, you can keep lots of your earlierretouching layers intact while you work ona flattened version of the file. Then, if youneed to go back and fix something, youstill have the original layers. If this soundsconfusing, it will totally make sense injust a few minutes. Another handy key-board shortcut to know is Command-H(PC: Ctrl-H). If you have a selection aroundsomething, pressing that shortcut hidesthe “marching ants” selection border, soyou can more easily see what you’re work-ing on. Just don’t forget to press it againwhen you’re done retouching that area.#7 Don’t Retouch Zoomed OutIf you work with your image zoomed outat 66.7%, or 50%, or 33.3%, or smaller,you’re gonna get burned by some littlearea you missed. It might be a small pieceof skin that you didn’t brush over whensmoothing, or a tiny part of the imageyou missed when you changed its hue,but unless you do most of your retouch-ing at 100% size or larger, I guaranteeyou something is going to slip by andembarrass you—or worse yet, your client.In the book, you’ll see me use differentzoom sizes to make things fit better foryou, the reader, but when I’m retouching,I’m always working at 100%. It’s impor-tant to zoom out every so often, becauseit’s easy to do too much to a small area,and you’ll only realize it has been over-retouched when you zoom out, butwhen I’m working, I zoom in to 100%if at all possible.
  21. 21. xx 12 Things You Need to Know NowProfessional Portrait Retouching Techniques Using Photoshop#8 The Direction of YourStrokes MattersWhenever you can make out a directionof the texture of something (like skin), orthe angle of something (like hair), try tomake your brush strokes go in that samedirection. I know you’re probably thinking,“Well, duh!” but I see people cloning upand down on a forehead area all the time.If you look at the direction of the skintexture there, it goes from left to right(well, it goes horizontal anyway), and ifyou want your retouches to look morenatural, just be aware of which directionto make your strokes so they blend inwith what you’re brushing on—it makesa difference.#9 Applying TheseRetouches to MenAs much as I hate to admit it, retouchingmen is pretty easy (well, compared toretouching women, anyway), becauseyou don’t have to make their skin silkysmooth, or make the eyelashes long andlustrous, or adjust their makeup, or lipstick,and so on. Because of that, you don’t seea lot of guys in this book, but many of theretouches on women here in the book alsoapply to men (like removing blemishes, orstray hairs, or making their eyes symmetri-cal), so don’t worry—you’re covered.
  22. 22. (Continued)12 Things You Need to Know Now xxiProfessional Portrait Retouching Techniques Using Photoshop#10 Use a BW or CurvesAdjustment Layer to SeeIf You Missed AnythingWhen you’re removing dust or specksfrom a background or sky, or removingblemishes or spots on clothing, becauseyou’re working on a color image, it’s easyto miss a spot here or there. It happensto all of us, but it can really be a messwhen a big one sneaks by us and we geta call from the client. That’s why a lot ofprofessional retouchers use a couple oftemporary layers that they toggle on/off,just to help them see the spots, strayhairs, and blemishes much more clearly.One is a simple Black White adjustmentlayer. This works great on skin, and youcan keep it hidden until you’re aboutto finish up an area—then you make itvisible and see if you missed anything.The second one is a two-hill Curvesadjustment layer (like the one shownhere. To add points to the curve, justclick anywhere along the line and thendrag the point where you want it). Thisone does an amazing job of finding specks,spots, and stray hairs (try it on a solidstudio background, like you see here—it’s amazing!). Again, you’ll only use it tocheck your work, but it can really saveyour butt by catching those things youmight have missed. And if you get some-thing crazy in your cloning or healingcursor while fixing those things youmissed, make sure you’re working onthe image layer and your brush is setto sample only the current layer.
  23. 23. xxii 12 Things You Need to Know NowProfessional Portrait Retouching Techniques Using Photoshop#11 Use Actions to WorkEven FasterWhen retouching, you’ll wind up doingthe same thing again and again, whichis why you need actions (Photoshop’sbuilt-in recorder, which remembers yoursteps, and plays them back by hitting justone key—no matter how many steps ittook—faster than you could ever do it).For example, in Chapter 3, we learn howto create a special new layer for dodgingand burning, where you have to chooseNew Layer from the Layers panel’s flyoutmenu, then set the layer’s blend mode toSoft Light, and then turn on the checkboxfor Fill with Soft-Light-Neutral Color (50%Gray). You can have it do all this in just oneclick of an F-key on your keyboard. Openthe Actions panel (go under the Windowmenu and choose Actions), and click theCreate New Action icon at the bottom ofthe panel (it looks like the Create a NewLayer icon). Give your action a name (NewDB layer), choose which function keyyou want to use for playback, then hit theRecord button. Now, go make your SoftLight layer. When you’re done, hit thered Stop button at the bottom of thepanel. To play it back, at super-speed,just press that F-key.
  24. 24. 12 Things You Need to Know Now Introduction xxiiiProfessional Portrait Retouching Techniques Using Photoshop#12 How Long You ShouldSpend Retouching aParticular ImageI hate to give you, “Well, that depends,”but, “Well, that depends.” When youdo the shoot, you probably know howthe image you’re creating is going tobe used (it’s for a website, for a print ad,for a model’s online portfolio, etc.), andbecause of that, you need to make arealistic decision about how much timeyou, as a photographer, can commit tothe retouch. If this image is going to beused on the cover of the local bridalmagazine, you’d better invest 30 or moreminutes (a long retouch for a photog-rapher). If it’s going to be a 2x4 imagein the clients’ wedding book, on a pagewith six other photos, this image getsfive minutes max! Another considerationis how tight the image is cropped. Is theimage a close-up? Then you need to con-sider every little detail, from stray hair tored eye veins. However, if your subject isfarther away, like a ¾-length view or full-length shot, you probably won’t need tobe nearly as detailed (if their eyes windup only being 1/32 of an inch high in theimage, how much time do you really needto spend retouching their eyes)? In short,you have to make realistic decisions abouthow much time to spend retouching.
  25. 25. 1If you came to this chapter intro pageexpecting to read something insightfulabout retouching eyes—stop right now,turn back a few pages, and read “SevenThings You’ll Wish You Had KnownBefore Reading This Book” first. Thenyou’ll either: (a) be in the right state ofmind for this chapter intro, or (b) you’llskip it, because you’re the really serioustype, and reading it will just make youirritated (more than you normally are,which is plenty). Now, if you’re still read-ing, I’m assuming that you’ve either:(a) read the “Seven Things…” and you’recool with reading these chapter intros,or (b) you actually are that serious no-nonsense type, yet you didn’t stop andgo back to read the “Seven Things…”section, which means you’re not goodat taking simple directions, in which case,I wouldn’t just skip the chapter intros, I’dskip the whole rest of this book, becauseit’s all about taking direction. But foreverybody else (the cool people), I’mgoing to sneak in an actual nugget ofsemi-useful information here—pleasedon’t expect this in any future chapterintro, because it goes against everythingI believe in (including unicorns and TheForce). The nugget is this: This is thebiggest chapter in the book, and I coverall sorts of different retouches for theeyes because the eyes are so incrediblyimportant. Don’t worry, you’re not goingto use them all on any one image, butthe closer cropped your subject is, andthe larger their eyes appear in the image,the more retouches you might want toconsider. However, if you do wind upretouching a cyclops, you will probablyuse them all, but the good news is: youonly have to retouch one eyebrow. Onelast thing: this chapter, “Naked Eyes,”is named after the UK-based band thatdid the song “(There’s) Always Some-thing There to Remind Me” back in 1982.Worse yet: I knew that without lookingit up. Sad, I know.Chapter1NAKED EYESRetouching Eyes
  26. 26. Professional Portrait Retouching Techniques Using Photoshop2 Chapter 1 Retouching EyesOne of the secrets to really making eyes look captivating is to add contrast to the iris. It really brings out the color and depthof the eyes, without adding artificial color, and although it’s really easy to do, it delivers pretty amazing results.Increasing Contrast in the IrisStep One:Here, our subject’s eyes look kind of flat,and almost hazy, because they’re reallylacking contrast. So, to start off, we needto duplicate the Background layer by press-ing Command-J (PC: Ctrl-J; or just dragthe Background layer in the Layers panelonto the Create a New Layer icon at thebottom of the panel). Next, zoom in tighton the eyes. You’re going to be zoomingin tight quite a bit when you’re retouching,so learning this quick way to zoom in canbe a real timesaver: If you press-and-holdCommand-Spacebar (PC: Ctrl-Spacebar),your cursor temporarily switches to theZoom tool (the one that looks like a magni-fying glass). Just click-and-drag this tool onthe area you want to zoom in on (in thiscase, the eye on the right) and it zoomsright into that spot. (Note: On a Mac, you’llprobably need to go to your KeyboardShortcuts System Preferences and turnthis system shortcut off first for it towork this way in Photoshop.)Step Two:Although there are a number of differentways to add contrast to a photo in Photo-shop, this is probably the fastest andmost efficient. At the top of the Layerspanel, just change the blend mode ofthis duplicate layer from Normal to SoftLight (as shown here). This makes theentire image much more contrasty, butof course we don’t want all that—we justwant her iris more contrasty. Don’t worry;we’re going to fix that in a moment.
  27. 27. Retouching Eyes Chapter 1 3(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Three:Press-and-hold the Option (PC: Alt) keyand click on the Add Layer Mask icon atthe bottom of the Layers panel (it’s showncircled here in red). What this does is hidesthat really contrasty version of your imagebehind a black mask (so, it’s still there—you just can’t see it). The image now lookslike it did when we first opened it (noticethat her skin looks back to normal now?).Next, we’ll use the Brush tool to paintover the iris (and pupil) to reveal the super-contrasty version of it. So, start by gettingthe Brush tool from the Toolbox (you actu-ally might as well get used to using thekeyboard shortcut for the Brush tool—just press the B key).Step Four:Make sure that your Foreground coloris set to white (since your layer mask isblack, you’ll want to paint in the oppositecolor—white) and choose a small, soft-edged brush from the Brush Picker in theOptions Bar. Begin painting over the iris(and pupil, as shown here), and as youpaint, the much more contrasty versionof it is revealed, yet the rest of the photoremains untouched. If you make a mis-take, just press the X key to switch yourForeground color to black, and paint overthe area where you messed up to hide itagain. When you’ve fixed your mistake,press X again to toggle the Foregroundcolor back to white and continue paintingover the iris (and pupil) to complete yourcontrast retouch.
  28. 28. 4 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopTIP: Adding More ContrastIf, after painting in the iris, you think youneed even more contrast, just duplicatethe top layer. Since the eye is alreadymasked, you’ll see just the iris andpupil become even more contrasty.ANOTHER TIP: Using CurvesInstead of using a Soft Light layer to addmore contrast to the iris, try an adjust-ment layer. Just click on the Create NewAdjustment Layer icon at the bottom ofthe Layers panel and choose Curves frompop-up menu. Then, from the Curves pop-up menu at the top of the Adjustmentspanel, choose Strong Contrast (RGB).Press Command-I (PC: Ctrl-I) to Invert thelayer mask and hide the contrasty versionof your image behind a black mask. Withyour Foreground color set to white, get theBrush tool, choose a medium, soft-edgedbrush at 100% Opacity, and paint over theeyes to add lots of contrast (as seen here).Tweaking the contrast like this can tend toactually change the color of the eyes, sosince we just want more contrast, changethe layer’s blend mode from Normal toLuminosity, so you get the contrast,but not the color shift.
  29. 29. Retouching Eyes Chapter 1 5Professional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!Download this practice image. See pg. xi.AfterBEFORE AFTERBEFORE AFTER
  30. 30. Professional Portrait Retouching Techniques Using Photoshop6 Chapter 1 Retouching EyesIf you look closely at a person’s iris, there’s a slightly dark ring that goes around the outside edge of it, and making this ring darkerhelps enhance the overall look of the eye. This is one of those subtle little things you do that, by itself, may not seem like it makes abig difference, but add this in with the other things in this chapter, and it becomes one of those little things that helps take your retouchof the eyes to another level.Darkening the Outer Rim of the IrisStep One:Here’s the image we’re going to beworking on (you can download it fromthe companion website mentioned inthe book’s introduction and followright along).Step Two:Zoom in on the eyes, then get the EllipticalMarquee tool (press Shift-M until you haveit) and make a circular selection around theentire iris of one eye. It’s okay if it extendsover the top or bottom of the iris, just getas close as you can in making a selectionthat completely covers it. (Note: If you havea problem getting the iris selected righton the money, try this trick: while you’redragging out the selection, press-and-holdthe Spacebar. This lets you reposition theselection as you’re dragging it out overthe iris, and now selecting it should be acinch. Also, if your subject’s head is turnedand the iris isn’t perfectly round, go underthe Select menu and choose TransformSelection. Then, Command-click [PC: Ctrl-click] on any one of the handles of thebounding box to distort the selection andfit it to the iris.) Then, press-and-hold theShift key and select the other iris (holdingthe Shift key lets you create another selec-tion, while keeping your first one).
  31. 31. Retouching Eyes Chapter 1 7(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Three:Go under the Select menu, under Modify,and choose Feather (as shown here). Whenthe Feather Selection dialog appears, enter5 pixels and click OK to soften the edgesof the selection, so the retouch blendssmoothly with the rest of the iris.Step Four:Click on the Create New Adjustment Layericon at the bottom of the Layers paneland choose Levels from the pop-up menu.Since you had selections already in place,this automatically creates a mask for you,so you’ll see the adjustment layer has ablack mask to the right of it with botheyes already masked (sweet!).
  32. 32. 8 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Five:At the top of the Layers panel, change theblend mode of this adjustment layer toMultiply, which gives you a much darkerversion of the iris. The problem is, though,her entire iris is now darker (well, both areactually) and we just want the outside ringsto be darker, so we’ll need to fix that. Startby pressing-and-holding the Command(PC: Ctrl) key and, in the Layers panel, clickdirectly on the black layer mask thumbnailto reload your original selection on botheyes (as seen here).Step Six:Now, we need to shrink the selectionaround each iris just a little bit, so gounder the Select menu, under Modify,and choose Contract (as shown here).When the Contract Selection dialogappears, enter 3 pixels and click OK. Thisshrinks your selection by 3 pixels (givingyou a slightly smaller circular selection).
  33. 33. Retouching Eyes Chapter 1 9(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Seven:Make sure your Foreground color isset to white, then press the Delete (PC:Backspace) key to knock a hole out ofthe center of your darker iris adjustmentlayer. What you’re left with is a darkerenhanced edge ring around each iristhat blends in perfectly with the restof them. Now, you can Deselect bypressing Command-D (PC: Ctrl-D).Step Eight:To get rid of those extra areas that wereselected above each iris, first press Xto switch your Foreground color to black(so when you paint, it hides the darkerareas), press B to get the Brush tool,choose a small, soft-edged brush fromthe Brush Picker, and paint around theoutside of each iris, being careful notto actually paint over edge of the iris,or you’ll erase the darkening we justadded. A good trick to see if you’veerased everything outside the iris isto simply toggle this adjustment layeron/off a few times (click on the Eye iconto the left of the layer’s thumbnail; it’scircled here in red) and you’ll instantlysee if anything’s left over outside thedark area. If you see something, justpaint over it in black to hide it.
  34. 34. 10 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Nine:If you want to adjust how dark this outerring is, since you’ve already got a mask inplace (thanks to the adjustment layer), it’sreally simple. All you have to do is go tothe Adjustments panel and drag the mid-tones Input Levels slider (the gray trianglein middle) to the right (as shown here) tomake the outer ring even darker, or to theleft to lighten it a bit.Step 10:Another way to control the amountof your retouch is to lower the overallOpacity of your adjustment layer (asshown here, where I’m lowering it to63%, because I felt the outer ring wastoo dark). You won’t necessarily need todo this if you just darkened the midtonesin the ring in Step Nine. You’re more likelyto lower the Opacity if you felt the ringwas too dark when you first applied it,with nothing but the Multiply adjustmentlayer (in other words, before you appliedthe Levels tweak in Step Nine).
  35. 35. Retouching Eyes Chapter 1 11Professional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!Download this image. See pg. xi.AfterBEFORE AFTER
  36. 36. Professional Portrait Retouching Techniques Using Photoshop12 Chapter 1 Retouching EyesThis is another quick trick you can use to add more sparkle and life to the irises. Although it’s a really simple retouch, you’ll be surprisedat how much it adds, and I do this to nearly every eye retouch I do.Adding More Life to the EyesStep One:Zoom in on an eye where you want toadd more sparkle to the iris. Click onthe Create a New Layer icon at thebottom of the Layers panel to create anew blank layer. Then get the EllipticalMarquee tool (press Shift-M until youhave it), press-and-hold the Shift key,and draw a circular selection that’s justinside the iris (as shown here; holding theShift key keeps your selection round).Step Two:Press D, then X to set your Foregroundcolor to white, then press Option-Delete(PC: Alt-Backspace) to fill this circularselection with white. Press Command-D(PC: Ctrl-D) to Deselect.
  37. 37. Retouching Eyes Chapter 1 13(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Three:Now, get the Rectangular Marquee tool(press Shift-M until you have it) and drawa large rectangular selection over the tophalf of your white circle (like the one shownhere). Press the Delete (PC: Backspace)key to knock a rectangular hole out ofyour white circle (basically, slicing it inhalf) and then deselect.Step Four:Go to the Layers panel, press-and-holdthe Command (PC: Ctrl) key and clickonce on the white half-circle’s layerthumbnail to put a selection around it.Now, move your cursor inside the se-lected area in your image (you shouldstill have the Rectangular Marquee toolactive) and drag that half-circle selectionup a bit (like you see here), so the whitearea beneath the selection is the shapeof a melon slice. Press Delete to knocka hole out of that half circle, leavingjust that melon shape. Now, go aheadand deselect.
  38. 38. 14 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Five:Go under the Filter menu, under Blur,and choose Gaussian Blur. When thedialog appears, enter 5 pixels, and thenclick OK to make the melon shape blurredwith nice soft edges (as seen here). By theway, depending on the image, you mayhave to choose a higher, or possibly evena lower, number. Your goal is to make itlook reasonably soft around the edges,like what you see here.Step Six:Now, to get this white, soft, melon shapeto blend in with the iris beneath it, go tothe top of the Layers panel and changethe blend mode for this layer from Normalto Soft Light (as shown here). You can seehow this adds a bright kicker on the bot-tom half of the iris.
  39. 39. Retouching Eyes Chapter 1 15(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Seven:If you think this kicker looks a bit toobright, you can lower the layer’s Opacityto tone down the effect (here I lowered itto 80%).Tip: Blend Mode orAdjustment Layer?You’ll probably notice that sometimes Ibrighten things using a layer blend mode(like we did here), and sometimes I use aLevels adjustment layer instead. So, why doI choose one over the other? Generally, ifI know that the effect is going to be toobright, and I’m most likely going to windup toning it down,I just go with a Soft Light layer becauseit’s faster. However, if I’m not sure whatmy adjustment is going to be, or if I thinkI might need to make it lighter after I’veapplied it (rather than toning it down), thenI use a Levels adjustment layer. That way,if I need to tweak it, I can double-clickon the Levels adjustment layer and adjustthe settings. A before and after is shownon the next page.
  40. 40. 16 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!BEFORE AFTERAfterAFTERBEFOREDownload this image. See pg. xi.
  41. 41. Professional Portrait Retouching Techniques Using PhotoshopRetouching Eyes Chapter 1 17(Continued)Step One:Here’s the first image we’re going toretouch (this one is for enhancing catchlights that are already there). Althoughher eyes are fairly well lit, the catch lightsin them are pretty dim, and that reallymakes her eyes lack that sparkle thatmakes a portrait come alive. This firsttechnique is pretty straightforward; you’regoing to brighten the overall highlights,and a little bit of the midtones, and thenhide that brighter version and paintover just the highlights to make themreally apparent.Step Two:Start by zooming in tight on the eye onthe left (here, we’re at 200%), and thenclick on the Create New Adjustment Layericon at the bottom of the Layers panel andchoose Levels from the pop-up menu. Inthe Adjustments panel, grab the highlightsInput Levels slider (the white triangle onthe right beneath the histogram) and dragit quite a bit over to the left to brighten thehighlights (you’ll notice that the midtonesInput Levels slider [the gray triangle in themiddle] moves along with it, though notnearly as far). Keep dragging until thecatch light reflection of your light sourceis nice and bright (as seen here at the topof the iris). Of course, this totally blowsout your subject’s skin, hair, and everythingelse, but don’t sweat that—we’ll fix this inthe next step.Catch lights are those white dots that appear in the eyes in images and are reflections of the light source that’s lighting the subject.Those white dots actually add sparkle to the eyes and keep them from looking kinda flat and dead (like round pools of black nothing-ness). If you’re outdoors, the catch light will usually be a round dot (a reflection of the sun). But in a studio shot, not only will the catchlight be created by your studio lights, you’ll be able to see the shape and position of your softbox or umbrella in that catch light. Here’show to enhance existing catch lights, or add some if there aren’t any.Enhancing and/or Creating Catch Lights
  42. 42. 18 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Three:Press Command-I (PC: Ctrl-I) to Invertyour adjustment layer’s layer mask. Thismakes the mask black, which hides thebrighter version of your image. Now,press B to get the Brush tool, makesure your Foreground color is set towhite, choose a small, soft-edged brushfrom the Brush Picker up in the OptionsBar, and paint over just the catch light(as shown here, where you can see mybrush-tip cursor right over the catchlight). As you paint, the much brighterversion of the catch light appears. Onceyou’re done with the eye on the left, goahead and paint over the catch light inthe eye on the right.Step Four:One of the great advantages of usingadjustment layers (besides the wholemasking thing you just did) is that theyare layers in the first place, which meansyou can lower the Opacity if the bright-ening seems too much (here, I’ve low-ered it to 80% for a more natural look).You could also just go back to theAdjustments panel and drag the high-lights Input Levels slider back to theright a bit. The catch lights will alreadybe masked because of what you didback in Step Three, so making this ad-justment will only affect them. As youcan see, the enhancing part is prettysimple, so let’s move on to what to doif your subject doesn’t have any catchlights at all.
  43. 43. Retouching Eyes Chapter 1 19Professional Portrait Retouching Techniques Using Photoshop(Continued)Try thistechnique onanother image!BEFORE AFTERDownload this image. See pg. xi.After
  44. 44. 20 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Five:Here’s our second image and, if you look ather eyes, you’ll see they have no reflectionin them at all—they look kind of “dead.”So, we’re going to create our own lightsource catch lights, and add them to theeyes to bring them back to life, and addlots of sparkle. By the way, it’s not oursubject’s fault that she doesn’t have catchlights. In this case, the lack of them wascaused by where I positioned my lights—at the tall height and angle they were at,they weren’t able to cast a reflection inher eyes. So, basically it’s my mistake(and so I have to fix it, right?).Step Six:Start by zooming in on the eyes (I’m at100% here), then go to the Layers panel,and click on the Create a New Layer iconat the bottom of the panel (circled herein red) to create a new blank layer. Now,you have to choose which shape softboxor umbrella you want to reflect in her eyes.If you want a standard square or rectan-gular softbox reflection, you’ll need tograb the Rectangular Marquee tool (M).If you used a beauty dish for the shot (oryou want to make it look like it was shot insunlight), then grab the Elliptical Marqueetool (press Shift-M until you have it) and,to make a round selection for your catchlight, just press-and-hold the Shift key. Ifyou want to have your reflection look likean umbrella or an octagon-shaped largesoftbox (very popular for portraits), thengrab the Polygon tool from the Toolbox (asshown here), and then in the Options Bar,enter 8 in the Sides field (also shown here).
  45. 45. Retouching Eyes Chapter 1 21(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Seven:If you’re using the Polygon tool, first makesure that the Fill Pixels icon is selected inthe Options Bar (it’s circled here in red).This sets the tool so it draws just regularpixels, and doesn’t create a Path or aShape layer. Now, press D, then X to setyour Foreground color to white, then takethe tool and drag out a small polygonalshape over the portion of the pupil whereyou want the catch light to appear (as seenhere, where I dragged a polygon over theleft side of the pupil on the eye on the left.Oh, and I also zoomed in more, to 200%).If you’re using the Rectangular Marqueetool or the Elliptical Marquee tool instead,also set your Foreground color to white,and then drag out your selection. Now,fill your selection with white by pressingOption-Delete (PC: Alt-Backspace), thenDeselect by pressing Command-D (PC:Ctrl-D). Note: As you’re dragging outyour shape, you can press-and-hold theSpacebar to reposition your selection asyou’re dragging (this works with any ofthe tools mentioned in this step).Step Eight:If part of your catch light overlaps anyother part of the eye area (like mine doeshere, where the top of the catch lightextends over onto her top eyelid), thenclick on the Add Layer Mask icon at thebottom of the Layers panel (shown circledhere in red) to add a layer mask. Now, atthe top of the Layers panel, lower theOpacity of your catch light layer enoughto make your catch light shape transpar-ent, so you can see the eyelid behind it.Press X to set your Foreground color toblack, then get the Brush tool (B), choosea small, soft-edged brush from the BrushPicker, and just paint right over the partthat overlaps the eyelid (as seen here) toerase it. We’re not done yet, but we’realmost there.
  46. 46. 22 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Nine:You’ll need to raise your layer Opacityback up a bit, so the catch light looksnatural (here I raised mine from 30%,which was low enough for me to easilysee through so I could erase the overlap,to 50%, where it looks natural). Of course,at this point, we’ve only done one eye,so press Command-J (PC: Ctrl-J) toduplicate the catch light layer, and withthe Move tool (V), drag this duplicatecatch light layer over to the eye on theright, so it gets a similar catch light, too(as seen here). Now, when a real catchlight goes over part of the pupil (andpart of the iris), usually you will see agradation from light to dark as it goesover the pupil. The pupil absorbs light,so the catch light is usually darker overit. To make your catch light look morenatural, lower the Opacity setting on yourbrush and paint in black on the layer maskover the pupil to darken the catch light.A before and after is shown on the nextpage, and you can see what a differenceadding a catch light can make.
  47. 47. Retouching Eyes Chapter 1 23Professional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!BEFORE AFTERDownload this image. See pg. xi.After
  48. 48. Professional Portrait Retouching Techniques Using Photoshop24 Chapter 1 Retouching EyesStep One:I’m going to show you two differentmethods for brightening the whites ofthe eyes. Here’s the first image we’regoing to work on. It’s pretty well lit, butas is often the case, the whites of hereyes look almost gray (or off-white atthe very least). So, start by clicking onthe Create New Adjustment Layer’s iconat the bottom of the Layers panel andchoosing Levels (as shown here). By theway, it doesn’t really matter which adjust-ment you add at this point—we just needsome adjustment layer, any adjustmentlayer, so we can change its blend mode.Why not just duplicate the Backgroundlayer? Because doing it this way doesn’tadd any size to your Photoshop document,which keeps Photoshop running faster. Hey,it all adds up. (Again, you can downloadthis image from the website mentioned in“Seven Things You’ll Wish You Had KnownBefore Reading This Book.” While you’rethere, why not read the six other things? ;-)Step Two:At the top of the Layers panel, changeyour blend mode for this adjustmentlayer from Normal to Screen. The Screenblend mode makes your image muchbrighter (compare the brighter imageshown here with the one in Step Oneand you’ll see what I mean).This is a retouch I do to every single photo where my subject’s eyes are open. It seems like no matter how much light you get intothe eyes during the shoot, the whites of the eyes end up off-white at best, but usually a light gray. This is one of those retouchesthat you just have to do once or twice—even if you think the eyes look white enough—because once you see the difference, you’lldo this every single time. It makes that big a difference.Brightening the Whites of the Eyes
  49. 49. Retouching Eyes Chapter 1 25(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Three:The problem with our image at this pointis we only want the whites of her eyesbrighter (and maybe her irises), but nother skin or anything else. So, we’ll haveto do some simple masking. Start bypressing Command-I (PC: Ctrl-I), whichinverts the layer mask, making it blackand hiding the brightening brought onby changing the blend mode to Screen.Step Four:Zoom in on one of the eyes, pressX to switch your Foreground color towhite, then press B to get the Brushtool. Choose a very small, soft-edgedbrush from the Brush Picker in theOptions Bar, and begin painting overthe whites of the eyes (as shown here,where I’m painting over the left side ofthe eye on the left). As you paint, thisarea becomes much brighter, becauseyou’re revealing the Screen layer youapplied earlier.
  50. 50. 26 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Five:The tricky part of this technique comeswhen you try to paint that little bit ofwhite that appears right below the iris.It’s just so tiny that getting in there anddoing it without spilling over onto theedge of the iris, or the bottom eyelid,is really a pain. So, what’s the solution?Don’t worry about it—just paint rightover the whites, and if your brush extendsover onto the iris or the bottom eyelid(like you see here), it’s okay. The reasonit’s okay is I’ve found it’s much easier toerase the spillover than it is to try to paintit just right with a super-small brush. Afterall, you’ve already got a layer mask applied;to clean this up will be a five-second fix(as you’ll see in the next step).Step Six:To get rid of the spillover (brighteningof the iris or lower eyelid), just press theletter X to set your Foreground colorto black, then paint over the spillover toremove it (as shown here). It couldn’t beeasier or faster. When you’re done, justpress X again to swap your Foregroundand Background colors, making white yourForeground color again. Now, move overto the other eye and do the same thing.
  51. 51. Retouching Eyes Chapter 1 27(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Seven:When you’re done painting over both eyes,they’ll probably look too white (giving yoursubject a freaky, possessed look), so inmost cases, leaving the Opacity of thislayer at 100% is unlikely. The best way tojudge how white the whites of the eyesshould be is to zoom out (like you seehere), then lower the Opacity of this layerto around 50% and see how that looks. Ifit’s still too bright, lower it a little bit more.The Opacity slider becomes your “white-ness amount slider,” so just adjust it towhere it looks natural, but brighter than itwas before. A before/after is shown on thenext page (I painted over the irises a littlebit, too. They looked a little dark). Then,I’ll show you an alternative that offers alittle more control (because you don’thave much control over how bright Screenmode is). This alternative method lets youmake things brighter in either the mid-tones, highlights, or both.TIP: Brightening the EntireEye SocketIf you need to lighten the entire eyesocket area, you can use the Screenblend mode, but in a slightly differentway. Press Command-J (PC: Ctrl-J) toduplicate the Background layer, then changethe blend mode to Screen to make thewhole image brighter. Option-click (PC:Alt-click) on the Add Layer Mask icon in theLayers panel to hide this brighter versionbehind a black mask. With your Foregroundcolor set to white, get the Brush tool (B),and choose a medium-sized, soft-edgedbrush set to 100% Opacity. Now, paint overher eyes and the surrounding eye socketareas. I know she looks like she’s been lyingin the sun with sunglasses on, but we’ll fixthat by lowering the layer’s Opacity untilthe brightening matches the rest of herface. If any edges look brighter, switchyour Foreground color to black and paintright over them.
  52. 52. 28 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopBEFORE AFTER
  53. 53. Retouching Eyes Chapter 1 29(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Eight:The alternative technique actually usesthe options in the Levels adjustmentlayer (but we leave the blend mode setto Normal). Doing it this way, you canreally adjust the whites just the way youwant them—adjusting the highlightsand midtones, either together or sepa-rately. Here’s the image we’ll use forthis technique.Step Nine:Choose Levels from the Layers panel’sCreate New Adjustment Layer icon’spop-up menu and then, in the Adjust-ments panel, drag the highlights InputLevels slider (the white triangle under theright side of the histogram) to the leftquite a bit. If you want to make the whitesof the eyes really bright (like this photoneeds), drag the center midtones InputLevels slider to the left, as well (as shownhere). You can see the whole photo isreally bright now and that it’s a different,edgier kind of bright than Screen modebrings. (By the way, which method is“right?” That’s easy—the one that looksthe best to you. If you try the Screenmethod and don’t like the results, thentry this Levels method, or vice versa.)
  54. 54. 30 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep 10:Press Command-I (PC: Ctrl-I), whichinverts the layer mask, making it blackand hiding the Levels brighteningbehind that mask.Step 11:Zoom in on one of the eyes, make sureyour Foreground color is set to white,then press B to get the Brush tool. Choosea very small, soft-edged brush from theBrush Picker, and begin painting over thewhites of the eyes (as shown here, whereI’m painting over the left side of the eyeon the left). Basically, you’re going to fol-low the same steps as before—includingpainting over the bottom eyelid, so youcan get the whites under the iris, and thenpainting the spillover away, then paintingthe other eye, and then zooming back outand lowering the opacity. So, the rest ofthe technique is pretty much the same, butthe actual whitening uses Levels instead ofScreen. The good news is that now youhave two techniques for whitening eyes inyour bag of tricks, rather than just one.
  55. 55. Retouching Eyes Chapter 1 31Professional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!Download this image. See pg. xi.AfterBEFORE AFTER
  56. 56. Professional Portrait Retouching Techniques Using Photoshop32 Chapter 1 Retouching EyesStep One:Here’s the image we’re going to retouch,and if you look at the eye on the right, youcan see some red veins that need to beremoved. We’re at a 25% magnificationhere, but you’re going to need to zoom into at least 100% to really see what you’reworking on, so grab the Zoom tool (Z)and zoom in on the eye on the right. Then,click on the Create a New Layer icon atthe bottom of the Layers panel to createa new blank layer.Step Two:You’re going to remove these red veinsusing two tools: the Brush tool and theEyedropper tool. So, get the Brush tool(B), then press-and-hold the Option (PC:Alt) key and your cursor will temporarilyswitch to the Eyedropper tool, so you cansample any color in your image to instantlymake it your Foreground color. You’regoing to want to click the Eyedroppertool right near the red vein you want toremove (as shown here, where I’m clickingthe Eyedropper tool right below the veinI want to remove). A large circular ringappears around your Eyedropper toolwhen you click—the inside of the ringshows the exact color you just sampledand the outside of it is a neutral gray tohelp you see the color without beinginfluenced by surrounding color (but justfor the record, I don’t think that ideaactually works—at least not with thatsmall a ring, but hey, that’s just me).Over the years, I’ve tried just about every trick for “getting the red out” and removing red eye veins—everything from the HealingBrush, to the Patch tool, to the Clone Stamp—but I don’t think any of them work nearly as well as this simple, fast technique thatremoves all the veins, yet leaves the eyes looking clean and clear. This is also a great technique for removing contact lenses vis-ible in your subject’s eyes.Removing Eye Veins
  57. 57. Retouching Eyes Chapter 1 33(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Three:Let go of the Option key to return to theBrush tool, set your brush Opacity (up inthe Options Bar) to 20%, and choose asmall, soft-edged brush that’s just a littlebit larger than the vein you want to remove.Now, just start painting a few strokes rightover the vein, and in just moments—it’sgone! Remember, at 20% opacity, thepaint builds up, so you have a lot of controlas you build up your paint over the vein, sodon’t be afraid to go over the same strokemore than once. Since the eye itself is asphere, the shading changes as you moveacross the eye, so be sure to sample againnear what you’re painting over as you’reremoving these veins, so the color andtone stay right on the money (I resampledabout 10 or 12 times during this retouch).Step Four:Lastly, to keep the whites of the eyesfrom looking pasty after your retouch,we’re going to add a tiny bit of noise toyour retouch layer. Go under the Filtermenu, under Noise and choose AddNoise. When the filter dialog appears,choose 1%, click on the Uniform radiobutton, and turn on the Monochromaticcheckbox. Click OK to add this textureto your retouch. Although it’s subtle, itdoes make a difference. A before/afteris shown on the next page.
  58. 58. 34 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!Download this image. See pg. xi.AFTERBEFOREAfter
  59. 59. Professional Portrait Retouching Techniques Using PhotoshopRetouching Eyes Chapter 1 35(Continued)Step One:In this image, our subject has hazel eyesand we want to change them to blue.So, start by clicking on the Create NewAdjustment Layer icon at the bottomof the Layers panel and choosing Hue/Saturation from the pop-up menu.Step Two:Zoom in on the eye on the right andthen, to choose a new eye color, startby turning on the Colorize checkbox inthe Adjustments panel. Choose a bluecolor by dragging the Hue slider to theright to a blue hue. Here, I dragged theHue slider over to 234. Of course, thismakes the entire image appear blue, butwe’ll deal with that in the next step. Fornow, my concern is that the blue is toovibrant and artificial looking, so to takethe intensity of the blue down, lower theSaturation amount to just 10. Lastly, youcan control the brightness of the blueusing the Lightness slider. Here, I justtweaked it a tiny bit by lowering the Light-ness to –2, which just darkened up theblue a bit.While you wouldn’t normally change your subject’s eye color if you were just shooting a portrait for them, if you’re shooting fora client, the art director might call on you to change eye color to match the color of an outfit, or a scene, or for just about anyreason at all. Luckily, this is usually one of the easiest retouches to pull off.Changing Eye Color
  60. 60. 36 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Three:To keep the entire photo from havingthis blue tint, just press Command-I (PC:Ctrl-I), which inverts the layer mask onthe adjustment layer, making the maskblack and hiding the blue tint behind it.Now, get the Brush tool (B), choose asmall, soft-edged brush from the BrushPicker, make sure your Foreground coloris set to white, and paint over just the iris(avoiding the black pupil, as shown here).As you paint, the eye takes on that bluetint (as seen here).Step Four:Here’s how it looks when you paint in theother eye, as well. Because you loweredthe Saturation and tweaked the Lightness,the blue color looks very natural. Of course,you still have the option of backing offthat blue a bit by lowering the Opacityof the adjustment layer at the top ofthe Layers panel.
  61. 61. Retouching Eyes Chapter 1 37Professional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!TIP: When changing thecolor of dark eyes, you mayneed to drag the Lightnessslider to the right a tiny bitin the Adjustments panel.Don’t take it too far, though,or it’ll just look fake.Download this image. See pg ix.AfterAFTERBEFORE
  62. 62. Professional Portrait Retouching Techniques Using Photoshop38 Chapter 1 Retouching EyesStep One:Open a photo that has dark circlesbeneath the eyes that you want to lessen(you have to choose whether you want toreduce them or remove them all together.You’ll have to make the call based on thesubject’s age—if they’re over 30, justreduce them).Step Two:Start by zooming in on the eye area andthen pressing Command-J (PC: Ctrl-J)to duplicate the Background layer (so we’reworking on a copy of the Background. Thisis important, because we’re going to usethis layer to control the amount of removallater on). Get the Healing Brush tool (pressShift-J until you have it) and, in the OptionsBar, choose a small, hard-edged brushfrom the Brush Picker, and make sure theSample pop-up menu is set to CurrentLayer. Now, totally remove the dark areasby Option-clicking (PC: Alt-clicking) in anearby area that has kind of the same skintone as where the dark areas are (usuallyjust below the dark area). Then, paint overthe dark areas (and wrinkles) to get com-pletely rid of them as best you can (as seenhere). It looks a little artificial at this point(though, you see this look on magazinecovers all the time), but we’ll adjust thatlater. For now, just remove the dark areas.Although you don’t see this on the cover of magazines, most people have dark circles under their eyes. In fact, as long asyour subject isn’t four years old, it’s almost a certainty that they’re going to have some kind of dark circles under their eyes.And, depending on the lighting you use, you can make them less noticeable, or more so, but they’re almost always there. Here’snot only how to reduce or remove them, but how to deal with one of the most annoying side effects of using the Healing Brush(or the Patch tool) to do this type of retouch.Reducing Dark Circles Under Eyes
  63. 63. Retouching Eyes Chapter 1 39(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Three:Although the Healing Brush does a prettydecent job of getting rid of the dark areas,it usually leaves kind of a smeared darkarea under the eye, which stinks, becauseyou’re trying to remove the dark circle,right? So, this retouch usually requires twotools: you start with the Healing Brush(like we just did in Step Two) and then youswitch to the Clone Stamp tool. So, getthe Clone Stamp tool (S) from the Toolbox,then go up to the Options Bar, lower theOpacity of it to around 40%, then changethe Mode pop-up menu to Lighten (thatway, when you use the Clone Stamp tool,you’ll only affect areas that are darker thanthe area you sampled).Step Four:Press-and-hold the Option (PC: Alt) keyand click once in an area near the eyethat isn’t affected by the dark circles.If the cheeks aren’t too rosy (like in thisimage), you can click there to sample, butmore likely you’ll sample an area justbelow the dark circles under the eyes.
  64. 64. 40 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Five:Now, take the Clone Stamp tool andpaint a stroke (from left to right) over thedark circles to lessen or remove them.It may take two or more strokes for themto pretty much disappear (go right, thenback to the left, and so on), so don’t beafraid to go back over the same areaagain, if the first stroke didn’t work.Step Six:You can control the amount of dark circlearea and wrinkles appearing under theeye by lowering the Opacity of the toplayer. Here, I’ve lowered it to 60%, so justa little tiny bit of the natural dark circlearea and wrinkle appear, and of course,the whole retouch now looks much morenatural. That being said, remember—theremay be situations where, as the retoucher,you decide that for a particular subject(or intended use) you don’t want any darkcircles or wrinkles to appear whatsoever.If that’s the case, just leave the layer opac-ity at 100%. But, that’s a call only you canmake. A before and after (at 60% opacity)is shown on the next page.
  65. 65. Retouching Eyes Chapter 1 41Professional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!Download this image. See pg. xi.AfterBEFORE AFTER
  66. 66. Professional Portrait Retouching Techniques Using Photoshop42 Chapter 1 Retouching EyesStep One:Here’s a regular-sized eye we want toenhance by making it larger. (By the way,if you want to download the images I’musing here in the book to follow alongwith, I provided the URL for the book’scompanion website in the front of thebook in “Seven Things You’ll Wish YouHad Known Before Reading This Book.”See? This is one of those things.)Step Two:Get the Elliptical Marquee tool from theToolbox (or press Shift-M until you haveit. Honestly, I don’t know anybody whocalls it that. We all just call it the “RoundSelection” tool), and make an oval-shapedselection around the eye, like you seehere. Make sure you fully enclose theeyelashes inside your selected area, butdon’t make the selection any larger thannecessary—make it pretty much like thesize you see here. If you need to movethe selection around as you’re creatingit, just press-and-hold the Spacebar.This is a very common retouch, especially in fashion or glamour images, because big eyes really draw a viewer’s attention(and we generally seem to love big eyes. Look at any Disney cartoon and notice the size of the eyes in their drawn characters.They’re huge! But they’re huge because they look great). Here’s how to make your subject’s eyes a little bit larger and howto use a slightly different technique if your subject has…ahem…bug eyes.Making Eyes Larger (or Smaller)
  67. 67. Retouching Eyes Chapter 1 43(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Three:To help hide the retouch, we’re going tosoften the edge of our selection by add-ing a feather to it. Go under the Selectmenu, under Modify, and choose Feather(as shown here). In the Feather Selectiondialog, enter 10 pixels and click OK. Thissoftens the edge all the way around theoval, so you won’t see a hard edge aroundthe area we’re about to adjust.TIP: Feather Selection ShortcutWe use feathering a lot throughout thisbook, so you might as well learn the key-board shortcut now to save you loads oftime later—it’s Shift-F6. If you hate thatkeyboard shortcut (I do), you can create acustom shortcut by going under the Editmenu and choosing Keyboard Shortcuts.On the Keyboard Shortcuts tab of theKeyboard Shortcuts and Menus dialog,click on the right-facing arrow to the leftof Select and scroll down to Modify. Clickon the existing shortcut for Feather, typein a new one (mine’s Command-Option-Shift-F), and click OK.
  68. 68. 44 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Four:Now, you’re going to copy that selectedarea of the eye up onto its own separatelayer. So, press Command-J (PC: Ctrl-J)to do that and then press Command-T(PC: Ctrl-T) to bring up Free Transform,which puts a bounding box around youreye copy layer (as seen here).Step Five:In the Options Bar, you’ll see W (width)and H (height) fields. First, click on thelittle link icon that appears betweenthe two fields to link them together, sowhen you type in a width, the heightwill increase the same exact amount.Now, enter a percentage of how muchlarger you want the eye. Start with 104%(which is actually just 4% larger) and yousee the entire eye grow in size. By theway, 4% may not sound like a lot, but it’sactually a fairly large move, as you’ll seewhen you try it yourself. I’ve increased asmuch as 6%, but usually anything abovethat, and it can start to look kind of obvi-ous. But, of course, it depends on theimage, so use your best discretion. If 9%or 10% looks good, go for it. Press Return(PC: Enter) to lock in the transformation.
  69. 69. Retouching Eyes Chapter 1 45(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Six:Because we feathered the edges of theoval selection, it’s fairly likely that, at first,you won’t see any edges overlappingwhatsoever. But if you zoom in tighter,you might see a little extra skin from thelarger eye overlapping a bit. If you do, it’seasy to fix. Just click on the Add LayerMask icon at the bottom of the Layerspanel (shown circled here in red). PressX to set your Foreground color to black,then press B to get the Brush tool, andchoose a medium-sized, soft-edged brushfrom the Brush Picker in the Options Bar.Now, just paint over the edges of thelarger eye to blend them smoothly awayand into the original skin surrounding theeye on the Background layer. You mighthave to go all the way around the eye,but just try not to erase the eyelashes.Everything else outside that is fair game.BEFORE AFTER
  70. 70. 46 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopStep Seven:Another way to increase eye size is touse the Liquify filter. This way works bestif you just want to increase the iris itself,and not the rest of the eye and eyelashes,but you can make it work to increase theentire eye (like we just did) if you want.So, start by going under the Filter menuand choosing Liquify (it’s right near thetop of the list) to bring up the Liquifydialog you see here. Get the Zoom tool(Z) from the Toolbox in the top left ofthe dialog and zoom in on an eye.Step Eight:Now, get the Bloat tool (B) from theToolbox (it’s the fifth tool down, showncircled here in red) and make your BrushSize a little larger than the eye itself.Here’s another keyboard shortcut you’regoing to want to know, because you’llbe changing brush sizes quite a bit insidethis dialog: Press-and-hold the Shift keyand then press the Left Bracket keyto make the brush smaller or the RightBracket key to make it larger (the bracketkeys are to the right of the letter P onyour keyboard). This shortcut decreases/increases the brush size in incrementsof 20. Here, I had to press Shift-Right-Bracket key a few times to make my brushreally large. (Note: If you’re not comfort-able with the keyboard shortcuts, youcan use the Brush Size slider, which isnear the top right of the dialog, in theTool Options section.) Now, move yourbrush over the left side of the eye andclick twice to increase the size of thatside of the eye.
  71. 71. Retouching Eyes Chapter 1 47(Continued)Professional Portrait Retouching Techniques Using PhotoshopStep Nine:Move your brush over the center of the eye,click twice again, and that area increasesin size. (By the way, if you just wanted theiris bigger, you’d start in the middle andclick two or three times to increase just thesize of the iris. This brush kind of bulgesfrom the center out, so it works great formaking just the iris larger.) Because eachclick makes the eye bulge out a little larger,you want to move evenly from left to right,so if you click once on the left side of theeye, then you want to be consistent as youmove across the eye to the right—clickonce each time. If you click twice on theleft (like we did here), then you need toclick twice each time as you move acrossthe eye, so it looks even. Don’t paint withthis tool, just click. When you reach thefar right, if it looks good to you, click theOK button. Also, if you mess up (some-times you’ll click once, and it applies like10 clicks at once), just press Command-Z(PC: Ctrl-Z) to undo that click, then doit again. See the next page for a beforeand after using Liquify.
  72. 72. 48 Chapter 1 Retouching EyesProfessional Portrait Retouching Techniques Using PhotoshopTry thistechnique onanother image!Download this image. See pg. xi.BEFORE AFTERAfter

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