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Tags:Retouching the Background in Photoshop,digital photo tips,digital photography training,digital photography tutorials,prophotoinsights,retouching photography,simon plant
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Okay the next thing I’m going to need to tackle is the stomach area. As you can see on the picture here there are a few little marks on the stomach so we need to kind of go in and just sort those out. This is the image I ended up with and you see it’s quite a big improvement.
And so yes, what we did, I took a selection, I just got the marquee tool. I took a selection of the area on the background layer and did the command c for copy, command v for paste and that just pastes that selection onto a new layer. Then what I could do is just basically go in with the patch tool and just draw around the affected area and then just drag to replace that problem bit, like so. Same on this side, also you go to watch here the lights fallen off so you have to be careful, it should sort that out for you. That’s the beauty of the clone, of the healing brush or the patch tool. It will actually—whereas the clone tool obviously clones stuff. The patch tool actually clones in and also adds the texture from the source as well, so it does it well for you.
It’s okay, it can be difficult on some edges, and it will have problems. For instance, we’ll just see if I get this to do as I’m expecting it. If I go too close to an edge like so as a little of contrast, it will sometimes cause a bit of a funny blurring effect. Let’s see if I can make this do it, do the job.
You see there, it’s gone a bit discolored and it causes like a bit of mushy effects and sometimes, you will have to select the area or maybe go reverts to your good old clones tool and just very carefully clone the area you need, like so. But as I said the healing brush this stuff is great because it will add in and try much well texture as well to the picture.
So that was how I tackled that particular problem. I just bring up my finished area. So that was before, that was the after. So that’s quite big improvement and just helps keeps the skin nice and smooth on there.
The next bit was a tricky bit, was the, the waist band here. Let me just turn this off a second to show you what we had. The waist band got a bit twisted again because this is light was too tight. It got to be twisted. So again it just looked very messy. So I went in and I start with that. The way I did that is I took a selection, I went in with the pen tool, let’s zoom in a little bit and I basically took a selection around a good path the waist band and basically copied we’re going to do that very quickly and many selection. Zoom out a little bit.
I basically did a command copy, command v so that placed it on under layer. I’m just going to pull out a bit so you can see, zoom in, see where I am? And that’s one on the layer here and then I can do it an edit, transform, I can flip it, flip horizontal. And then I can basically just using the transform tool, I’ll put it in free transform I can basically just move around and just basically get it over the affected area that I’ve got where I want to replace and just nudge it into place like that. That’s a bit crudely done. It takes a bit more of finesse in that. But again, you can just build that up and replace the twisted band, like that.
And again, she’s about, kind of manipulated with the transform tools. We just manipulate that into the correct position and then now you can go in with the clone tool and just build it up gradually until it looks realistic. So that’s how—just turn that off again, so that’s what I started with, that’s what I’ve finished with. Still a little bit of color marks there which I have gotten with the clone tool and just clone that over, make sure it all fitted quite nicely.
So there’s our waist band before and after. Let me just zoom in a little bit for you, a bit further now. And so that was the before, that was the after. So big improvement there, looks a little bit tidier.
The next job was on an this layer which was wrinkled at bottom. And how I did that again, very simple and I took a, let me just turn those off to the selection like we did before and then I got the clone tool and basically just went in with the clone tool and just cloned over those wrinkled areas and just chip all the lights..
The other thing we did was, again, I think I trimmed on that—on the hip area here that we just basically made up to look at a bit smoother, like so. And that was done again with the patch tool here and brushes and a bit of the clone brush, clone tool as well.
And the other thing I did, I placed behind the models here, I placed a flash head directly straight to the back of the models just to add some, a bit more drama or a bit clip lighting and I also wanted to add a little bit of flare. And on this particular frame that we chose, it wasn’t very evident so what I did again is turn this off. I brought that flare in for another image. I’ve added it to this one and like so. So just again, just adds up a bit of a, bit more drama to the picture and also that creates a nice focal point; it drags your eye into that area of the picture. If I just turn it off again. It’s really part of the brightest bit in the image, your eyes mostly goes there so that was just basically just to take in the picture from another image and added it into that one like so.
The next layer, well basically the adjustment curves, you know, we’ve done them on the landscape pictures before. I can’t go through all of these because it just takes far too long but there’s the curves adjustments for the edges of the frame, just to add drama and keep all the attention to the center of the picture.
There’s one of the grass here, with that one, I increased, I did a selective curve for the usually grass area and really boosted the contrast there to make it stand out and again, create a nice pool of light in the area.
There’s some selective, just bring that up again, again another selective one, I’ll just bring the mask up, for the bike there and that just really made the bike really pop out and actually before that, it just looks so dull.
There, again, another one for the alloy of the bike, just bring that mask up. So that just a, again just brings out all the aluminum and sulfur and chrome in the bike.
This one was for the trousers, just to add, that will contrast, there, there’s my curve. And again, another one for the top, there’s one for the black parts of the bike, just to bring a bit more detail out in the tires, etcetera. One for the screw in the bike, the area. there’s one for the boots of the image of the girls, again that was just ready to bring out, a very, very stick curve there, ready to bring out the highlights on the boots and that did look a very slick. There’s one for the skin just to make the skin pop out a bit brighter and that was that one and then here we have, just zoom out again, we have a black and white layer since this is mainly for the sky, it’s affecting the sky area in the middle here. You see it’s gradient here, we use the gradient, the gradient tool. I’m just a, just gradient that in and that is just kind of deepening, taking some of the blue out the sky and also in the same time darkening.
I’ll just bring the adjustment layer up and basically just did that by altering the sliders and just messing around with them a little bit but not going too far. If you go to far, well some of these adjustments, you’ll get pasteurization which is a very, very nasty side effect. It’s not very nice at all and let’s say, if you push things too far then you will get that. That’s why when you’re retouching, it’s always advised that you work in 16 bit, it will help avoid pasteurization in your images. So that is something you need top be aware of. So go careful and make sure you check your image a 100% after you make adjustments. This one was in black and white layer and again, that just was set to 41% opacity and it just takes some of the red at the images, at the image and dulls it down a little bit but it gives a nice color palette to the picture.
And there we have it, there’s the finished image on the screen. There’s our before and there’s our after. So quite a change there and I think this shows you how much can be done, I mean, I haven’t been able to top this image by any means. I mean we could have gone so much further and maybe soften the skin and all sorts of things but I didn’t want to go too far. I wanted to keep, you know, some elements reality. I didn’t want a couple of Barbie dolls, wax dolls on screen so I think that gives you a good overview and I think I’ve covered the main important Bits of the retouching on this one.
Obviously as I said before, I’d like to go in a bit more detail but there’s a lot of other layers in here and that we would have taken a long time to go through. But as I said, I’ve covered the most important stuff, a lot of these adjustments we made we’ve already gone through a similar ones on other images.
So I think we’ve basically covered the most important facts. What we could do is maybe, I think after doing this image, I think it might be an idea in one of the next tutorials is to look at some of the retouching and maybe go into the liquefied tool and have a bit of fun with that. We’ll possibly do the a portrait and transform that into something a little bit different and show you the tools that are available in that bit of a software the Photoshop.
So there we have it. So anyway, I hope that was of interest, a little bit different as I said. And hopefully we’ll catch you again on the next video, cheers!