Pixiq

Portrait Retouching / Photoshop Tools and Options

 Real retouching requires mastery of a variety of Photoshop tools in order to create the best possible results in the minimum amount of time. It’s been my experience when training large groups of artists, like in color labs, that most of the artists are very good and can create artwork that looks very similar in finished result BUT one artist may work on an image for two hours and another artist can do the same job in twenty minutes. The difference? The faster artist plans for the job, selects the right tools and works at a good pace.

 Most faces have items to retouch on them that one tool will get the job off to a good start and another will finish the job quickly with delicate results. Here’s the ones that I use the most in the options I most often set for them:

Spot Healing Brush

 Normal Mode, Proximity Match, Sample All Layers is checked. Create a new layer on which to apply the spot healing. Use it to remove small spots like flecks of makeup, stray whiskers or “dust” spots. The technique is simple; just color over the spot you wish to remove, but only cover what needs to be covered. Be delicate! The layer is usually used at 100% opacity and is merged onto the background copy upon completion of the task.

Healing Brush

Normal Mode, Sampled, Aligned is not checked, Sample All Layers is selected. Create a new layer upon which to apply the healing brush. Use it to minimize the contrast in highly textured areas like multiple crinkles around the eyes, frown lines, neck lines and very deep smile lines. Select a source with smooth skin texture (Option or Alt tap) and apply light strokes over the textured area until it is smooth. Reduce opacity to taste (about 30-50% generally) and merge onto the background copy. Finish the job with the Dodge and Burn tools and the Brush tool if needed.

Patch Tool

On most images, use the option of Source to remove definite spots like blemishes and unwanted moles. It’s also good for cleaning up backgrounds (removing electric wall sockets etc) and repairing clothing. Use it directly on the background copy unless you feel insecure, and in that case, duplicate the background copy for the technique. The technique is to use the tool to circle the spot you wish to remove, then drag the selection over an area that contains the texture you would prefer. Photoshop will match the color and value for you. If you are working on a face with few unblemished areas, change the option from Source to Destination. With this setting, circle a smooth area of skin, then drag and drop it repeatedly over the spots you wish to remove. The work from the patch tool is also often finished with the Dodge and Burn tools. (If you have made a duplicate of the background copy to apply the patch tool to, merge it onto the background copy upon completion of the work)

Brush Tool

The Brush tool is very versatile for retouching! It is used to re tint small discolorations caused by extensive dodging and burning, correct unpleasant skin tones, fix make up, fill in hair, correct teeth, add vignettes and enhance eyes. It will be used in a multitude of sized and styles, with a variety of options and blending modes so make sure you get a lot of practice with it! Paint on a layer whenever possible so you can adjust opacity, erase, apply layer masks, and change blending modes. Tip – each color, or each step of the work gets it’s own layer. When the work is completed with this tool it is common to group the layers from a single task, like enhancing eyes, then merge everything onto the background copy when the entire job has been completed.

Clone Stamp Tool

Use this tool to make trees and bushes, cover objects in the background and trim clothing. DON’T use it on the face! The options are usually used at Normal Mode, Opacity Varying, Flow 100%, Aligned is checked and Sample All Layers is selected. Apply the Clone Stamp to a separate layer by selecting one particular area (Option or Alt tap) and copying it to the place you want to cover. Many times edges from cloning are blended with the Dodge and Burn tools, value is adjusted using Levels or Curves or the color is balanced. Merge this layer onto the background copy when the work has been completed.

Blur Tool

I use it to soften edges that remain too sharp after other methods have been used. It’s a touch up tool for me and I set the options to Normal Mode, 50% strength. Don’t overdo it – take the time to do the best you can up front.

Smudge Tool

This tool is great for making eyelashes and detailing the edges of hair on layer masks! For eyelashes, use it on a separate layer that has been changed from Normal to Multiply blending mode. Set the options for the Smudge tool to Normal Mode, 70% strength and check Sample All Layers. Grab and pull eyelashes out from the opening of the eyelids, adjust the edges and opacity and include with the layer groups for eye enhancement. For working on layer masks, set the opacity and size of the brush to the amount of work that needs to be done and detail the edges of the layer mask by pulling it in and out around the edges of the hair.

Dodge and Burn Tools

These are my all time favorites for skin work. I prefer to use them over all other dodging and burning methods because they allow me to dodge to white and burn to black with very little discolorations compared to other methods (like image adjustment layers, 50% gray fill layers, etc). The Dodge and Burn tools are applied directly to the background copy (or, if you are timid a duplicate of it). The options on both tools are set to the Range of Midtones and the exposure set to 5% (can be reduced to 3% if the tool “rushes” you – makes a mark every time you make a stroke). Protect Tones is not checked for skin work on the Dodge tool, but may be selected for the Burn tool. The Dodge tool is used to color over “splotchy” areas that are too dark, and the Burn tool is used to color over “splotchy” areas that are too light. They are used to contour lighting, shape faces, blend skin tones, reduce wrinkles, fix edges of other artwork … there are many used for these tools. Brush size is important when dodging and burning. The brush size should be just slightly smaller than the area you wish to lighten or darken. Brush size must be changed frequently; don’t try to get by with one because you’re too lazy to change it! There IS a shortcut, however. With one of the tools selected (I usually use the Dodge tool), the Option or Alt key may be held down while working to access the other tool. This means you can be dodging, then, holding down the Option or Alt key, you will be burning using the same brush. When you release the Option or Alt key, you go back to the original function of the tool.

Retouching is usually built up in layers and groups of layers so everything can be evaluated for color, value, contrast and quality prior to making the commitment to merge the artwork onto the backgroun (flatten image). I usually save a two layer file as my final, the background being the color balanced file prior to retouching and the top layer with the retouching merged onto it – a “before and after” file. From there, I flatten the file and save the various sizes I prepare for printing.

This covers my tool set for portrait retouching and the most common options and techniques used with them. Retouching artists also use layers, layer masks, selection tools, masking options, paths, filters and plug ins but we’ll get to those in future sessions. Good retouching artists can use all of these tools unconsciously, just like good photographers use their cameras without thinking about what they are doing with them. It’s common to start a job with the Healing Brush and finish it with Dodging and Burning. It’s common to recolor an area of the face, especially when one of the lights or reflectors is out of position or too hot. Concentrate on developing a complete tool box of options you can pull out as needed for any retouching job you’re faced with – every job is different. See you soon – thanks! Jane