![]() I just want to reiterate as we did the hair last time a lot of the color and toning is done under the frequency separation, okay? Coolio, coolio. But no, honey, people are not paying attention to this. Please, please, please please pay attention to this. I might charge you what it normally would have cost. And it may take me three minutes and I might not charge you three minutes. So as a photographer, if you are not your retoucher, and you remember we - I not so delicately talked about the $500 filter? I'm gonna charge you to take out these wrinkles. No, I don't know if stylists have changed, budgets have changed, time has changed. I will tell you I am forever dealing with this: Manicures. It's 100% baffling, like how in God's name are there wrinkles on the fabric?Īnd, now this was not a professional shoot, in that it wasn't shot for a product. Sweetheart, I cannot even tell you and it's baffling to me. ![]() Bring a steamer, is this common for you- as a retoucher? It's kind of a weird question, but as a photographer I was taught make sure you do not have wrinkles on any clothing. And when you have wrinkles, and you're trying to get rid of wrinkles, you just push it around. I'm basically just pushing around fabric. You can make boobs bigger with this, by the way, and we can talk about that in a minute. The smudge tool on really big files is very clunky and not very user-friendly. Now the smudge tool on really big files is clunky as holy heck. ![]() You want to be careful that you don't get her arm. Can you remember that? You can also use the smudge tool in frequency separation. We talked about the smudge tool, I believe, earlier today for the Gaussian blur. So I guess we can call body shaping frequency separation and removing fabric because you are shaping the body by that way. Yeah, crazy wow and it takes three minutes. It is dynamite, or dy-no-mite!, for cleaning out wrinkles. And in fact, I think it's kind of why frequency separation came to be, and came to be popular, is fabric. Frequency separation is invaluable for clothing. All that frequency separation I talked to you about before was on the portrait. Sometimes you're asked to lighten dresses, sometimes you're asked to darken it. This is a pretty subtle move on the dress. I am just trying to tell you to be careful with your build. I am not trying to tell you how to build. So you just have to be careful how you build. Just part of the face, but if that's the case, and I want you to be really careful here, if your frequency separation is that whole file? That whole image? And you are not masking in your frequency separation? You can't put the mouth on top easily. Frequency separation, for me, is generally just. It's kind of not a big deal because the mouth isn't really affected by the frequency separation, but it's worth noting - where do you put the mouth? Put it under your frequency separation or above the frequency separation? And it really depends on your flow. The frequency separation is pretty minimal and it's done underneath this. Now, I want to talk to you about job flow and order. This is done in liquefy and we'll talk about that in a minute. That's not a big deal, but fattening lips? That's a different conversation. You understand? And some of it, I mean, it's not a big deal to stick her tooth back behind her lip. Where you tend to do it is in areas where folks are kind of considered objects to promote a product, not the person that they are. You probably won't want to do this on an entertainment editorial or an editorial where the person is the subject, and who they are is very important. Like are you gonna change the mouth? I feel a little strange about this, but I think I need to talk about it because this is when people stop looking like who you think they are. If we have time, I'm gonna come back to this, but sometimes decisions you have to make in retouching are manipulation. Do you remember the eye librate you have? Eh, get an eye librate. But try to grab the one, cause you want the reflection and everything. To tell you, it takes a bit of a hand to not make this look fake. ![]() It's taking the eye from camera-right and moving it over. It's that the clients ask you to do this and what we did on this, and I feel like this is kind of like body shaping, only it's eyeball shaping. What? Who you looking at? I have to do this all the time. Paint it in, every so gently, to lighten up her highlights. ![]() And again, it's just that ubiquitous shadow and highlight. On a file like this, it did not cause trouble. I want to reiterate: too many smart objects for me causes trouble. Yes, for internet folks who want to know if you can do it on a smart object, you can. Oh, that shadow and highlight! Eyes, thrown in extra. What's her basic build? Her basic build is going to be some basic retouching. ![]()
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