Secrets and features of portrait photography. Portrait retouch for "fashionable gloss"

This tutorial will be easy to learn for Photoshop users who are well versed in the location of functions and their names. Beginners will also be able to master this technique, but they will have to deal with some points.

The first step in processing is to create a new empty layer. Having created a layer, you need to perform Image- ApplyImage(Image - External channel). In the settings, select the blue channel.

It is the blue channel that usually contains the maximum amount of information about the skin.

Make 2 copies of the blue channel information layer. You will need to turn on the layers one by one from bottom to top.

Blending mode ( blendingmode) change the bottom layer to Luminosity(Brightness). Use Curves (Ctrl + M) to slightly increase the brightness of the layer.

Turn on the visibility of the next layer. We adjust the curves on it so that the texture is visible only in the light areas.

Change the Layer Blend Mode to LinearDodge(Linear Dodge). Set the transparency to about Opacity 5-7%

Let's start adjusting the third layer. On it, we adjust the picture with curves so that the texture is clearly visible in the shadows.

Change the blending mode to LinearBurn(Linear dimmer), Opacity(Opacity) also set to 5-7%. If black dips appear in the picture, you can wipe them with a brush over the mask.

In the photo we have a white background that hurts the eyes.

It is very convenient to work with a solid background. In this case, it will be easiest to use channels to separate the subject from the background.

Go to the channels tab and create a copy of the blue channel. To do this, click on the channel with the left mouse button and select the appropriate item, or simply drag the channel onto the new channel icon. Next, we use Burntool(Tool "Clarifier"), Dodgetool(Burn tool) and Curves(Curves). You should get the following picture.

Holding down the Ctrl key, click on the layer and get a selection.

Go to the layers window and create a new layer. For this layer, create a mask without removing the selection. Now you can create any background on the layer. In the example, the background is created using semi-transparent gradient fills.

Now let's make the eyes more expressive.

The easiest way to do this is by simply copying the original image, moving it to the very top, creating a mask that needs to be filled with black and using a white brush to paint the areas of the eyes that need to be opened. In this case, the layer blending mode should be changed to Overlay(Overlapping).

Now you can add some volume to the face. To do this, create two new layers. Let's change their blending mode to Overlay(Overlay) Go through one layer at a time with a dark soft brush with low opacity. On the second layer, you need to go through the same brush, only a light color. In these two layers, you can draw the volume and touch up the lighting.

These actions are performed in different layers in order to be able to separately control light and dark areas.

The last element of this method is sharpening and detailing. To do this, you need to create a copy of the original layer. (Ctrl + j), place it at the very top and apply the filter Filter -> Other -> High Pass(Filter - Others - Color Contrast). Change the layer blend mode to Overlay(Overlap) and we get improved detail. The intensity of the top layer can be changed by adjusting the transparency.

- one of the methods of photo processing by professional designers and retouchers, which allows to hide some imperfections on the model's face, as well as to give it a special charm, attractiveness and “glamor”. This technique is used not only by designers of fashion magazines. Look for professional ones. The bride on her wedding day is a real model at her wedding photo shoot, she wants to look beautiful and glamorous in the photos.

Indeed, looking at “fashion” magazines with photographs of “stars” you pay attention to the amazingly smooth skin of the fashion models. They are attractive, so every time you look in a new way at the already familiar faces. Is it the wonders of plastic surgery or the effect of expensive cosmetics and smoothing creams? In fact, this is the work of a photographer. And any digital photographer can master the techniques of creating this miracle, the only tool of which is the Photoshop wizard.

Anyone, even a beginner to learn Photoshop, or an amateur photographer, knows tools for removing skin imperfections. These are the Clone Stamp and Healing Brush, designed to clone clean areas and replace defective ones. They are located in the left toolbar of Photoshop.

The secret of real glamorous retouching is that defects are not removed, but only smoothed (blurred), and, most importantly, the texture of the skin is preserved. The point is that if you just blur the flaws and roughness, then the glamor effect will not work. The face will become puppet and lifeless. Therefore, it is necessary to restore the pores using one of the image channels where they are most visible.

In my article in the magazine "Photo Workshop" "", I described in great detail the technique of glamorous retouching by professional designers. But, this option is somewhat complicated and deliberately delayed. Therefore, I will shorten it to a few simple steps, and the entire article in pdf format can be downloaded from the link above.

Express retouching in photoshop in two layers.

• BLIND... Duplicate the Backgrownd background layer. Now let's use the filter group Blur - Gaussian Blur (Blur on Gaussian) with a radius of 25-30 pixels, so that the outlines become fuzzy. Don't worry about blurry images. This blur will be the basis for smoothing out skin imperfections. True, it completely destroys skin texture and pores. The face becomes puppet, and we don't need that. Hide the blurred image behind the mask for now: Layer> Layer Mask> Hide All ...

• RETURNING THE SKIN... Go to the Background layer under the Channels tab. Select (Select all) and copy the red or green channel by pasting it on a new layer above the blurred one. Choose the channel where the pores are visible. Now apply the Other> High Pass filter to the layer (Color contrast) with a radius of 3-5 pixels to select the pores of the skin and other elements of the texture. Set the layer blending mode to Soft Light (Soft light), you will see how the contour sharpening has increased. Attach this layer to the layer with a mask located below by pressing Alt + click between layers. The sharpening effect was hidden behind the mask.

• WE MAKE GLAMOR... Take a soft white brush - hardness 0%, opacity 30% and start gently brushing over the mask in the required places. Blur will appear, and the attached channel will reveal texture and reduce the appearance of gray in the shadows. You can reduce the blur effect by adjusting the transparency of the layer. And increase the sharpness of the texture, for example, using the blending mode (Overlap).

Here's a simple and effective retouching technique. And forget about all the Cloning Stamps for acne removal, none of the professional designers use them.

Hello dear readers of the wonderful PhotoCASA magazine!
My name is Oksana Tatsenko. And I would like to reveal a little the secrets and features of portrait photography, as well as the processing of photographic portraits, which I am often asked about on photo sites and on social networks.

A little bit about yourself. I am a physicist by education. I have not studied photography anywhere and have no art education. But feelings, thoughts, images have accumulated inside, which cannot be expressed with the help of physical formulas.
Actually, the starting point for immersion in the world of photography can be considered the purchase of the simplest DSLR (after my little children uprooted the lens from the soap dish). Before that, I had no idea about shutter speed, aperture and exposure, and for a very long time I shot without understanding these parameters. It can be said that the first half of my photography took place in complete or partial technical illiteracy. However, even now it is present to one degree or another. This I mean, do not be afraid of technology, do not be afraid of not knowing or not understanding something. In my experience, this is not the most important thing in photography. Much more important are the images, feelings, emotions, ideas that a photographer has before and during shooting.

And now in more detail about the preparation for the shooting and about the shooting itself.

1. Model selection
I don't really like the word 'model'. Somehow it does not dispose to soulfulness and intimacy. I’m trying to ‘pull out’ something very personal, warm and intimate from a person. It is very important for me to feel him, to love him, at least at the moment of shooting. Naturalness, spontaneity, even some wildness or strangeness - that's what I'm looking for in those portrayed. The clearer their photobiography, the more interesting it is for me to shoot them. And, on the contrary, a person who has been filming a lot is overgrown with clichés, it is difficult for him to ‘live’ in the frame, he diligently plays a certain role that he has developed on previous filming.

I peer for a very long time and painfully, I mature before calling a person to shoot. I can be hooked on seemingly insignificant things: head turn, neck bend, look. External beauty is not a selection criterion. And I also categorically do not accept (this only applies to photography!) Cosmetics on the face and modern decorative elements in the form of rings, earrings, chains, bracelets. Nothing should interfere and distract during shooting. Naturalness or purity of the image is the basis of my portraits.

2.Seat selection
Often it is the place that gives rise to ideas and images. Sometimes the search for an interesting place takes almost the entire time of shooting, but if a place is found, then it often sets the tone for the shooting, and the emotions of the model, and subsequent processing. My advice to you is to get into the car and drive around your edge, region, city and its environs.
You will definitely find interesting places. Take the time to do this!
If shooting indoors, then the background for my portraits is the usual white walls. Everything is very simple. But these ordinary white walls will only work in good light.

3. Light
Probably everyone who came across the shooting of a person noticed how the face transforms depending on where the light comes from. Light is one of the most important conditions for a good portrait. After all, photography is light painting. The wrong light can kill a portrait, making it flat and uninteresting, and conversely, the right light can add volume and invigorating appeal to a portrait. As one of the great people said: "There is no bad light, you just need to learn how to use it correctly."

I only shoot in natural light. Its source is an ordinary window in the room. I do not use reflectors or any other devices. I admire photographers who can take amazing depth portraits in artificial light, but I myself adhere to the position of naturalness. I love skylights, the light from them is narrowly directed, and interesting chiaroscuro appears. Amazingly soft light "gives"
a north-facing window where there is no direct sunlight. It is even better if the room has more than one window, but several, and if the light comes from both the back and the front of the model.

It is best to learn light painting from great painters. To look at picturesque portraits, to study the peculiarities of light painting and composition using them. Visit museums and galleries more often.

4. Choice of clothes
To begin with, for several years now I have been collecting clothes of the 50-90s, clothes of our mothers and grandmothers. Acquaintances and acquaintances of acquaintances give and bring (even from Ukraine) to me what has been preserved in their mezzanines, in garages and in summer cottages since those times. Collars, hats, berets, shawls, dresses, shirts, blouses ... These are wonderful things that breathe history. They are photographic in themselves. The models dressed in these things feel special themselves, and the photographs turn out to be special.

But modern clothes, properly selected, can stylistically correspond to images and ideas that are far from the present time. For example, I have one well-known photo on the Internet: two boys and a girl on the bridge. All clothes are modern, but they very well fit both the idea of ​​shooting and the time of the 50-60s. For those who are fond of stylizing photographs "for vintage", I highly recommend flipping through the books of fashion historian Alexander Vasiliev.

5. The shooting itself
I always meet with the model in advance, be it a girl or a child. It is very important to see a person live, pick up clothes or just look at him at home, talk, get to know him. It can take a week or even a year between such a meeting and the shooting itself. It all depends on how hooked me a person, and what images will appear in my head after this meeting. Sometimes a new dress or lace
the collar, once again received as a gift, is connected with one of the images, and now I am ready to shoot, I feel that I can and want to photograph.

One more point. I rarely take pictures, but not only because I have no time (although this is relevant with my three children). I accumulate emotions, I accumulate internal energy. I definitely need a state of excitement or, as I call it, a state of ‘music inside’. When the sensations are heightened. During the shooting, no strangers, no extraneous fuss. Just me, a camera and a model. Even moms of little children, in spite of everything
their attempts to look, stand beside, correct something, are mercilessly sent by me out of reach.
And this is not just a whim. I am convinced that a stranger will destroy the atmosphere of trust and sincerity, and even intimacy. After all, a portrait for me is a very intimate subtle spiritual process, a kind of union between the photographer and the person being portrayed. Usually I talk to everyone about the most personal. Trying to evoke memories and emotions. I try to relax a person, immerse him in a state of sincerity and naturalness. Very often, the best photographs are obtained in the last frames. Especially in children. When a person calms down and becomes himself.

6. Technique
Almost all of the portraits were shot with an old Canon 5D. Objectives: 24 1.4; 85 1.2; 135 2.0.
I always shoot in manual mode. At diaphragms from 1.2 to 2. I select the rest of the parameters for a specific aperture and never remember.

7. Treatment
Processing for me is the same creative process as shooting itself, and every time I sit down at the computer, I don’t know what the result will be. For processing, I only use Photoshop. No presets or plugins needed. I mastered the Photoshop program myself and not only from books and magazines. I twisted the tool sliders, applied different blending modes, mastered layer masks, and so on. Nothing fancy. Over time, I have developed my own style of processing, which is quite simple. Sometimes the processing is minimal (Levels, Curves), sometimes I want to give the photo a vintage or "picturesque" effect, and then I add layers with textures. Once I was very fond of collecting all kinds of textures, photographing and scanning everything: ragged walls, wooden shutters, rusty iron gates, old book covers, scratched glass, cracked asphalt ...

These textures in different blending modes with layer masks are present in my works, giving them the effect of the very "picturesque". Such works are a "layer cake": layers with the Levels, Curves, Color Balance, Channel Mixer, Selective Color tools, several layers with fills (brown and yellow), several layers with textures. For each work I choose my own opacity values ​​for layers and blending modes, my own color of fills and textures.

Each layer has a mask that allows you to partially apply one or another tool, fill or texture. It all depends on the mood and flight of imagination. The main thing is to have a measure and a sense of taste. Do not overdo it with textures, they should only be present, and not play a major role in the photo. And no wild screaming flowers, warm muted tones. But if you really want and have ideas, then you can wind up the colors. See the Impressionist paintings
Try, experiment, fear nothing!
Throw yourself into the processing process, like into a whirlpool with your head, and everything will work out for you.
Good luck! And thanks to all those who have read my story to the end.

Traditionally, I copy my post about Photoshop here. You never know who can come in handy.

In this article, I have described simple techniques for handling a portrait in Photoshop.
Shows the elimination of defects using the Clone Stamp tool, "plastic surgery" using the Liquify filter, skin treatment, sharpening.

I will make a reservation right away that we will not discuss the advisability of using certain techniques) Moderation is good in everything, but here I needed to somehow illustrate the techniques used. And you can decide whether and how to apply these techniques.

*1. Minor color correction and contrast *
So, let's load our photo into Photoshop.

It seems a little pale to me, so I decide to slightly correct the color and contrast using curves.

Open the curves in the Image -> Adjustments -> Curves ... menu (or by pressing Ctrl + M)
We see our curves.
1 - I am adjusting the curves a little according to the histogram - for this I move the white slider from the bottom slightly to the left - so that it is at the level of the histogram.
2 - I take an eyedropper of neutral colors and poke it at the picture on white areas until I like the result) In general, with the help of this eyedropper, you can correct the white balance. As a result, you can see that my brightness in the blue channel has increased (the blue curve has risen), and the brightness in the red one has decreased. As a result, the picture became bluer and, for my taste, more clear.

2. Correction of defects

What I'm going to edit here:
- Hair sticking out of the hairstyle
- Remove moles and large skin defects
- Remove wrinkles on the neck

The Clone Stamp tool is ideal for all of these changes.
It's in the toolbar, looks something like this

, or called by the hotkey S.

The clone stamp works like this - it transfers pieces of the image from the "source" that you specify to the "target zone".
Those. in fact, if we want to remove a mole (or any other piece of the image), then the procedure is as follows:
1. We have to choose another piece of skin, with a similar structure and illumination. I usually take the skin right next to the mole.
2. Select the Clone Stamp tool, hold down Alt (the cursor will take the form of a "sight") and click on a piece of the "source" skin
3. Now draw on the mole with a cloning stamp (do not forget to make a brush of a suitable size). This will paint over the mole and preserve the skin texture in this place.

3. Leather treatment

In a reduced version, the skin looks decent, but when you zoom in, you can see that in fact, the skin is far from perfect.
Let's try to smooth the skin a little.

1. Copy the current layer (drag the layer onto the "new layer" icon)

2. Make sure that a new layer is selected in the layers palette (it should be the top one)
And apply to this layer Filter -> Blur -> Surface Blur

Actually, any Blur will do, but Surface is smart - by adjusting the Threshold value, you can specify which areas to leave unblurred. In my example, you can see that the eyes, lips and nose are not blurred. This will make it easier for us in the future.

3. Create a mask on our blur layer.

As you can see, in the layers palette, a white rectangle has appeared next to our layer icon.
Now you need to select the Paint Bucket Tool and make the active black color.

Click on the white rectangle of the layer mask (to make this mask active and start working directly on it).
Now click on the image with the Paint Bucket tool. The mask should turn black, and the "blurred layer" should become invisible.

Let me remind you how layer masks work. Black - the color means "invisibility", i.e. this layer "hid" as if under a thick black blanket. In order to make some parts of this layer visible, you need to paint over them with white, as if cutting holes in this black blanket.

4. So, now select the Brush Tool, set the active color to white.
In the palette of tools, adjust the size of the brush (1) and "Opacity" (Opacity, 2).
I prefer to set the Opacity less, by 50 percent, so that the blurry image does not appear in full, but weaker. Thus, you can adjust - which area will be blurred more, which will be weaker.

And we begin to paint with a white brush on our mask, "revealing" the blurred skin. Try not to touch your eyes, hair, eyebrows. Well, in general, all those elements that need to stay sharp.
As a result, the layer mask will look like this:

And the resulting image:

*4. Skin texture restoration *
All this, of course, is wonderful, but I got a porcelain mask instead of a face :)
In principle, when the skin is less porous, the blurred layer can be less developed, then the original skin texture will be more visible.

Now we will try to restore the texture of the skin. For this, of course, there are a lot of ways, and the more complicated the method, the more natural the result)
But I will show a not very complicated method that gives more or less acceptable results.

1. Create a new layer. To do this, in the menu, select Layer -> New -> Layer ...
In the "New Layer" window that appears, set the checkboxes "Use previous Layer to Create Clipping Mask", set the blending mode to "Soft Light" and check the box "Fill with Soft-Light-neutral color"

2. Apply Filter -> Noise -> Add Noise to our new layer.
Check the boxes Gaussian and Monochromatic.
We determine the strength of the noise by eye to make it look like the skin texture.
Thanks to the previously selected layer settings, the noise is applied only to those areas that are visible from under the mask of the previous layer.

4. Finally, filter Filter -> Stylize -> Emboss, which will make the noise "volumetric", more like the relief of the skin.

*5. Plastic surgery*
Well, walk like that! I want higher cheekbones, a smaller nose, and arched eyebrows. Like this :)
And the miracle filter Liquify will help me with this.

1. First, I want to merge all the layers created before into one. To do this, I press the keyboard shortcut Ctrl + Shift + Alt + E. All old layers remain in place, and a new merged layer appears above them. Well, we will work with him.

2. Select Filter -> Liquify.
And we see this window:

Under the number 1 - a tool with which you can move the contours of the image like a finger. With them I will move my cheeks up a little, make my nose narrower and raise my eyebrows higher.

Number 2 is a tool that .. well, ahem .. how to say .. "reduces". Here. It shrinks) Select it, resize the brush, point it towards the nose, and the nose shrinks. So I'll do it.

Number 3 is a panel for controlling the size of the brush, the degree of influence, etc.

Cheap and cheerful, as they say. The main thing is not to overdo it, otherwise you will not recognize yourself :)

* 6. Change in eye color *

Here's another simple trick. It can be used not only to change the color of the eyes, but also any element of the picture - clothes, for example, to recolor a little)

1. Select the element whose color you want to change.
My favorite element is the Magnetic Lasso Tool. When using this tool, the selection itself sticks to the boundaries of the selected object, if they are of sufficient contrast.

2. Soften our selection a little, menu Select -> Modify -> Smooth

3. And now go to the menu Image -> Adjustments -> Hue / Saturation
I slightly changed the Hue towards bluer and injected saturation :)

4. You can remove the selection by pressing Ctrl + D and admire the result.

7. Sharpness
Finally, we are tired of making fun of the portrait. And finally, it always does not hurt to add a little sharpness to the picture.
The easiest way is Filter -> Sharpen -> Unsharp Mask

And I will tell you about an unobvious way to increase the height using the High Pass filter.

1. Copy the layer with the photo.
2. Desaturate the new layer in the menu Image -> Adjustments -> Desaturate
3. Apply filter Filter -> Other -> High Pass. The value of the filter must be chosen so that those lines that need to be sharpened appear.

4. Now in the layer settings change the blending type to Overlay.

5. Enjoy the sharpness :)
The degree of sharpness can be adjusted by the opacity of the layer, or you can use a layer mask to soften the sharpness in some areas.

*eight. Result*

Well, cho, it turned out pretty :)

In this tutorial, we'll look at several techniques for creating a dramatic portrait in Adobe Photoshop. The tool will be actively used here MixerBrush(Mixing brush) as well as retouching technique Dodge and Burn(Dodge and Burn) to accentuate the main details and get a dramatic effect.

To complete this tutorial, you need the version AdobePhotoshopCC, since it was in it that significant updates took place. We will be using an adjustment layer ColorLookup(Search for color), retouch the model's skin, and also try out a new filter CameraRaw, which has become available since version CC... But one way or another, if you have a different version of the program installed, you will get a similar result.

The translation is based on the lesson posted on the YouTube video portal, so we will do everything to make it clear and easy for you to follow.

Step 1

First, you need to separate the model from the background. For this, the author used the tool Pen(Feather) (P), for more precise selection. After the model is completely selected, press the right mouse button and select MakeSelection(Form selection). Radius (Feather) put shading - 1 px... Then apply a layer mask to the selected model. If there are still some errors, you can remove them with a black brush on the layer mask.

To make the edges of the model look more neat, you can use the function RefineEdge(Refine Edge) with settings as in the screenshot.

Also, the author advises to pay attention to the remaining contour around the model. It can be darkened with LayerStyle(Layer style) InnerShadow(Inner Shadow) with the settings shown in the screenshot.

Name the model layer « Model».

Step 2

Now let's open the background image (Ctrl + O) , or just transfer the picture to the program. Blur the background with a filter GaussianBlur(Gaussian blur). Blur the background in such a way that no details are visible. The author used a filter with a radius 106 .

Step 3

Let's start removing defects on the face. Create a new layer (Ctrl + Shift + N). Name it fix. Let's apply it as ClippingMask(Clipping Mask) to the model layer « Model» ... Also, you must check the box next to SampleallLayers(Sample from all layers).

Now, with the tool HealingBrushTool(Spot Healing Brush), remove some blemishes on the face.

Next, let's create a new layer (Ctrl + Shift + N) and let's call it soft... Apply it as a Clipping Mask to the layer. fix... With the help of a tool MixerBrush(Mixing Brush) with the settings shown in the screenshot, smooth out the skin of the model. Also, don't forget to check the box next to SampleallLayers(Sample from all layers).

The result you should get:

Step 4

Create a new layer (Ctrl + Shift + N). Let's call it R... Let's use the tool again Pen(Feather) (P). In the settings, on the options panel at the top, instead of Path, put Shape. Thus, the new path will be automatically filled with fill. Create an outline around the right (away from us) lens on the glasses. For ease of selection, it is recommended to slightly reduce Fill(Fill), this layer, up to 64% .

Now let's start selecting the second lens. Create a new layer (Ctrl + Shift + N) and name it L. Also select the outline of the lens and slightly reduce the Opacity(Opacity) of this layer, up to 64% . (Translator's note) For a closer acquaintance with the instrument Pen(Feather) (P) you can study this article https: //site/articles/tools_a/kak-rabotat-s-perom.html

Once everything is ready, go to the layer R and apply for it LayerStyle(Layer style) GradientOverlay(Gradient overlay) (or by double-clicking on the layer with the left mouse button) with the settings as in the screenshot.

Use a gradient from #2 f2368 To # ffffff. The result that should be:

Now let's just transfer LayerStyle(Layer Style) (while holding down Alt) from the layer R per layer L.

This is how the model's glasses should turn out:

Create a group and move both layers there. Name the group « Glasses».

Now let's create an adjustment layer. Hue / Saturation(Hue / Saturation) and apply it as ClippingMask(Clipping Mask) to the lens group.

Move the slider Hue(Hue) to value -37 .

Step 5

Now we need to create a small shadow from the glasses. To do this, you need to create a new layer under the group. « Glasses» ... Name it « GlassShadow» .

Next, with the key held down Ctrl, click on layer L... This will create a circular selection around the lens. Go to Select(Emphasis) - Modify(Modification) - Expand(Expand). Set the expansion radius 5 px... The selection will become wider. Next, go Select(Emphasis) - Inverse(Invert) (or right click on the selection and SelectInverse) (Alt + Ctrl + I). Now, with the tool Brush(Brush) (B) with Feather(Opacity) and Flow(Push) by 50% and low stiffness , Leave a small shadow around the outline of the frame, leaving a shadow behind the glasses.

Then, do the same for the right frame.

If you have any extra shadow marks, just remove them with the help of the tool Eraser(Eraser) (E).

If the shadow seems unrealistic to you, i.e. too dark, you can apply the filter GaussianBlur(Gaussian blur).

Translator's note: to highlight the shadow, you can use any selection tool. The author used RectangularMarqueeTool(rectangular selection) (M)).

Leave the blur radius in the area 3 px... Drag the final variation to the group « Glasses» .

So, the result of the actions performed:

Step 6

GradientFill(Gradient fill) on top of all layers. Make the gradient from white to transparent.

Note. author: The pink light hitting the model on the left is shown in a way that makes it easier to see. Also, for this layer the blending mode was used.SoftLight(Soft light). DowngradeOpacity(Opacity) this layer until you are satisfied with the result.

Subtract Opacity(Opacity) of this layer to 30% and change the blending mode to SoftLight(Soft light).

Step 7

Create a new adjustment layer ColorLookup(Search for color). In subsection 3DLutFile choose EdgyAmber 3 DL. Reduce Opacity(Opacity) of this layer up to 15%.

Step 8

Create a new adjustment layer Curves(Curves). Switch to the blue channel in this layer and tighten the bottom point to tint the image in the shadows and highlights, thereby adding a split toning effect, as in the screenshot.

And the top point.

The result you should get

Step 9

Create an adjustment layer again. GradientFill(Gradient fill) with color from f6dfb2 to transparent with settings like in the screenshot.

Now move the gradient to the top left corner like in the screenshot:

Also, there is another alternative way.

Create a new layer (Ctrl + Shift + N) with blend mode Screen(Screen)... With a tool Brush(Brush) (B) with a large radius (3500-4000 px) and color 90856 b, make one click in the upper left corner and with the tool FreeTransform(Free Transform) (Ctrl + T) enlarge the resulting glow, as in the screenshot.

Name this layer « SoftGlow». The resulting result can be seen in the screenshot:

Step 10

Create a new adjustment layer ColorBalance(Color balance) with settings like in the screenshot.

Step 11

Create a new layer (Ctrl + Shift + N) on top of all layers. Go to Edit(Editing) - Fill(Fill). Leave all the settings as they are and change the blending mode of this layer to Overlay(Overlapping).

Use the tool DodgeTool(Clarifier) ​​(O) with Exposure(By exposure) 20% and slightly lighten the contours of the lapels of the jacket, the folds on the sleeves, the light areas of the belt and trousers. It is also necessary to lighten the contour of the chin, light areas on glasses, light areas of the lips, eyebrows, as well as light areas of the face, neck and hair (do not forget about the parting). As in the screenshot

And here's the result:

If suddenly you crawled with a tool DodgeTool(Clarifier) (O) on the background, then use a gray brush ( #808080 ) and paint over the excess lightened area.

Step 12

Merge all layers into one (Alt + Shift+ Ctrl+ E) and place this layer on top of all layers. Using a filter CameraRaw... To do this go to Filter(Filter) -CameraRAW and apply the settings as in the screenshot. You can learn more about this filter in this article: http://photo-monster.ru/postobrabotka/rub/adobe-camera-raw/page/2

It turned out pretty good result. I hope that you gained a lot of knowledge during the lesson, and you liked the result.