Photoshop effects subject on a glossy surface. Give your photo a stylish glossy look in Photoshop
Strictly speaking, this was not a portrait shot, but a simple headshot - a working tool for casting. Well, not the point, you can practice on it. What to do if there is no makeup artist or he did not cope with the task at hand? Torment the card in Photoshop, of course! This is the frame taken as a result of shooting (ISO 50 | 1/125 | f / 9):
2. No wonder they say that photography is a very cruel thing. The fact is that in life we \u200b\u200bgenerally do not notice anything like this at all, especially if we like the person - after just a couple of minutes, attention completely switches to communication. In addition, in life we \u200b\u200bare extremely rarely so close to the person we communicate with: at 100% magnification, the girl's head on my 30 "monitor is 4 times larger than its actual physical size ...
So, we first need to correct minor skin imperfections:
3. Very often, different people will forgive showing the processing of the skin and then, after I show them this process, they stand for a long time and look with a dumb question: "Like, this-ah ... But where is the magic ?!" But she's not here! \u003d :) Everything is very simple and unpretentious.
Each next operation I do on a new layer, so that if suddenly my processing goes into the wrong steppe, then I could always just delete this layer and start the operation again. Of course, Photoshop has history and undo works. But the point is that history has only 20 steps by default. This value, of course, can be increased in the system settings, but then Photoshop will eat a lot of resources. And in any case, the technical retouching, which is done at the very beginning, requires a very large number of small actions, therefore, no matter how many levels there are in history, they will end rather quickly.
Therefore - a new layer and work with the healing brush with these settings (the brush must be 100% hard, otherwise there will be dirt around the edges, its size is selected each time individually for each individual focus of skin damage:
4. By means of simple, but rather long-term manipulations with the healing brush, after the first stage of technical retouching, we get the skin of the face without temporary defects:
5. But the major shortcomings of the frame remained:
6. Therefore, on a new layer, repeat step 4, but only with a larger brush. But if in step 4 nothing is required from the retoucher except attention and a wooden ass for good perseverance at the monitor, then here, at this stage, you need to be more attentive. And not just drag the texture from clean skin to the damaged areas, but also take into account the overall cut-off pattern and face shape, because it is easy to get a perfect other person at this stage of retouching:
7. At the previous step, you can stop, but if you do it for more stringent customers with more stringent requirements, then you need to repeat step 6, finally removing the folds under the eyes:
8. Well, as a final cleanup, I sometimes use the Imagenomic Portaiture plugin (although in 90% of cases I do without it and without any other plugins - the work needs to be organized so that it can always be done using standard Photoshop tools):
9. Even if I use Portraiture, I always set the parameters so that it cleans out only low-frequency noise (which, by the way, is the most difficult to neutralize manually) - the Fine and Medium engines (responsible for high- and mid-frequency noises) are at negative values (-20 and -10, respectively), Large engine - on positive (+20):
10. After that we get a "doll":
11. And so that this effect does not cut the eyes, I turn off the transparency of the Step 3 Retouch and Portraiture layers to 30%, for each. It turns out such a clean face, not devoid, at the same time, of the texture of the skin:
12. After that I create a new empty layer and stack it in mutiply mode. On this layer, I draw shadows with an ordinary translucent soft brush, where, in my opinion, they should be added:
13. After that, a similar layer for the highlights is created, which is added in the screen mode:
14. Shadows are blurred with a gaussian blur:
15. Glare too, but the radius of blur is set smaller - the glare should be harder. Moreover, the harder the glare, the more shiny the skin will look. Here, the necessary balance between the radiance of the skin and its mattness is selected, it is selected exclusively for taste:
16. And after that, the transparency of the layers with highlights and shadows is adjusted to get a more realistic lighting simulation:
17. Further - an additional curves adjustment layer increases the overall contrast of the image (the fact that the colors have crept a little towards saturation, there is even nothing here, only good, in my opinion, although in a good way this, of course, must either be compensated or apply contrast to the L-channel in the LAB, or do it in another way that does not affect the chromaticity):
18. And one more curves increases the brightness and "shine" of the hair:
19. And so that what is not needed does not shine, limit the curves layer to such a rough but very effective mask:
20. After that, make a copy of the Step 2 Retouch layer, raise it up and process it with the plugin Other -\u003e High Pass with a radius, for example, 2 (this parameter is selected for each specific case individually - you need to know what will happen to this picture later where it will be printed, on what, and so on:
21. At 100% magnification, switch the addition mode to Soft Light or Overlay and see the degree of the sharp - does it suit us or not? You can try different blending modes of this layer with the rest of the picture (Soft Light - as a result, the sharps are weaker, Overlay - stronger):
22. Well, for control. If something does not suit you, then we change the transparency of the layers and achieve the best ratio was / was, if there is such a need for this:
And here is, in fact, the result. Whoever does not like the excessive grotesqueness of the processing and the puppetry of the picture - they can mix the result with pp. # 5-6 to get your version. Well, yes, this, of course, is not a complete processing of the entire picture, a lot of nuances remain behind the scenes (working with clothes, hair, background, and so on):
Lesson description
Program: Adobe Photoshop CS5 Extended
Complexity: average
Estimated lead time: 2 hours
Finished image
Here you will learn how, using the Embossing option in Photoshop CS5, you can create amazing 3D text without resorting to any other 3D software. In the course of the lesson, you will get acquainted with the various settings for all kinds of materials, with the help of which the desired end result can be achieved. Also, to give the final image a really impressive effect, we'll apply some adjustment layers. So let's get started!
Lesson presets
Enabling OpenGLEmbossing 3D will not work if OpenGL support is disabled. To enable it, go to Edit\u003e Preferences\u003e Performance and make sure the box next to “Enable OpenGL Drawing” is checked.
Also, go to Edit\u003e Preferences\u003e 3D and make sure OpenGL is active.
Step 1
Create a new document with a size of 1024 x 768 pixels, or whatever, depending on the size of the text you intend to create. Set the Foreground color to # 4a4f65 and the Background color to # 161a28. Then apply a Radial Gradient to the background from the center to one of the corners.
Open the More Grunge vi texture and go to Image\u003e Adjustments\u003e Levels, then change the Shadows value to 70 and the Gamma value to 0.70.
Step 2
Place the texture on top of the background layer with the gradient and change the Blend Mode of the layer (Blend Mode) Overlay (Overlay), then adjust its size.
Type the caption in capital letters using the font Mousou Record G and white. Set the font size to 255 pt and the Tracking to 100 to leave enough space between the letters.
Step 3
Go to 3D\u003e Emboss\u003e Text Layer (3D\u003e Repoussé\u003e Text Layer). A warning appears that the text layer will be rasterized and you will no longer be able to change the label. So, if you are sure that the required inscription is typed, press YES.
Then, under Repoussé Shape Presets, select Inflate Sides. In the Extrude section, set the Depth to 0.1, in the Inflate section set the Angle to 100 and the Strength to 0.05. Next, in the Bevel section, in the Sides drop-down menu, select the Front option and set the Height to 30 and Width to 6. Finally, select the Contour as a Cove - Deep).
We now have a basic 3D shape for the text.
In using the tools and the Camera Tools tool on the toolbar, change the angle of view of the camera. We don't want to change the position of the entire grid. After activating the camera rotation tool, you can control it by dragging the mouse pointer, or simply change the position by rotating the 3D axes. If you need to enter any specific values, use the Orientation fields in the options bar.
If you do not have 3D axes displayed, you can enable their display in the settings menu for displaying auxiliary 3D elements, which is located at the bottom of the 3D palette.
You can also save the current camera position by entering a name for the current view and clicking on the Save the current view button in the options bar. Saved views are available from the View drop-down menu in the options bar.
Step 4
Now we will apply the appropriate materials to each side of the mesh. To do this, open the 3D palette: Window\u003e 3D (Window\u003e 3D). Then, by clicking on the small arrow to the left of the grid name (our label), expand the list of materials.
Select Front Inflation Material to be able to change its settings. First you need to get rid of the diffuse texture, if any. Click on the Diffuse texture icon and select Remove Texture. Next, repeat the process for all other materials, as any texture can undesirably affect the applied colors.
After removing the texture, set the Reflection to 25, the Illumination color to # 323232, the Gloss to 80%, the Specular color to # e7e7e7 and the Refraction to 1.46.
Click on the folder icon next to Environment and select Load Texture. Pick a Bokeh texture. This texture will be displayed in the materials window.
Click on the Environment button and select Edit Properties. Make sure the Scale U and V are set to 1 and the Offset U and V are set to 0.
Step 5
Select the Front Bevel Material and set the Diffuse color # 006ddc, Opacity 30%, Reflection 30, Illumination color # 002a5f, Gloss 95%, Shine ) 70%, Specular color #fcfcfc, Ambient color # 0042b4 and Refraction 1.768.
Next, select the Extrusion Material, set the Diffuse color to # d4d3d2, set the Environment as Bokeh, set Reflection 10, Illumination color # 323232, Gloss 80 %, Shine 70%, Specular color # e7e7e7 and Refraction 1.768.
For the Back Bevel Material, use the same settings as we used for the Front Bevel Material, the same opacity and refractive index, changing only Gloss: 98% and Shine: 82 %. Use the exact same settings for the Back Inflation Material.
Step 6
Click on the button to hide / show auxiliary 3D elements at the bottom of the 3D palette and turn on the display of 3D light (3D Light). You can also display the 3D plane of the base if you want. This way you can see how the lights are positioned on the scene.
Scroll down the list of materials to the beginning of the list of lights. Experiment with the Light Tools to change the position of the lights in the scene. To do this, you can manipulate the mouse pointer, rotate the 3D axes, or enter specific values \u200b\u200bin the appropriate fields on the options bar.
Set the Intensity of Infinite Light 1 to 0.5.
Set the Intensity of Infinite Light 2 to 0.4.
Set the Intensity of Infinite Light 3 to 0.3.
Here's what you should get as a result. Make sure the installed lights are not too bright or too dim.
Step 7
Click the arrow in the upper right corner of the 3D palette to open the drop-down menu, then select Ground Plane Shadow Catcher. Thus, the shadows will be rendered without the need to create a special surface for them.
Click on the Scene label on the 3D palette, and then, in the Quality drop-down list, select Ray Traced Final.
It may take a while, but this is how the scene will look after rendering.
Step 8
After rendering is complete, activate the Rectangular Marquee Tool and draw a 80 x 322 px rectangle in any free area of \u200b\u200bthe canvas. Try to keep the selection vertically centered. The parameters can be monitored in the information panel: Window\u003e Info (Window\u003e Info). Alternatively, you can simply create a selection with a Fixed Size.
Create a new layer below the 3D layer and name it “Gradient”. Set the foreground color to # 56d4df and the Background color to # 208dad, activate the Gradient Tool, select the Foreground to Background gradient option and click on the Reflected Gradient option. ) in the options panel. Now apply a gradient from the center of the created selection towards one of its sides.
Deselect the selection: Ctrl + D. Then go to the menu Filter\u003e Blur\u003e Motion Blur (Filter\u003e Blur\u003e Motion Blur), set the Angle (Angle) 90 degrees and Distance (Distance) - 500.
Duplicate the gradient layer and sweep the copy a little to the right.
Step 9
Select both gradient layers and go to Layer\u003e Merge Layers, then duplicate the new merged layer. Make the copy invisible by clicking on the eye icon next to the layer name on the layers palette.
Select the visible gradient layer. Press Ctrl / Cmd + T to activate Free Transform, then hold down Ctrl and move the vertices of the gradient so as to enhance the illusion of three-dimensionality of the text.
You may need to reposition all four vertices to get the desired effect. When you're done, hit Enter / Return to complete the Free Transform. Make a copy of the gradient layer visible again.
Repeat the above procedure for this copy, with the only difference that this time the gradient will have to be set vertically, that is, perpendicular to the original gradient. After that, merge both gradient layers and rename the resulting layer to “Background Gradient”.
Step 10
Click on the Create new fill or adjustment layer icon at the bottom of the layers palette and select Hue / Saturation, where set the Hue value to 19, and the Saturation value ( Saturation) -50.
Make sure this adjustment layer is under the 3D layer so that it affects all layers except 3D.
Step 11
Set the Foreground color to # cbf6f4 and select a 30 px soft round brush, then create a new layer on top of all existing layers and name it “Spots”. Change the Blend Mode of this layer to Overlay.
Spread the light spots over the blue areas of the lettering.
Go to the menu Filter\u003e Blur\u003e Motion Blur (Filter\u003e Blur\u003e Motion Blur), set the Angle (Angle) 0 degrees and Distance (Distance) - 10
Reduce the Opacity of the spots layer to 30%, or set any other value, depending on how bright you want your spots to be.
Step 12
Click on the Create new fill or adjustment layer icon at the bottom of the layers palette and select Photo Filter, then select Warming Filter (81).
Click on the Create new fill or adjustment layer icon at the bottom of the layers palette and select Gradient Map. Then change the Blending Mode of the adjustment layer to Multiply and reduce the Opacity to 70%.
Select the colors of the gradient.
I only used two colors: # 6fb3b3 on the left, and white ((#ffffff) on the right.
Make sure the adjustment layer is on top of all existing layers. These will enhance the final effect of the applied colors, making them appear more vivid.
Finished image
In the fairy tale about the scarlet flower, the middle daughter asked her father to bring her a wonderful mirror, looking into which the girl would see herself always young and beautiful. Today it would be enough for her to ask: "Bring me, father, a computer with an installed graphic editor Adobe Photoshop." Almost any image can be used to make a photo for a glossy magazine using this editor.
Instructions
Inspired by Newton's editorial work from the 90s, Teegs Rice will reveal techniques for creating perfect skin and cross-processing with gradients for a stylish, stylized look. In this tutorial, you will learn how to create glossy look in Photoshop – you will also get tips on style, lighting and which camera settings to use.
Inspired by the color polaroids of Helmut Newton's later work, photographer Tiggs Rice will show you how to prepare your shot before working with the image in Photoshop.
She will show you how to get glossy skin in Photoshop. – and how to create a “cross-processing” effect using gradients to get the final result: cooler tones in the shadows and warmer tones in the highlights.
Step 1
First, let's take a look at the style of filming. Inspired by Helmut Newton's archive of photographs of women, Didi wore black lingerie with stockings and suspenders.
We also chose a leopard print for the outerwear. The intense color of red lipstick completed the look of our model.
Let's take a look at the lighting setup. In the 90s, it was quite difficult to achieve the desired contrast. Now this effect can be easily achieved with a flash, but here I wanted to show you an example of how a similar effect can be achieved using a natural light source.
Didi sat down next to the open window to capture the hard, directional light on the right side.
Step 2
Once you are happy with the light source, then take pictures. Taking inspiration from Helmut Newton's portfolio once again, we chose a strong, angular pose, with emphasis on Didi's legs. This image was captured at 1/160 second at F4, ISO 200.
Step 3
Once you've finished shooting, select the best photo and open it in Photoshop. If you shot in RAW, then it should automatically open in Adobe Camera RAW. If not, then go to Filter\u003e Camera FilterRaw (Filter\u003e Camera Raw Filter) to access the settings panel.
Note: If you are unfamiliar with Camera Raw, we suggest you work with this tool.
In the tab The main (Basic) Adjust exposure and white balance to balance the colors and get the same result as Helmut Newton's photographs from the 90s.
For this shot, I also changed the settings in Contrast(Contrast), Lights (Highlights) and Shadows(Shadows).
When you are satisfied with the result, click Open Image (Open Image) or OK to apply the settings and open the image in Photoshop.
Step 4
Then clean up the image as needed, removing any blemishes, unnecessary details and hair with the Spot Healing Brush Tool.
Now I did a little plastic work on my leg, in the place where it was flattened due to the fact that it was in contact with the sofa.
Step 5
Next, we will focus on cleansing the skin. Models in Hellmuth's works from the 90s usually have flawless skin, so you can do it a little better than you would for a normal shot (although you can tone down that trendy glamor to create your own style).
Press the key combination Cmd / Ctrl + Shift + N to create a new layer. In the settings change the blending mode to Soft light (Soft Light) and check the box Fill with a neutral color of the "Soft Light" mode (gray 50%) (Fill with Soft-Light-neutral color (50% gray)). Click OK.
Step 6
Choose a tool Clarifier (Dodge Tool), in the tool options select Mid tones(Midtones) and set the exposure value around 5-10%. Walk over any dark textures on the skin to create a pleasant, even tone. You can also use the tool Clarifier (Dodge Tool) to accentuate bright spots in your image for increased contrast.
Step 7
When you're happy with the way your image looks, let's go ahead and add a "cross-processing" effect. Create an adjustment layer by clicking on the thumbnail at the bottom of the layers panel and select Gradient map ... (Gradient Map ...).
Step 8
In the tab Properties (Properties) click on the arrow next to the gradient to open the Gradient Palette. Click on the gear icon, which is in this submenu, and in the context menu that appears, select Photographic toning (Photographic Toning) to load toning gradients.
Step 9
Let's give the shadows a cooler tone. Select the Cobalt-Iron1 gradient.
Step 10
This effect is going to be pretty strong, so change the Blending Mode to Overlapping(Overlay) and shrink opacity(Opacity) up to 30%.
Step 11
Now let's do the opposite and add some warm tones.
Repeat steps 8-10, instead select the Sepia 5 gradient.
Step 12
Also, check the box Inversion (Reverse) in the Gradient Map Panel to apply it to the lighter parts of your image.
Instructions
Open up a photograph... Make a copy of the main layer with Ctrl + J so as not to damage the image during retouching.
The picture is a bit dark. To correct this flaw, select Image, Adjustments, and Levels from the main menu. In the Input Levels window, move the white slider to the left to lighten the image.
Select the Healing Brush Tool from the Toolbox. Find clean skin on the face, hold down Alt on the keyboard and click on this area. The tool will remember the pattern. Hover the cursor over the problem area and click with the left mouse button - the program will replace it with the reference fragment. Process the entire image this way.
Now you need the shape of the face and nose. From the Filter menu, choose the Liquify command. Find the Push Left Tool on the toolbar. Set the values \u200b\u200bfor pressure and hardness not too high for neat retouching. When you move the cursor up, the image below it moves to the left, when you drag the mouse down - to the right. By changing the size of the brush, make the face oval narrower and the nose thinner. You can undo a failed action by clicking the Reconstruct button. Click OK when you are satisfied with the result.
Now you need to give the image a gloss. Make a copy of the layer with Ctrl + J. Choose Filter, Blur, Gaussian Blur. Move the Radius slider until, in your opinion, skin imperfections are no longer visible. Remember this value - in this case 2.7 pixels. You don't need to apply the filter - click Cancel.
In the same Filter menu go to the Other group and select High Pass. Set the value that you memorized in the previous step - 2.7 pixels. Click OK.
Now apply a Gaussian Blur with a radius equal to 1/3 of the value you remember. In this case, R \u003d 2.7: 3 \u003d 0.9 pixels.
Invert the layer with Ctrl + I, set the blending mode to Linear Light ("Linear light"), lower the opacity to 50%. Hold Alt and click on the Add Layer Mask icon in the layers panel. Choose a soft white brush from the toolbar and paint over problem areas on the face and neck, without touching the eyes, hair, eyebrows and other clear contours. Merge layers Ctrl + E.
Now we need to lighten and darken certain parts of the image. Make a copy of the top layer with Ctrl + J. Add an inverted layer mask to it, as in the previous step (Alt + Add Layer Mask). Set the blending mode to Screen ("Lightening"), opacity 10-15%. Make sure that the layer mask is active - you should draw on it. Choose a soft white brush and, varying the diameter, lighten the forehead, cheekbones and chin of the girl. Draw a light stripe down the center of the nose. Accentuate the highlights on the lips, hair, and under the eyebrows. Merge layers Ctrl + E.
Again, create a copy of the top layer and apply an inverted layer mask to it. Now the blending mode is Multiply ("Multiplication"), transparency - 10-15%. With a soft white brush with an active layer mask, apply shadows on the model's face: on both sides of the nose, on the temples, along the cheeks and around the chin. Darken the area around the lips and eyes, accentuate the shadows on the neck. Merge the layers.