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Page 1: Photo Retouch Become Amaster Psd 11 2010

.PSD PHOTOSHOPVOL.3 NO.11ISSUE 11/2010/(23)

SECRETS OF PHOTO RETOUCH by Ylenia Peronti, Tina Foster and Soffía Gísladóttir

PHOTO RETOUCH.

BECOME A

MASTER

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2 .psd 10/2010 | www.psdmag.org/en

While you’re geting ready for your winter holidays, we

encourage you to find some time to release the creative juices.

This month we focused on photo retouch: Tina Foster shares

with you her experience in this area, Ylenia Peronti teaches

how to make a beauty retouch and Soffía Gísladóttir – how

to make a landscape even more beautiful. But of course, it’s

not all! Benoît Ladouceur decided to show you some matte

painting and Natalia Voloshyn & Benjamin Delacour want

to give you some inspiration by their photomanipulation

tutorials: Dark Thoughts and Creating a Cyborg. You can also

dicover the Vanishing Point filter, see some works of Narendra

Keshkar and...just check what’s more in our December issue!

Magdalena Mojska

Editor in Chief

[email protected]

Page 3: Photo Retouch Become Amaster Psd 11 2010

Creating a Cyborg 4

Benjamin Delacour

Narendra Keshkar 14

The Refinery 16

Benoît Ladouceur

My experience with retouching 24

Tina Foster

Beautiful Landscape 26

Soffía Gísladóttir

Beauty retouched 32

Ylenia Peronti

Vanishing Point 36

Tomasz Lisikiewicz

Dark Thoughts 42

Natalia Voloshyn

Creating a Dreamy Flying Land 46

Narendra Keshkar

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Photoshop CS4 | avanced | 90 min

Page 5: Photo Retouch Become Amaster Psd 11 2010

CREATING A

Benjamin Delacour

I’m a graphic designer with over 10 years experience.

Passionate of graphics design and picture alteration

(retouch), I work today as a freelance designer for widely

renowned organizations. My spare time is devoted to

Photoshop, one of my favorite tools by far!

1

1: THE BASEAfter selecting the photo you want to transform into a

cyborg, start with opening a new document with fol-

lowing parameters: 30 cm wide by 40 cm high at 300

pixels and RGB. Copy your photo into this new docu-

ment, and position it in the center.

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CREATING A CYBORG

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2

3

2: ADJUST THE FORMATIn my case, picture lacked fur on both

sides, so I duplicated and enlarged it to

have more of it on both sides. Then with a

Mask I removed the inside of the mask to

leave the base image undistorted. You may

have to adjust the brightness with Curves

to match the two layers. I blurred the layer

with the new fur to give it a volume as if it

were more of it in the front.

3: MAKE-UPTo give cheeks more volume we will have

to add a little white to them. To do that

we’ll use large brush and reduced Opacity.

Then on the new layer we add little bit

of pink on cheeks, also in harsh light.

Adjust the layers’ opacity to complete the

cheeks. Choose a light blue and a layer

set to Color. Add color over the eyelids to

enhance the look. Do the same for the lips

and soften the selection with a mask after

copying it to a new layer. Use the Plastic

wrap filter and select the layer mode to

Hard light. It will give more contrast and

there will be more reflections.

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CREATING A CYBORG

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4

5

4: THE LOOKWith the Pen make a path to select the

eye. Copy on a new layer and set its mode

to Density, than adjust the opacity to settle

the effect. Draw two circles on the iris of

the eye. Choose a white brush with a width

smaller than the size of the iris. On a new

layer with the selected path in the Window

tracks options you will find the option

Contour plots – uncheck it. Simulate the

pressure and accept. You have just created

two white circles on the iris. Switch the

layer mode to Overlay. I did the same but

with black to mark the edge of the iris.

5: SKINCopy and duplicate layers by moving the

new layer icon. Flatten it to get a new

working basis. Clean the skin with the

Stamp tool and Spot Healing Brush tool.

Duplicate this layer and apply the blur

filter. With a mask limit its effect to the

skin of the face. Keep up the edges. Now

you have the original layer and the layer

with the smoothen skin. You can use the

Spot Healing Brush tool to smooth out

some details.

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CREATING A CYBORG

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7

6: LIGHTS AND COLORSCreate a new folder and name it Light. In

this folder you can place different layers to

illuminate the model and to give it different

colors. I added yellow fur set to Bright light

at 20% Opacity. I added the blue in the

picture with a broad brush in color mode

set to Density. Then I adjusted the Opacity

to 15%. I also added black on the edges

with a layer mode set to Multiply and white

on the upper face with a layer mode set to

Overlay.

7: CONTRASTS DETAILSAdd a layer settings Brightness/Contrast

and adjust the Contrast to 24%, and the

Opacity to 25% to mitigate the effect. Add

the Curves adjustment layer and play with

different settings to obtain a green and blue

atmosphere that fits well with our theme of

Science Fiction. I also added a layer with

black hair to less visible at the bottom and

another layer in which I painted in white on

the collar to make it shine.

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CREATING A CYBORG

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9

8: LIPSNow we will darken the lips. To do it, open

new layer, select a brush and paint the lips

with black. Set it to 60%, as shown. On a

new layer I added on eyes and lips some

white with a fine brush to add reflections.

I duplicated this black layer and set it to the

Color mode at 100% Opacity to desaturate

the lips while keeping the reflections

visible. I added a little black on another

layer to erase the last faults.

9: CUTTINGWith the Pen tool draw rectangular shapes

that follow the natural line of the face to

break it into several pieces. Get your first

selection line and complete it with black

on a new layer. Add a drop shadow to this

layer. Repeat the selection, complete it

with white and move the new layer down.

This will give the impression that the skin

was cut. By holding [Ctrl] and clicking on

this layer, retrieve the selection of the white

layer and using the Eyedropper paint colors

of the surrounding skin. You can also add

some black to give more volume. Repeat

these steps on all of the lines that cut out

the character. Remember to respect the

general direction of the light.

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CREATING A CYBORG

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11

10: REFLECTIONS AND DETAILS.On a new layer add the black finish for the

crossing of face cuts. Take the Pen and

draw shapes that follow the curves of the

edges of the cuts. Fill them with white and

add outer glow layer effect. Soften the

edges if necessary with a Mask. I also filled

the nostrils with black and white reflection

to restore volume. Fill a layer with black at

50%. Add noise and pass the layer mode to

Overlay. Set the Opacity to define the grain

achieved with the noise.

11: OPENINGTo accentuate the Cyborg, make a circle on

a new layer and distort it so that it follows

the line of the face. Set the Opacity to 50%.

Duplicate the layer and then move it under

the previous layer to create a white outline.

Select the outline and erase the circle that

we created in the firt step here. It will create

the depth effect. Duplicate this layer and

blur it slightly to Brighten.

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CREATING A CYBORG

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13

12: OPENING VOLUMEBy recovering the selection of the first

circle, create a new layer above the

previous one and with a broad brush

add the gradient with white top and black

bottom. Keep the selection on a new layer

and add a shadow on the top of the circle.

Move the selection and the new layer filled

with black up, to retrieve the selection of

the first circle and delete the extra pixels.

Set the Opacity to 50% and you’ll get a cut

in shadow on the top of our opening.

13: DEPTHGroup the layers from the first round

in a folder and duplicate it. With the

Transformation tool, reduce the size of the

file copied to create a second circle inside

the first one. By recovering the selection

of the first circle I created a new layer filled

with black that I enlarged. To dig inside, I

used the menu Selection>Modify>Contract

which reduced the selection. Now you

just need to cut the pixels inside the

circle. Adjust with the Transformation tool

if needed. Finally, with the use of mask

layers I created a line that split the

small circle.

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CREATING A CYBORG

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15

14: FINAL ADJUSTMENTSAdd an adjustment layer to adjust the

Saturation of the color mask of the Cyborg.

The goal is to desaturate the mask against

the skin. I added a Photo Filter adjustment

layer to change the overall color of the

picture with a sepia tone to 35%. I then

finished with a layer of Brightness/Contrast

to strengthen once more the contrast of the

image.

15: FINAL STEPTo finish up, flatten your image and

duplicate it one last time using the Plastic

wrap effect with an Intensity of 5 on a detail

and smoothing in order to achieve a soft

effect. Add a layer mask and invert the

black to clear plastic packaging. Then with

a white brush at 50% Opacity paint robot

parts on the mask. This will highlight the

effect only on selected parts of the image.

You just go over the layer’s mode lighter

color. That’s it!

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1. Please introduce yourself to our readers.

I’m a 26 year old artist from Indore, India. I have been drawing since

my childhood, but never thought that I would choose it as my pro-

fession and my pencil would turn into a mouse. In 2003 was just

a content developper and later got interested in design and took a

basic design course for that. This was the turning point of my career

and I started designing for my clients. Initially I created some horri-

ble designs, crowded with a lot of images, colors and texts, but later

improved my skills with time. Since 2006 I am teasing my mouse to

create some nice stuff.

2. Do you like your profession? If so, what do you find the most

exciting about it?

Of course I like my work or, in other words, I love what I do. It always

inspires me and I always find myself filled with a lot of excitement

when I start a new project which requires some new ideas, tech-

niques and a different approach to complete it. I get excited when

it turns out that this is a new thing to me and I have never done this

type of project before. The most interesting thing about this is that it

requires new ideas, processes and methods hence you will need to

update your skills regularly to make a project successful. It sounds

crazy but I like to do what I don’t know how to do.

3. And the most challenging thing about it?

The most challenging thing about it is to make a balance between

creativity and client’s needs. Although it’s a very common problem, in

some cases you need to compromise on creativity to match the cli-

ent’s need. It requires a lot of research and visualization skills to give

life to your ideas because each idea requires different approach, dif-

ferent set of skills and different methods. You need to continuously

update your knowledge and skills to get perfect results.

Narendra Keshkar

Born in 1984 at Uttar Pradesh, India, Narendra Keshkar is a digital artist, graphic designer, blogger and

tutorial writer. He started his career as a graphic designer in 2006, in 2009 he left his job and started full-

time freelancing to provide better services to his clients. Recently he won silver award in most prestigious

Mediabistro Logo Award 2010 for his personal brand identity and being interviewed at psdfan.com. “Think,

Act, Invent – that is my design process!” You can see more of his work at http://www.narendrakeshkar.com

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4. Do you have any personal favorites among your own works?

I have many favorites among my work, but the one I like the most

is Flying Banana Ship manipulation. I had this idea in my mind, but

I was not sure how to create it as it was new to me. It was quite a

long project for me and it took more than three weeks to visualize

and complete it. While creating this art, I learned a lot of things which

helped me in my other projects and when it was completed, every-

one just loved it.

5. What are your plans for future?

I have many plans for future and I’m working on some of them.

I have my personal blog and basing on this blogging experience,

I will launch my new, professional blog based on creativity, research

and design. I am also working to establish my own design studio

intending to provide effective design services to the clients across

the world. Apart from that, I am learning Z-brush to enhance my 3D

modeling skills so that I can give life to my ideas by raising a new 3D

animation company. I hope that I would have many golden moments

in near future.

6. Any advices for the beginners?

Don’t get discouraged by odds and negative outcomes. An artist

learns from his mistakes and hence it’s not uncommon when things

go wrong with art, with idea or with project. Take criticism positively,

learn from your mistakes and enhance your skills to give your best

in any project. Don’t forget to dream because it keeps you moti-

vated and fills you with new energy to work more efficiently and more

creatively.

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For this tutorial I decided to go for the other side of my artistic life and

cover some of the techniques I use in my special FX work as a digital

matte painter. Matte painting is very similar to illustration, the main

difference is that you usually spend 50% more time building the feeling

of realism instead of letting your imagination run wild. This realism

quest is very long, tedious and very energy consuming. In order to

speed up the process I usually use a more organized approach that

includes a lot of 3D elements. On top of accelerating the perspective

and layout, 3D is also a life saver when you have retakes on a tight

production deadline... you just rerender a few 3D layers and update

your Photoshop files instead of starting again from scratch.

Photoshop, softimage XSI + wacom tablet | avanced | 80 hrs

Benoit Ladouceur

(aka. Yellowdog on numerous online art forums)

Benoit Ladouceur is a Canadian artist based in Montreal.

He has been working in the field of film and television as

a digital matte painter, concept artist and illustrator for

the last 15 years. He presently works as a senior matte

painter and with Montreal’s Vision Globale film studio.

www.bladfx.com

1: 3D LAYERSBased on a small thumbnail I drew on a piece of

paper, I sat down in front of XSI and modeled the

basic volumes of the refinery I wanted to do. Once

I had the model done, the 3D package permitted

me to quickly evaluate different camera angle and

layouts without redrawing everything. Once I had and

angle I liked, I did a quick light setup and rendered

a few passes. Here are a few of the 3D passes

I made and what they are used for:

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1A

1B

1C

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RGB: This pass contains only the color values of the

objects without any light influence. I use it as a base

for all the painting. Changes to this layer will later on

affect the textures and details of the image.

Key: A black and white pass which outputs only the

area shown by the scene’s key light. I use it as a

layer mask to add my light source to the image

Fill: A black and white pass which outputs the areas

revealed by my scene’s fill light

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1D

1E

1F

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Ambient: An even colored pass that represents the

scene’s overall lighting

Depth: A pass that renders out the depth values of

the set (similar to atmospheric perspective). It’s a

black and white output so I use it as a mask to alter

the images level and create depth.

Occlusion: Another black and white pass that

illustrates all the contact shadow areas of the image.

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2

3

4

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2: STARTING POINTI started by loading the RGB pass in Photoshop. I usu-

ally start with this pass since it contains all the shape

information. On this stage it doesn’t look good yet.

3: STACKING LAYERSWith the RGB layer as a base I quickly load up some other passes over it.

I use the Ambient pass as an overlay. The result is that it gives my objects

more volume and it tints the color values to blueish tones. On top of it, I

add the occlusion pass in Multiply to keep only the dark values. This gives

me my contact shadows and greatly helps merging all the objects together.

The objects are now better defined without having a precise light direction.

The scene also seriously lack mood.

4: CREATING MOODThe best way I have to create mood quickly in a matte is

to start working early on on the sky. I scrounged through

my references folders and came up with interesting sky

elements that I pieced up together. Once satisfied I

placed them in behind the refineries. The sky, being the

source of a lot of fill and bounce light is going to have

huge impact on the composition... I’m starting to see I’ll

have a lot of light blues to add to my shadows.

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5

6

7

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5: DEPTH AND LIGHTING In order to lighten the image a bit and to start blending

the elements together, I use the depth pass as a level

layer mask and tweak the settings to create atmos-

pheric perspective. I also use the keylight pass to intro-

duce a light direction to the background elements.

6: DIRECTING THE EYESince the viewer’s eye still has no defined area of

focus, I decide to darken the foreground a little and

paint in more light in the middle area to help our eye

dive in the composition.

7: MORE DEPTHThe image at this point is still missing some depth. I

decide to cut and paste refinery elements behind the

main buildings to give the impression that the refiner-

ies spread out further in the distance. This trick works

very well, you just have to make sure to tweak the

added elements so that they fit the atmospheric per-

spective you have established earlier on.

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9

10

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8: DRAMAOne of the main requests I usually get working in film or tv is :” Make it more dra-

matic!”. After a short pause from the image, I came back thinking the background

was way too nice and gentle looking for a sci-fi refinery. Using Gradient, Curve

adjustment layers and the Airbrush tool, I made the mood a lot darker. The dark

background now helps to bring out the tower to the right a lot better and makes for

an interesting base for later light play. Our eyes still drift a bit too much to the upper

left corner but this will be fixed when we add more lighting and detail work.

9: HAZETo help with the impression of scale, I added more

haze and atmospheric perspective, being careful that

the colors I pick fit with my choice of sky and light

source. Since my light source comes in from the left, I

made sure the haze was just a bit stronger from left to

right. This helps us define light direction at the same

time as depth.

10: TEXTURE AND DETAILSAt this point, being satisfied with the mood, I started the longest part of the work...

texturing and painting the elements to push them further then my original RGB

pass. This is very important since it’s at this point that I start to breakup the edges

of the sharp 3D objects. It’s also here that I start adding all the interesting little

details and elements that give the image more life. Most of this is done with over-

layed textures on the RGB pass or simply with a paintbrush. Although this takes

up only one step... in the end it took over half of the time spent on this image.

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12

13

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11: LIGHTINGMore lighting work is done at this point to help empha-

size the different elements. The FG is brought to life

with the help of the fill light pass and an Airbrush tool.

By simply bringing the values up to brighter intensity

the foreground is now well anchored in the same color

range as the rest of the scene.

12: DETAILSThis is actually my favorite step... adding all the fun

little story telling and life giving elements. I did a once

over the image adding highlights, light “pings”, leaking

metal, dirt, glowing lights, etc. A good trick for indus-

trial matte work is that glowing lights and light windows

add tons of life quickly and easily to an image.

13: COLOR CORRECTIONSAt the end of a piece, I usually add a last color correc-

tion layer to even out all my colors and prevent uneven

colors in my layers when my matte paintings are sent

to compositing.

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The deadline was three hours away and I was still working on the

magazine cover trying to get the guy’s hair to look right feathering

over the top of the headline text. Pre-extract filter, damn. It was chal-

lenging then and the layouts today are just as difficult, maybe even

more so. Photoshop is an immense program, it keeps growing and

to keep up with the technology is a big job, but Photoshop is by far

the cutting edge you need in the graphics world. If you’re interested

in learning (at any level) I’d encourage you to join an online group,

take a local class or become self-taught using Adobe’s tutorials. They

are excellent, practice, practice, practice. Make up an assignment

for yourself with a deadline, the real deal – and figure out how to

complete it correctly and on time. One of my biggest helps is being

around other users. Exchanging tricks and shortcuts is the surest

way to keep passing the knowledge on. There are many paths to the

same result and if I don’t expand out of my comfort zone I won’t be

able to learn them.

Tina Foster

Tina Foster is a graphic artist

who has worked in the publishing

and packaging industry for over

25 years. She can be contacted at:

[email protected]

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altered pictures? In my opinion if you own the picture you can do

whatever you want with it, the end. You shouldn’t have to state that

it was digitally altered. No one questions an oil painter’s interpreta-

tion of the subject. It’s art. I believe photos are art also. If you don’t

own the picture (you have to get permission to use it) and you digitally

alter it, the photographer should always get a byline – photo by Joe

Smith, digitally altered by Kevin Brown. If it’s a stock photo – stock

photo, Getty images, enhancement by Frank Barnes. And so on.

You don’t have to be an expert to get amazing results just by

knowing some Photoshop basics, don’t be intimidated. This church

photo, for example, was taken on a very blustery fall day.

I’ve had the opportunity to work on a lot of different projects, mostly

printed material, newspapers, magazines, books, packaging. I’ve had

to remove hair, add hair, color hair, We once gave a CEO horns. The

fur filter (eye candy) is pretty cool if you want to freak out your friends.

I’ve added books to bookshelves, moved rugs, replaced a toaster

with a blender, removed nipples, taken 20lbs off a rotund belly. I’ve

given rocking chairs drop shadows and fixed fender benders. Color

correction is a special passion and one company I worked for wanted

only ‘believable’ color whereas another place did round after round of

getting just the right color to match their products. Fun stuff.

Remember all the hoopla a few years ago surrounding digitally

I shot quickly using whatever settings the camera happened to be on.

I brought it into Photoshop, Sharpened the hell out of it, did a Curves

move for the Midtones & Cloned out the electric wires, all in about 10

minutes and now it’s a shot that I can add to my library. Photoshop is

very forgiving of bad photography. You can’t fix everything but it lets

you be creative and imaginative to no end.

Photoshop has moved into the 21st century and we have too,

bringing with us Layer comps, the History brush, Smart objects and

don’t forget, the Extract filter.

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Photoshop CS3 | medium | 30 min

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1: Save the photo to your computer and open it in

Photoshop. Select from the menu: File>Open and

open the photo you are going to work on.

1

In this tutorial I will show you how to

enhance colors and contrast in a photo

and how to create a lomo vignette to get

more depth in a photo. We will learn how to

use Levels, Hue/Saturation, Layers and the

Gradient Fill. I will also show you how I work

with few layers of Levels. The reason I use

many layers of Levels is because I erase

part of each layer so each layer affects

different part of the photo. This is my way

to dodge and burn a photo.

(Note: Brush sizes in this tutorial depend

on the size of the photo, in this tutorial the

brush size is matched with an Image of

2000x2000 px)

Soffía Gísladóttir

Soffía graduated from Iceland Academy of the Arts in

2001, with a B.A. in Fine Arts, specialized in printmaking.

She has used photographs a lot in her experiments in

printmaking, weather it was lithography, silkscreen or

other printmaking methods. That has led her to work

mostly in photography now.

She studied multimedia in 2005, her main projects

today in that field are making music videos, shooting

promo shots for bands and designing cd cover and

websites. Soffia currently lives in Reykjavik, Iceland.

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2: Click on Create new fill or Adjustment layer button in

the Layers window and choose Levels (or in the menu

bar Layers>New Adjustment Layer>Levels).

Adjust the three arrows on the slider for the Input

Levels, typing these values: 33, 1, 45 and 223. Click

OK. Rename the layer Contrast for mountains and

sky. To rename a layer you double click on the layer´s

name in the layers window with the mouse, this time

the layers name is Levels 1. Pick the Eraser tool and

make the brush soft in around 600 pixels, the Opacity

40% and Flow 100%.

Erase the clouds to bring back the details in the

clouds.

TIP: To see the difference you can turn the layer

on and off by clicking on the eye icon on the left

next to the Contrast for mountains and sky layer.

2A

2B

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2C

Page 29: Photo Retouch Become Amaster Psd 11 2010

Erase the whole sky. Go to Create new fill or Adjust-

ment layer in the Layers window and choose

Levels (or in the menu bar Layers>New Adjustment

Layer>Levels).

Adjust the three arrows on the slider for the Input

Levels, or type these values: 20, 0, 80 and 238. Click

OK. Rename the layer Contrast for clouds. Pick the

Eraser tool and make the brush soft in around 600

px and the Opacity 100% and Flow 100%. Erase the

mountains.

TIP: Use different opacity, from 10-30 % on the

Erase brush to avoid obvious eraser marks.

3: Go to Create new fill or Adjustment layer in the Layers window and choose Bri-

ghtness/Contrast (or in the menu bar Layers>New Adjustment Layer>Brightness/

Contrast). Typing these values: +20 in Brightness and +87 in Contrast. Click OK.

Rename that layer Contrast for mountains.

Pick the Eraser tool and make the brush soft in around 900 pixels and the Opa-

city 100% and Flow 100%.

4: Go to Create new fill or Adjustment layer in the Layers

window and choose Hue/Saturation(or in the menu bar

Layers>New Adjustment Layer>Hue/Saturation). We

only want to change the blue tones. Choose Blues

and type these values: -21 in Hue and -24 in Satura-

tion. Choose Cyan and type these values: -17 in Hue

and -47 in Saturation. Click OK. Reame the layer Hue/

Saturation.

3

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4A

4B

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5: Now we will make a lomo vignette to add more dra-

matic feel to the photo. In Menu bar go to Layer>New

fill layer>Gradient. Name it Vignette and click OK. In

the Gradient Fill window type in the following values:

Style: Radial, Angle: 90, Scale:100 %, Reverse and

Align with layer should be checked.

Open Gradient Editor. Do the following: Left Color Stop

should be black, right Color Stop should be white, left

Opacity Stop is 80%, right Opacity Stop is 0%. Click

OK and again OK to close the Gradient Fill window.

Change the layer to Overlay and Opacity to 78%

Erase all parts of the vignette layer where you find it

too dark. I erased most of the mountain and part of

the sky. I use a big (800 - 1200 pixels) soft brush with

different opacity on the brush from 30 - 60 %. That´s

it! Now you can try again with your own photos, play

around until you are happy with the result.

5A

5C5B

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Photoshop CS5 | medium | 60 min

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Ylenia Peronti

I’m 19 years old italian artist. From 3 years I have a

passion for photo retouch and generally for phtoshop so

I started to practice retouch first on what I call «extreme

makeover», as described in this tutorial, and then devot

himelf to studying professional photo retouching refining

technical professional and actually retouch fashion

shots. I’m supermoderator in the Forum Graphics www.

graficicreativi.com and I manage especially the section of

photoretouch. you can find me at the following links:

www.yleniaperonti.wordpress.com

http://yleniuccia.deviantart.com/

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1: Open the picture, duplicate background layer and

rename it in Healing. Select from the tools panel the

Healing brush tool and remove all the imperfections of

the skin as spots, pimples or little wrinkles. Then select

the Clone stamp tool and with a size of 30px, define

the lip contour, cloning parts of lips with a single, con-

tinuous movement.

2: Now duplicate the Healing layer and call it High pass.

Go in Filter>Other>High pass and set the radius on

10,0 px. Press Ok.

Set the blending mode of the layer to Overlay and

add a layer mask filled with black to this layer (Menu:

Layer>Layer mask>Hide all). Using a white brush with

a size of about 300px, paint in the blurry zone and the

parts of the face that you want make more defined.

Then reduce the layer’s Opacity (to 60% for example)

to soften the image and give it a natural aspect.

1A

2A

1B

2B

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3: Now create a new group and call it Skin.

Create a stamp of the layers (shortcut:

[Alt]+[Ctrl]+[Shift]+[E]), duplicate this layer

and move the two layers into the group Skin.

Rename the layer below Blur and the layer

above: High pass.

In the layer High pass, apply the High pass

filter with a radius of 5px and press Ok. Set the

blending mode of this layer to Soft light and go

to Layer>Layer mask>Hide all. Now paint with

a soft white brush only on the skin. Select Blur

layer and go to Filter>Blur>Gaussian blur and

set the radius to 60px; press Ok. Now apply a

layer mask as we did in the High pass layer,

and paint the skin again (with white). Lower

the Opacity of this layer to about 55%, to

obtain a natural result.

4: Now the finishing regulations. Create a new group and

call it Adjustments. Create a new Selective color layer

adjustment (Layer>New adjustment layer>Selective

color) and set these values: Colors: Red: Cyan +28%;

Magenta +7%; Yellow +4%;

Create a new curves layer (Layer>New adjustment

layer>Curves) and create a curve like this to illuminate

the picture.

Finaly, create a new levels adjustment layer

(Layer>New adjustment layer>Levels), from the drop-

down menu select Increase contrast1 and you should

obtain the final result.

3A

4A

3B

4B

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In this tutorial we will cover Vanishing Point filter. This filter has been

in Photoshop for few versions now with some modifications, but it

is somewhat underappreciated because it allows you to do many

different things. The main thing it allows you to do is to match the

perspective of the scene. What we have here is a picture of a hall at

the airport terminal in Munich. It has sort a dull look with all those

white unappealing walls. As a matter of fact any picture presenting

similar perspective like underground tunnel, subway tunnel, etc. will

be sufficient enough for this lesson. The end result will be a panoramic

shots of pictures on the wall and then reflecting them of the floor.

Tomasz Lisikiewicz

For the last few years photography has been my passion.

First it started as a hobby, and now I do work as a

freelancer. The more challenging the project, the more fun

I have. Wedding photography is my main focus, but not

only. My spare time is completely devoted to Photoshop,

one of the best set of tools for photographers by far.

Contact: [email protected]

Photoshop CS3 | medium | 45 min

Page 37: Photo Retouch Become Amaster Psd 11 2010

STEP 1: Select the picture you would like to place

on the wall. This is a picture of Rosneninsel

on the Starnbergersee near Munich. Pic-

ture was taken in October to capture the

colors of the fall. They should nicely warm

up that cold, white wall of the terminal.

STEP 4: Move to the picture you will be working

with. In my case the hall at the terminal.

Create a layer and call it (as an example)

Pictures.

STEP 2: From the menu Select, choose an option

All and you should see “marching ants”

around the picture

STEP 3: From the Edit menu select Copy or use the

keyboard shortcut [Ctrl]+[C].

1

4

2

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STEP 5: Make sure that the Layer called Pictures is selected,

and from the Filter menu select Vanishing Point.

Vanishing Point looks at all the layers at the same

time, but it will deliver the result only on the selected

layer. Vanishing point is one of the few functions in

Photoshop which opens up an independent utility. It is

like a little program running within Photoshop.

STEP 7: Now it is the time to bring the other picture in. To do

that, you need to use the keyboard shortcut [Ctrl]+[V]

to paste the picture in. In the menu, Paste command

is totally dimmed, and that is the feature of Vanishing

Point.

STEP 6: From the left side tool bar select Create Plane tool,

and click the left button of your mouse in each corner

to create a grid. Use the control points to position and

to size the plane to where you want it to be.

STEP 8: Select Transform tool, and start placing the picture

in the plane. With the Transform tool you will be able

to resize and position the picture precisely where

you want. Once you have the first picture positioned

and adjusted, press [Shift]+[A]+hold the left mouse

button and drag the picture along the grid to the next

location. Be careful here, you can only make adjust-

ments to one picture at the time. Once the picture

is dragged to the new location you will only be able

to make any adjustments (size and position) to the

copied one. So first adjust the first location and then

copy to the next one.

5

7

6

8

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STEP 9: Press [OK], and now it is a time to start working on

the reflection on the floor. Create a new layer called

Reflection, highlight that new layer and from the Filter

menu select Vanishing Point again. Using one of the

control point, drag the plane directly down.

STEP 11: As you see on the above picture, the reflection is totally

wrong. We need to turn it around. Select Transform

tool and click inside the box Flop to see this. Next click

[OK]. If the reflection still needs some adjustments use

Free Transform tool to position the reflected image.

STEP 10: Now is the time to use Marquee tool within Vanishing

Point. The great thing about this tool is that is sub-

scribes to the perspective of the scene. That is also

the only selection tool in this filter. With Marquee select

the pictures and press and hold [Shift]+[Alt]+hold left

mouse button and drag the selection to the lower part

of the plane.

STEP 12: We can reduce the opacity of the reflected image to

about 30% or whichever looks good for you. However

we can still see a hard age of the image on the floor.

To reduce or eliminate that hard edge of the reflection

we need to create a mask and the next few steps will

explain that process.

9

11

10

12

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STEP 13: What we need to do here is to create a gra-

dient, then we will take it into Vanishing

Point to add perspective there, and then we

will turn it into mask. It may sound strange,

but it actually works. So let’s start with the

gradient. Create a layer called Gradient

and with the use of Gradient toll make a

selection.

STEP 15: Click [OK] in Vanishing Point. Now we got

something what wants to be a mask. But

we can just drag it into Reflection layer, it

will not work. What we need to do instead

is to turn this gradient into selection. Now

click on the reflection layer. What we want

is white going into black (gradient) and the

rest should be all black. This is going to

serve as a Mask for now. Create a layer

called Black, and with the background color

selected as black press [Ctrl]+[Backspace]

to fill the picture. It should look like this.

STEP 14: Select the gradient you just created (you

should see “marching ants” around it), next

from the Edit menu select copy. Highlight

the Reflection layer created earlier and

make another layer. Let’s call it a Layer

1. Highlight that layer and from the Filter

menu select Vanishing Point again. In

Vanishing Point use [Ctrl]+[V] to paste ear-

lier selected gradient. Then with Transform

tool place the gradient over the reflection.

Remember that in masking black hides and

white reveals. Picture should look like this.

13

15

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STEP 16: Now open up Channels palette. Press and

hold [Ctrl] and select RGB. It should look

like this.

STEP 18: Highlight Reflection layer and create a

Mask from the selection. As you see the

hard edge is gone, and we have now nice

dissipating reflection of the picture on the

floor. I hope you had fun and enjoyed this

tutorial. Remember, play, experiment and

practice. That is the best way to learn.

STEP 17: Return to the layers palette, and turn off

Gradient, Layer 1, and Black. It should look

like this.

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18

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Photoshop CS4 | medium | 40 min

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1:Choosing stock. I’ve chosen a beautiful background image and a pic-

ture of a model, both of which are perfect for a fantasy manipulation.

You will also need bird brushes and hair brushes.

2:As our background is ready and it doesn’t need any changes, let’s

start with the model. Open the picture as a separate image, identify

layer from background in your layer manager. Then start erasing the

background with a medium-soft brush at 100% Opacity. When you

finish, paste the model onto the main (background) image.

1

2

This tutorial will teach you how to create a fantasy manipulation which has a concept behind it.

Natalia Voloshyn

I’m a 21 years old master student from a

beautiful city of Lviv, Ukraine. Though my

occupation (I’m a linguist) can hardly be

called arty, I’ve been madly in love with

Photoshop and photography for nearly 3

years. Being an artist is an amazing feeling.

You can find more of my work at:

http://voloschka-photo.deviantart.com/

http://voloschka.deviantart.com/

Page 44: Photo Retouch Become Amaster Psd 11 2010

3:Paint the grass over the bottom of the model’s dress to

make it look more realistic. Clone stamp tool can help

you with this, or you can just do it using a Brush tool.

5:Our model image stands out from the background not

in the good way. It seems too bright for our dark fan-

tasy picture. Go to Image>Adjustments>Vibrance and

set Saturation to a lower level.

4:Let’s add some vamp make-up to our model. Use soft

brush at medium Opacity to do this. You can experi-

ment as much as you want. Just don’t forget to create

a separate transparent layer and then paint. This will

help you in case you make mistakes.

3

5

4

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6:Paint the hair. You can paint it either from scratch or

use hair brushes. Remember that hair strands are

usually of slightly different shades of color. When you

finish, use Smudge tool to make your hair appear

more natural.

6

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8:Merge visible layers.

7:Add birds. Use bird

brushes and experi-

ment with the size of the

brush to make the flock

look more realistic.

9:Go to Image>Adjustments>Curves and set both Input and Output to 255.

7

9

Stock Credits

Model http://faestock.deviantart.com/

Background http://fairiegoodmother.deviantart.com/

Hair brushes http://wcs-wildcat.deviantart.com/

Bird brushes http://redheadstock.deviantart.com/

45 .psd 11/2010 | www.psdmag.org/en

8

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Photoshop CS3 | avanced | 30 min

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1: Create a blank document and open the image entitled hill.jpg then

isolate the hill part and import it to the document. Press [Ctrl] + [T] to

transform layer and select Flip Horizontal then Flip Vertical to change

the direction of hill, again transform layer and select Warp to adjust

the shape of layer.

2: After warping image, it may lose some finer details and

look a little blurred. To fix it, duplicate the hill layer and go to

Filter>Sharpen>Sharpen More to sharpen the image.

1 2

Fantasy scene has always been difficult to create with

great details. In this tutorial I will show you how to

create a dreamy flying land scene by using various

basic Photoshop techniques such as masking, color

corrections, path layers. You will learn about creating

some complexed and photorealistic things by combining

various objects and effects.

Narendra Keshkar

Born in 1984 at Uttar Pradesh, India, Narendra

Keshkar is a digital artist, graphic designer,

blogger and tutorial writer. He started his career

as a graphic designer in 2006, in 2009 he

left his job and started full-time freelancing to

provide better services to his clients. Recently

he won silver award in most prestigious

Mediabistro Logo Award 2010 for his personal

brand identity and being interviewed at psdfan.

com. “Think, Act, Invent – that is my design

process!” You can see more of his work at

http://www.narendrakeshkar.com

Page 48: Photo Retouch Become Amaster Psd 11 2010

3: Create upper surface of land by using land1.jpg and land2.jpg. Clip

mask both layer to upper surface, mask the outer part of land1.jpg and

center part of land2.jpg. In upper land, add a Hue/Saturation adjust-

ment layer; change its Hue to +3 and Saturation to -31 to match the

upper land color with whole flying land. On lower part add another Hue/

Saturation layer with Hue + 11, Saturation -29 and Lightness: +1.

4: Download some crack brushes from various website like brush-

eezy.com and then add some cracks to the surface of upper land.

Press [F5] to access brush panel and change its rotation, size to

create precise cracks of the surface. Select the land surface layer,

go to Layers>Create Clip Mask or press [Alt]+[Ctrl]+[G] to mask the

unwanted area and add some more rocks on lower part to give it more

realism. Now import clouds.jpg to add cloudy sky to the background.

5: Similarly add some more cracks on the lower part of land. Now to

extend the lower part, press [P] and select some rocks in the lower

part and then press [Ctrl]+[J] to isolate these rocks to extend lower

part. Make sure to turn Shape Layers option on, this will save your

selection as shapes so that you can access any selection any time.

3

4

5

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6 7

8

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7: Next, import the earth.jpg, remove its background and place it pre-

cisely on land. Select a large brush of Softness – 100% and Round-

ness – 20%, select foreground color black and create earth’s shadow

on land.

6: Now we have isolated some rocks to extend the lower part. Duplicate

various rock layers, transform, rotate, change size of the rocks and

place them accurately to precisely extend lower part. Spread some

rocks around the land in the sky to give it more natural look.

8: Add Selective Color adjustment layer with these settings: cyans:

Cyan -36, Magenta -53, Yellow -8, Black 0, blues: Cyan +92, Magenta

-100, Yellow -78, Black 0.

9: Now I want to give it hollow egg type look in which I will remove top

portion of earth. Press [B] to select Brush tool and add some cracks

to the top of earth to create a clear lining from where we have to

remove top part. Add some cracks to the bottom to give it crushed

look from bottom.

9

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10: Remove the top portion of earth from crack lining, [Ctrl]+Click on

earth to get its selection after removing top portion, then create a new

layer and fill this layer with color #746858. Name this layer Brown,

shift this layer slightly up from earth, then [Ctrl] + Click on earth layer

and press [Delete] key to remove unwanted area of brown layer. Add

some shadows and cracks to match with earth surface.

11: Similarly create the back part of the earth’s

opening, select crack brushes and create

a lining of the back part to give it natural

look. Select a soft brush of size 200px,

select foreground color to black and create

shadows on earth back part.

12: Now I want to add an octopus arm coming through the earth’s sur-

face. For this select crack brushes and create a hole on the earth’s

surface. Fill the hole with color #685a4b and name this layer brown_

hole. Apply Inner Glow layer style of Size 20px and Opacity 50% to

this layer. Duplicate this layer, fill with black color, press [Ctrl]+[T]

to transform layer and make it a little smaller than the brown layer.

Name this layer black_hole.

10

11

12

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13: Next open the octopus.jpg, isolate its arms and place

with arm hole. Add shadows to make scene more real-

istic, add another arm coming out from top portion of

earth. Add Hue/Saturation adjustment layer to the arm

layer with Hue +18, Saturation -18 and Lightness 0.

Darken some part of arm near the hole to give it more

realistic look.

15: Now we are adding some more details to the scene

to make it more natural. Add some rocks, enlarge

them and go to Filter>Blur>Gaussian Blur. Add blur of

Radius 10 px to each rock. Set these rocks to corners

partially visible to the scene, import some aircraft to

the file and precisely arrange them into the scene so

that they can merge with scene easily.

14: To add some shadows to the flying rocks and flying

land group all the layers except the sky layer. Press

[Ctrl]+[Shift]+[E] to merge these layers. Press [Ctrl]+click

to this layer, create a new layer and select a soft brush

of color black to add shadows on the rocks and land.

Select all layers except sky layer, merge them, set the

blending mode to Soft Light and Opacity to 60%.

13

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15

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16: Next, select flowing land merged layer, duplicate it, and transform it to reduce its size. Press [F7] to access layer palate and click to the Add

layer mask icon at the bottom of layer palate. Now select a soft brush, press [D] to set foreground and background color black and white, than

mask some area to merge it with clouds.

Earth http://www.sxc.hu/browse.phtml?f=view&id=909780

Wood peacker http://www.sxc.hu/browse.

phtml?f=view&id=1009403

Nest http://www.sxc.hu/browse.phtml?f=view&id=762874

Octopus http://maxxitaly.deviantart.com/

gallery/8714728?offset=48#/d1yz410

Clouds http://www.shutterstock.com/pic.mhtml?id=14799172

Rock http://cocacolagirlie.deviantart.com/

gallery/966086?offset=48#/d19belt

Hill http://aussiesteve-stocks.deviantart.com/gallery/#/d1e70w9

land 1 http://night-fate-stock.deviantart.com/art/desert-28-

173280763?q=gallery%3Anight-fate-stock%2F24560601&qo=7

land 2 http://night-fate-stock.deviantart.com/art/desert-12-

138336044?q=gallery%3Anight-fate-stock%2F24560601&qo=36

aircraft 1 http://www.sxc.hu/browse.phtml?f=view&id=525060

aircraft 2 http://www.sxc.hu/browse.phtml?f=view&id=623078

17: We have almost completed the tutorial, just need to add some more

details to the scene. Open woodpecker.jpg and nest.jpg. Add wood-

pecker and nest to the scene after removing their background.

Group all layers and merge this group, then rename this layer scene.

Duplicate the scene layer and apply Gaussian Blur of Radius 10

px. Add a layer mask to the layer, set brush Opacity to 60% and

hide the blur effect from main elements of the scene like earth,

flowing land, aircrafts, etc., hide the blur effect wherever needed

then set its Opacity to 60%. Again duplicate the scene layer, go to

Image>Adjustments>Desaturate to desaturate the layer. Apply Gaus-

sian Blur of size 10 px and set its blending mode to Soft light and

Opacity to 40%.

18: This is the last step of tutorial in which we will add some effect to the

scene. Select a large soft brush and paint on a new layer with vibrant

blue, green, red, yellow, orange colors. Set its blending mode to Soft

light and Opacity 40% and we have finished this tutorial, this is the

final result.

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16