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Adobe Photoshop CC Tutorial - Color Splash Effect (For Beginners)

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https://youtu.be/mCWnRE42wys

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•https://www.youtube.com/watch?v=o1p841FcEzM

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https://www.youtube.com/watch?v=g1Yija_JEHg

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https://www.youtube.com/watch?v=Wmxf3m2o13k&t=484s

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https://www.youtube.com/watch?v=gb6xGKxRpP8

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Color Toning

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https://www.youtube.com/watch?v=5TMhWWBL8pw

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BrennanC

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One of the easiest and most common techniques that photographers use to make their photos look more interesting and professional is to use a shallow depth of field. Depth of field refers to the distance between the nearest and farthest parts of an image that appear sharp or in focus. When a photo has a shallow depth of field, only a small portion is in focus, while the rest is blurry.

It may seem a bit counter-intuitive that photographers purposefully create mostly-blurred photographs; however the shallow depth of field effect is actually closer to the way we see with our eyes. As you look at this page, for example, only the text is in focus, while everything else in your vision blurry.

Taking photographs that have shallow depth of field usually requires a nice lens, or at least, an expensive camera. However, it is possible to digitally simulate shallow depth of field using Adobe Photoshop.

This tutorial will show you how to add visual interest to your photographs by creating a shallow depth of field effect using 3 different techniques: the Iris Blur tool, the Lens Blur Filter & Depth Maps, and Photoshop Plugins.

Method 1: Iris Blur

The Iris Blur tool is the quickest way to give your photographs the appearance of shallow depth of field. This technique does not offer as much customization as the other two methods; however, it does a pretty good job, and it only takes about 2 minutes.

Step 1: Right-click the layer "Background" in the Layer's box. Select "Duplicate Layer" and name the new layer "Blur Effect."

Step 2: Select Filter > Blur > Iris Blur This will open the Blur Gallery tool with the Iris Blur tool selected and a default Iris Blur will be placed on your image. Move the circle in the center to the part of your image that you want to stay sharp. For my photo, I wanted the young woman and the edge of the cliff to remain in focus.

Step 3: Click and drag the outer edge of the selection to change the size of the blur. Click outside of the selection and drag diagonally to rotate the selection. Everything outside of the selection is called the "Blur Area," since this part of the image will receive the full intensity of the blur effect. If you want more of your photo to be intensely blurred, make the selection smaller and the area outside of the selection bigger. Make the selection touch the edges of your image, leaving only the corners outside of the selection, for a gradual, more subtle effect.

Step 4: Move the little white square in the upper-right to make the selection more rectangular or elliptical. I chose to keep the selection elliptical so that the corners would be more intensely blurred.

Step 5: Adjust the handles that look like little white circles to frame which part of the photo you want to stay sharp. The area between these handles and the selection is called the "Fade Area." In the Fade Area, the photo will gradually change from sharp to blurry. The area within the handles is the "Sharp Area," and will remain in full focus. The smaller you make this area, the shallower the depth of field will appear.

Step 6: Adjust the intensity of the blur. You can do this either by clicking inside of the thin circle in the center and dragging clock-wise, or you can use the "Blur" slider on the right. If you want to achieve a macro, or extreme "close-up" effect, you can apply a more generous blur (34 px +), but for most other types of photographs, a subtle blur of 15 px or less will look more authentic.

Step 7: If you want to brighten the "Blur Area" of the picture, head over to the Blur Effects box and adjust the "Light Bokeh" slider. This tool is especially useful for photographs taken at night or indoors. Adjust the "Bokeh Color" slider to increase the vividness of the colors in the lightened areas. Adjust the Light Range sliders to select the range of tones Blur Effects settings will affect. I chose to leave the Blur Effects settings at zero for this particular photo.

Step 8: Click the box at the top next to "High Quality" so that Photoshop will render a full-quality blur. You can click anywhere else on the image if you would like to create additional Iris Blur filters. Once you are happy with your settings, click OK.

Voila! Instant shallow depth of field!

Method 2: Lens Blur Filter & Depth Map

Creating a depth map to use with the Lens Blur Filter is a bit more complicated; however, it will allow you to apply different amounts of blur to different parts of the photo, which in the end looks much more realistic.

Step 1: Create (Ctrl+Shift+N) and name it "Gradient." Set the Opacity to 50%. Press G to activate the Gradient Tool. If the Paint Bucket Tool is selected instead, right-click the Paint Bucket Tool icon and select Gradient Tool. Make the foreground color Black and the background color White.

Step 2: Starting on the edge of the part of the photo that you want to stay in focus, click while holding Shift (to make a straight line) and drag across the image toward the area that you want to blur. Keep in mind that areas that are black will be 100% transparent (i.e. they will not receive a Lens Blur effect); areas that are white will be 100% visible (i.e. they will receive a Lens Blur Effect); and areas of grey that are lighter will be more visible while areas that are darker grey will be more transparent.

For my photo, I chose the "Reflected Gradient" option at the top of the screen, and I clicked-and-dragged across the middle of the photo (from top-to-bottom) to keep the middle Black and to make the photo fade to white toward the edges. The whiter areas of the photo will receive a more intense blur, while the blacker areas will receive a weaker blur. When you are finished, change the Opacity of the layer to 100% and select the small eye icon to temporarily hide the layer.

Step 3: Create a new layer (Ctrl+Shift+N) and name it "Subject." Press B to activate the Brush Tool and change the brush settings to ~ 100 px Size and 0% Hardness. With Black set as the foreground color, color over the subject of your image, or the part that you want to remain in focus. If you feel uncomfortable with coloring freehand, you can press W to select the Quick Select Tool, select the Background layer, and repeatedly click around inside of the subject to make a selection of the subject. Then, you can color over the selection on the Subject layer with the Brush tool. For my photograph, I used the quick selection tool to select the top edge of the rock and the young woman. I then filled in the selection with Black using the Brush tool.

Step 4: If there are secondary subjects in your photo that you want to be partially focused, you can use this same technique, but color them gray. Remember that the darker the grey, the more in-focus the subject will be. If you do not have secondary subjects, skip this step.

Step 5: Set the Opacity of the "Subject" layer back to 100%. Click the small eye icon to un-hide the "Gradient" layer. Right-click the "Subject" layer and select "Merge Down." Press Ctrl+A to select the entire image and press Ctrl+C to copy the image. Press the little eye icon to hide this layer.

Step 6: Select the Channels tab in the Layer box. Click the icon at the bottom that says "Create new channel" when you hover over it. Press Ctrl+V to paste the merged Gradient + Subject layer. Click the little eye icon next to the Alpha 1 channel to hide it.

Step 7: Click the Layers tab and right-click the Background layer and select Duplicate Layer. Name the new layer "Lens Blur."

Step 8: Select Filter > Blur > Lens Blur. Select the "Faster" option and make sure the box next to Preview has a check in it. In the Depth Map section, choose "Alpha 1" in the drop-down menu next to Source. This will apply the depth map that you created in the Channels tab. Notice how the areas that you colored black do not receive the blur, while the areas that were closer to white are more greatly affected by the blur.

Step 9: Adjust the sliders in the Iris section to specify the size and shape of the artificial camera lens's aperture. I chose to leave the default settings, except for the Radius, which I changed to 62 to increase the intensity of the blur. Click Ok.

Compare the images below to see the final effect:

Method 3: Plugins

In addition to using built-in Photoshop filters, you can also create shallow depth of field with plugins. Plugins are quick and easy to install and convenient to use.
Plugin 1: Alien Skin Bokeh 2
Step 1: Follow the instructions on the Alien Skin website to download and install the Alien Skin Bokeh 2 plugin.

Step 2: Open your image in Photoshop. Right-click the Background layer. Select "Duplicate Layer" and name the new layer "Alien Skin Bokeh 2." Go to Filter > Alien Skin Bokeh 2 > Bokeh . Click the drop-down menu next to the "Fit" box and select the last icon in the list. This option will display a preview of what the effect will look like on the left side and what the original looks like the the right so that you can compare.

Step 3: Select the Bokeh tab. If you want your blur to have a circular shape, click the "Add Radial" button. If you want your blur to follow along a line, select "Add Planar." I chose to use the "Add Planar" option.

Step 4: Move the square in the middle of the preview window so that it is even with the part of the image that you want to stay sharp.

Step 5: Adjust the "Bokeh Amount" slider to increase or decrease the intensity of the blur. I chose 15 for my image so that the blur would be more subtle. If you want to add movement distortion to the blur, you can adjust the slider under zoom-just don't increase this value so much that the blur is no longer gradual.

Step 6: Select the Vignette tab to make the edges of the photo darker. Often, real camera lenses create vignetting on photographs that have shallow depth of field, so this setting will increase the intensity of the effect. Select a "Natural" shape for the vignetting, and move the slider under Amount to the left so that the corners and edges of the photo become darker.

Step 7: Adjust the Size slider to make the Vignetting effect cover more or less of the photo (a lower value will affect more of the photo, and a higher value will affect less). Adjust the Roundness slider to control how circular the Vignetting effect is. Choose a high value for Feather (I chose 85) to create a softer, more realistic Vignetting effect.

Step 8: Feel free to play around with the rest of the settings on the Plugin. Pay attention to the before and after preview of the image to create a depth of field effect that is both dramatic and subtle. Press OK when you are happy with your settings.
Plugin 2: DOF Pro
Step 1: Download DOF Pro from the DOF Pro website and follow the instructions in the manual to install the plugin.

Step 2: Create a depth map of your image. To do this, head over to the "Lens Blur Filter & Depth Map" section of this tutorial and follow steps 1 through 6. Save the depth map as a JPEG.

Step 3: Right-click the Background layer and select Duplicate Layer. Name the new layer "DOF Pro Filter Effect." Select Filter > DOF Pro > DOF Pro.

Step 4: In the Depth section, change the Mode to "Depth Map" and click the Load button. Select the depth map file and click Open. This will apply the depth map that you created earlier to the blur filter. Click the "Invert" button to load the Depth Map properly.

Step 5: Increase the amount of blur by moving the Size slider in the Aperture section. You can also change the shape of the aperture using the drop-down menu. I chose to use a Circle shape and I set my blur value at 28.2 to add strong blur. Adjust the other settings to experiment with different levels of grain and highlights. Once you are happy with your image, click OK.

Before & After DOF Pro Plugin Effect:

Not sure which method you want to use? Here are all of the images together for comparison. Choose the image that looks most appealing to you, and follow the corresponding section of the tutorial to achieve the effect.

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How to Digitally Add Shallow Depth of Field

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One of the easiest and most common techniques that photographers use to make their photos look more interesting and professional is to use a shallow depth of field. Depth of field refers to the distance between the nearest and farthest parts of an image that appear sharp or in focus.

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Color Toning

�https://youtu.be/DbLdx

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turn a photo into a collage of polaroids

�https://www.youtube.com/watch?v=v00Lcfn7e9c

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Here's an image I've opened on my screen. I downloaded it from Adobe Stock, but you can easily follow along with any portrait photo:

Applying Liquify As A Smart Filter

If we look in my Layers panel, we see the image sitting on the Background layer:

The Layers panel showing the photo on the Background layer.

In a moment, I'm going to apply the Liquify filter to my image. But if we apply a filter directly to a normal layer in Photoshop, the filter will be applied as a static filter, which means we'll be making permanent changes to the image. A better way to work is to keep the filter settings fully editable, and we can do that simply by applying the filter not to a normal layer but to a Smart Object.

To convert the layer into a Smart Object, click on the small menu icon in the top right corner of the Layers panel:

Clicking the Layers panel menu icon.

Then choose Convert to Smart Object from the menu that appears:

Selecting "Convert to Smart Object" from the list.

Nothing will seem to have happened to the image, but if we look again in the Layers panel, we now see a Smart Object icon in the lower right of the preview thumbnail. This icon tells us that the layer has in fact been converted to a Smart Object:

The new Smart Object icon.

Now that we've converted the layer into a Smart Object, any filter we apply to it will automatically be converted into a non-destructive Smart Filter, which means that the effect will remain fully editable even after the filter is applied. To apply the Liquify filter, go up to the Filter menu in the Menu Bar along the top of the screen and choose Liquify:

Going to Filter > Liquify.

This opens the Liquify filter's dialog box, which is made up of the main image area in the center, a Toolbar along the left and a whole bunch of options in the Properties panel along the right. We won't be covering everything there is to know about the Liquify filter here. Instead, we'll focus specifically on the new Face-Aware Liquify features:

The Liquify filter dialog box in Photoshop CC.

The Face-Aware Liquify Sliders

As I mentioned earlier, there are two new additions to the Liquify filter in Photoshop CC 2015.5; a new Face Tool located in the Toolbar, and a new set of sliders for controlling different areas of a person's face. We'll start with the sliders which are found in the new Face-Aware Liquify section of the Properties panel on the right:

The new Face-Aware Liquify section.

At the moment (at least for me), the section is closed. To twirl it open, click on the triangle to the left of its name:

Twirling open the Face-Aware Liquify section.

When the Face-Aware Liquify section opens, we find four main categories, each targeted to a different area of the face. Starting from the top, we have the Eyes, followed by the Nose, then the Mouth, and then the overall Face Shape:

The Eyes, Nose, Mouth, and Face Shape categories.

Eyes

Let's start with the eyes. I'll twirl the Eyes category open by clicking on the triangle to the left of its name. You can click the same triangle again later on if you need to close a category to save space on your screen. Here we find a series of sliders, each controlling a different property of the eyes. Again from the top, we have Eye Size, Eye Height, Eye Width, Eye Tilt, and Eye Distance. By default, the sliders are all set to a value of 0 in the center, which means they're currently having no effect on the image:

The five sliders for the eyes (Size, Height, Width, Tilt, and Distance).

All of the sliders in the Face-Aware Liquify section, not just for the eyes but also for the nose, mouth, and face shape, share the same range of values. We can drag them toward the right to a maximum value of 100, or we can drag them toward the left to a maximum value of -100. Dragging a slider back to the center will reset it to 0. Of course, each slider controls a different aspect of the face, so let's see what each one does.

Eye Size

The Eye Size slider increases or decreases the overall size of the eyes. If we drag the slider to the right, we make the eyes larger:

Dragging the Eye Size slider to the right.

And if we drag the same slider toward the left, we make the eyes smaller:

Dragging the Eye Size slider to the left.

Here's a comparison showing the effect that each setting has on the image. I'll use a similar comparison for each of the sliders as we go along. The image in the center shows the slider in its default center position (with a value of 0, where it has no effect). The version on the left shows the result of the slider when dragged all the way to the left (to its maximum value of -100). The image on the right shows the effect with the slider dragged all the way to... you guessed it, the right (to its maximum value of +100). So, left image = slider left; center image = slider center; right image = slider right.

Of course, you don't need to drag the sliders all the way to their maximum values. Lower values will give you more subtle results. It's just easier for us to see the effect at the maximum settings, so that's what I'll use:

Eye Size = -100 (left); Eye Size = 0 (center); Eye Size = +100 (right).

Eye Height

The Eye Height slider expands or contracts the eyes vertically. Drag the slider to the right to expand their height, or to the left to contract it. Again, here's a comparison of the effect, with the left image showing the result of the slider dragged all the way to the left at -100, the center image showing the slider in the center position at 0, and the right image showing what happens with the slider dragged all the way to the right at +100:

Eye Height = -100 (left); Eye Height = 0 (center); Eye Height = +100 (right).

Eye Width

The Eye Width slider expands or contracts the eyes horizontally. Dragging to the right expands their width, while dragging to the left contracts it. You'll notice as we go along that some of the sliders give us more subtle results than others, even at their max settings:

Eye Width = -100 (left); Eye Width = 0 (center); Eye Width = +100 (right).

Eye Tilt

The Eye Tilt slider adjusts the angle of the eyes. Dragging to the right tilts the eyes down and inward, while dragging to the left tilts them in the opposite direction, making them look more "droopy":

Eye Tilt = -100 (left); Eye Tilt = 0 (center); Eye Tilt = +100 (right).

Eye Distance

The Eye Distance slider adjusts the amount of space between the eyes. Drag to the right to push the eyes farther apart, or to the left to bring them closer together:

Eye Distance = -100 (left); Eye Distance = 0 (center); Eye Distance = +100 (right).

Nose

Next up, we have the Nose category with just two sliders, Nose Height and Nose Width:

The two sliders for adjusting the nose (Height and Width).

Nose Height

Both of these sliders are pretty straightforward. The Nose Height slider adjusts the length of the nose. Drag the slider to the right to shorten it, or to the left to make it longer:

Nose Height = -100 (left); Nose Height = 0 (center); Nose Height = +100 (right).

Nose Width

The Nose Width slider expands or contracts the width of the nose. Dragging to the right makes the nose thinner, while dragging to the left makes it thicker:

Nose Width = -100 (left); Nose Width = 0 (center); Nose Width = +100 (right).

Mouth

Next, I'll twirl open the Mouth category, where we find sliders for adjusting the Smile (more on that in a moment), the Upper Lip, Lower Lip, the Mouth Height, and the Mouth Width:

The five sliders for the mouth (Smile, Upper Lip, Lower Lip, Mouth Width, Mouth Height).

Smile

One of the more interesting sliders in the Face-Aware Liquify section is Smile, which increases or decreases the curve of the person's mouth. To increase it, bringing out more of a smile, drag the slider to the right. To decrease the curve and add more of a frown, drag to the left:

Smile = -100 (left); Smile = 0 (center); Smile = +100 (right).

Upper Lip

Use the Upper Lip slider to adjust the thickness of the upper lip. Dragging to the right makes it thicker, while dragging to the left makes it thinner:

Upper Lip = -100 (left); Upper Lip = 0 (center); Upper Lip = +100 (right).

Lower Lip

The Lower Lip slider does the same thing but for the lower lip, and it works in the opposite direction. Dragging to the right will make the lower lip thinner. To make it thicker, drag to the left:

Lower Lip = -100 (left); Lower Lip = 0 (center); Lower Lip = +100 (right).

Mouth Width

The Mouth Width slider expands or contracts the mouth horizontally, making it appear wider (dragging to the right) or more narrow (dragging to the left):

Mouth Width = -100 (left); Mouth Width = 0 (center); Mouth Width = +100 (right).

Mouth Height

The Mouth Height slider will expand the mouth vertically by dragging to the right, and contract it vertically by dragging to the left. Keep an eye on this one, though, as dragging too far to the right can sometimes stretch the lips too far and cause weird patterns or artifacts:

Mouth Height = -100 (left); Mouth Height = 0 (center); Mouth Height = +100 (right).

Face Shape

The last (but by no means the least) of the four Face-Aware Liquify categories is Face Shape, with sliders for adjusting the Forehead, the Chin Height, the Jawline, and the Face Width. Of all the sliders in the Face-Aware Liquify section, the Face Shape sliders give us some of the most dramatic results:

The four sliders for the face shape (Forehead, Chin Height, Jawline, and Face Width).

Forehead

The Forehead slider raises or lowers the forehead. Drag to the right to bring out more of the forehead (and raise the person's IQ), or drag to the left to lower it but give them a more impressive hairline:

Forehead = -100 (left); Forehead = 0 (center); Forehead = +100 (right).

Chin Height

The Chin Height slider raises (drag to the right) or lowers (drag to the left) the chin:

Chin Height = -100 (left); Chin Height = 0 (center); Chin Height = +100 (right).

Jawline

Use the Jawline slider to expand or contract the jawline. Dragging to the right makes it wider; dragging to the left makes it more narrow:

Jawline = -100 (left); Jawline = 0 (center); Jawline = +100 (right).

Face Width

And finally, the Face Width slider expands or contracts the overall width of the face. Drag to the right to widen the face, or to the left to squish it inward:

Face Width = -100 (left); Face Width = 0 (center); Face Width = +100 (right).

Before And After

The main purpose of the Face-Aware Liquify sliders is to correct unwanted distortions in an image that are causing someone to look different from how they appear in real life. But the sliders can just as easily be used to make a person look like someone else entirely!

Here once again is my original image on the left. On the right is the same person (or at least, it was the same person) after having some fun with the sliders:

A before (left) and after (right) comparison.

Resetting The Sliders

To quickly reset all of the sliders back to 0, click the Reset button. This will instantly restore the face to its original state:

Clicking the Reset button.

The Face Tool

The other new Face-Aware Liquify feature is the Face Tool which is found in the Toolbar along the left of the dialog box. You can also select the Face Tool by pressing the letter A on your keyboard:

Selecting the Face Tool.

When we select the Face Tool, Photoshop draws a thin outline on either side of the face it detected. The outline appears even when there's only one person in the photo, but as we'll see later on, it's really more helpful when working on photos of multiple people, since the outlines tell us which faces Photoshop was able to detect (and which ones it missed):

Photoshop outlines the targeted face, even when it's the only face.

The reason we learned about the sliders before looking at the Face Tool is that the Face Tool really just gives us another way to adjust the sliders. The difference is, rather than dragging the sliders themselves, the Face Tool lets us click and drag directly on the image.

If I hover the Face Tool over one of the eyes, for example, different handles appear. There's a round one above and below the eye, another round one on the side, a diamond-shaped one in the upper corner, and a dotted curved line along the outer edge. Similar handles would appear if I hovered over the other eye:

Handles appear around the eye when hovering over it with the Face Tool.

Each handle is linked to one of the sliders, and dragging a handle has the same effect as dragging the slider. The round handles above and below the eye are linked to the Eye Height slider. Dragging either one adjusts the height of the eyes (the eyes will be adjusted together regardless of which eye you choose), and you'll see the Eye Height slider in the Properties panel moving along with you as you drag. To make it easier to see what you're doing, the handles fade away as soon as you start dragging, which is why they're not visible in the screenshot:

Dragging the Eye Height handle moves the Eye Height slider.

The round handle on the side is linked to the Eye Width slider. The diamond-shaped handle in the upper corner controls the Eye Size slider. And if we click and drag on the curved dotted line along the outer edge, we move the Eye Tilt slider. If you have Tool Tips enabled in Photoshop's Preferences, you can hover your cursor over each handle and the name of its matching slider will appear. The only slider that does not have a handle associated with it is Eye Distance.

Here, I'm clicking and dragging downward on the Eye Tilt handle (the curved dotted line), and not only am I changing the angle of the eyes, but we can see that the Eye Tilt slider has moved along with me. If you accidentally click and drag the wrong handle, simply press Ctrl+Z (Win) / Command+Z (Mac) on your keyboard to undo it:

Dragging the Eye Tilt handle moves the Eye Tilt slider.

Similar handles will appear when we hover the Face Tool over the nose. The handle on the bottom is linked to the Nose Height slider, while the handles on either side control the Nose Width slider:

The Nose Width (left and right) and Nose Height (bottom) handles.

Hovering the Face Tool over the mouth displays handles for adjusting the various Mouth properties. Drag either of the round handles on the sides to adjust the Mouth Width. The curved dotted lines along the left and right edges control the angle of the Smile. Raise or lower the Upper Lip by dragging the curved line directly above it, or the Lower Lip by dragging the curved line below it. The Mouth Height slider does not have a matching handle, so for that one, you'll need to drag the slider itself:

The various Mouth property handles.

Finally, when we hover the Face Tool closer to an edge of the face, we see various handles for adjusting the Face Shape properties. The handle at the top raises or lowers the Forehead, while the handle at the bottom raises or lowers the Chin Height. The two handles on either side expand or contract the Face Width, and the handles in the lower corners adjust the Jawline:

The Face Shape handles.

Here, I'm dragging the Face Width handle on the right to widen the face, and we see the Face Width slider in the Properties panel moving as well:

Another example of how the handles and sliders are linked together.

More Face Tool Adjustments

The real benefit of the Face Tool is that, along with being able to adjust the sliders by dragging directly on the image, it also opens up additional areas that we can adjust; areas that are not accessible with the sliders. But this is also where things can get weird pretty quickly.

For example, if we hover the Face Tool directly over an eye, notice that the cursor changes into a four-point directional arrow:

Hovering over certain areas turns the Face Tool cursor into a directional arrow.

Whenever we see this directional arrow, it means we can click on the area and drag it around freely in any direction. In this case, it means we can move the eye around. But unlike the sliders which adjust both eyes at once, the Face Tool actually lets us drag both eyes separately from each other, in any direction:

Dragging one eye up and the other eye down, just because we can.

The same directional cursor appears when we hover the Face Tool over the nose, which means we can click and drag the nose in any direction. Here, I've dragged it down and to the right:

Dragging the nose with the Face Tool. Lookin' good.

You'll also see the directional cursor when you hover over the left and right cheek, the mouth and the chin, each of which can be freely reshaped:

The cheeks, mouth and chin can be moved just like the eyes and nose.

When used for subtle adjustments, the Face Tool can work wonders. But it can also get out of hand pretty quickly, as we see in this before (left) and after (right) comparison:

How to impress absolutely no one with Face-Aware Liquify.

There's a few things you can do if things start to go wrong. To undo your last step, press Ctrl+Z (Win) / Command+Z (Mac) on your keyboard. To undo multiple steps one at a time, press Ctrl+Alt+Z (Win) / Command+Alt+Z (Mac) repeatedly. Or, as we learned earlier, you can instantly revert the face back to its original state by clicking the Reset button above the sliders in the Properties panel:

Clicking the Reset button.

Applying Your Settings

When you're happy with the results, click OK to commit your settings and close out of the Liquify filter:

Clicking the OK button.

Editing Your Settings

Way back at the beginning of the tutorial, before we even applied the Liquify filter, we first converted our image into a Smart Object. We did that so we could apply Liquify as an editable Smart Filter. Now that we've applied our settings and closed out of the Liquify dialog box, if we look in the Layers panel, we see Liquify listed as a Smart Filter below the image.

If we need to make further changes, all we need to do is double-click directly on the filter's name:

Double-clicking on the Liquify Smart Filter in the Layers panel.

This re-opens the Liquify filter with all of your current settings, allowing you to easily make whatever changes you need:

Editing the Face-Aware Liquify settings thanks to the power of Smart Filters.

Working With Group Shots

At this point, we've covered everything we need to know about using the new Face-Aware Liquify feature in Photoshop. We've learned how to adjust the eyes, nose, mouth and overall face shape using the various sliders in the Properties panel. We've also learned how to adjust the same sliders by clicking and dragging directly on the image with the Face Tool, and how we can use the Face Tool to freely move and reshape other areas as well.

Up until now, we've been using an image of just one person, but Face-Aware Liquify also works with photos of two or more people. Here's a group photo that I've downloaded from Adobe Stock:

Face-Aware Liquify works just as well with group shots.

As soon as we open a photo like this one in the Liquify filter, Photoshop analyzes it looking for faces. It then draws those thin outlines that we saw earlier around each face that it detects (you'll need to have the Face Tool selected to see the outlines). Note that if someone's head is turned too much to the side, or they're on some sort of weird angle, Photoshop may not be able to detect their face, in which case you won't see the outlines around it. With this image, though, it had no problem with anyone:

Photoshop draws outlines around each face it detects in the photo.

To switch between faces, use the Select Face drop-down menu above the sliders (directly to the left of the Reset button). Select Face is only available when more than one face is detected:

The Select Face option.

Photoshop lists the faces from left to right, so the person on the far left of the photo would be Face #1. The person directly to their right would be Face #2, and so on. In my case, there's five people in the photo, so I'm seeing five faces to choose from in the list:

Five people in the photo, five faces in the list.

Or, an even faster way to select the face you need is to simply click on it with the Face Tool. To select the woman in the lower center of the photo, for example, all I would need to do is make sure I have the Face Tool selected, and then click on her face:

Clicking on the woman in the center with the Face Tool.

Since she's the third person from the left, the Select Face option automatically switches to Face #3. I could now make whatever changes I need without affecting anyone else's face in the image:

Selecting the woman in the center by clicking on her with the Face Tool.

Finally, we already know that we can instantly revert a face back to its original state by clicking the Reset button above the sliders. But if you've made changes to multiple faces and need to quickly undo all of them at once, click the All button instead:

Click Reset to undo changes to a single face, or All to reset all faces at once.

And there we have it! That's our complete look at how to use the brand new Face-Aware Liquify feature, part of the June 2016 Creative Cloud updates for Photoshop CC! Check out our Photo Retouching section for more image editing tutorials!

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How To Use Face-Aware Liquify In Photoshop CC

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Here's an image I've opened on my screen. I downloaded it from Adobe Stock, but you can easily follow along with any portrait photo: If we look in my Layers panel, we see the image sitting on the Background layer: The Layers panel showing the photo on the Background layer.

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Ella Deiter
https://www.youtube.com/watch?v=ZaP48rWHaFc

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My presentation

Link To Photographers Tutorial Video

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The brush effect emma Bocquin

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•http://www.lightroomtutorials.com/quick-tip-how-to-invert-photos-in-lightroom/

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Dodge & Burn (D&B) is a technique that came to us from the darkroom days when luminosity values in a photo could be only manipulated by the duration of the exposure of the light sensitive photographic paper. And while there's so much that have already been published about it, I hope we can still shed some light on the aspects of it that are usually not mentioned in retouching tutorials.
UPDATE (May 2014): Part 2 of this article: The Ultimate Guide to the Dodge & Burn Technique - Part 2: Setting Up For A Good Start Part 3 of this article: The Ultimate Guide to the Dodge & Burn Technique - Part 3: Curves Setup & More check out my article The Ultimate Guide To The Frequency Separation Technique
Dodging and burning are terms that come from analog photography, it is a technique used during the printing process to manipulate the exposure of a selected area(s) on a photographic print, deviating from the rest of the image's exposure. Dodging - lightening, burning - darkening.

From my teaching experience I see that what I am going to talk about today is the missing link between learning the steps of this technique and actually successfully applying it in your retouching.

So, in Part 1 I will take you on a tour to a beginner painting class, we'll check out what makes 2-dimensional objects in pictures look like they have planes and volume. And in Part 2 myself and my retoucher-friends Alexey Dovgulya and Lulie Talmor will talk about the ins and outs of the D&B application in Photoshop.

Let's begin by clarifying that any retouching technique is only that - a technique, and it won't do you any good, if you don't have a good understanding of light behavior and human anatomy. If you want to use D&B successfully, you should educate yourself on the basics of light and shadow rendering (as in painting and drawing), the anatomy of human face and body, and observe human faces with greater attention in photos and in real life.

Creating 3-D Looking Objects on a 2-Dimensional Canvas

With D&B you can not only even out the surface of objects (for example, skin on faces and body in beauty and fashion photography or product surface in product photography), but sculpt and contour those objects to add volume for greater impact of the image.

With skillful manipulations you can even re-shape facial and body features by shifting shadows and highlights. So let's see why it is so powerful.

I will start by drawing a sphere in Photoshop. What? It doesn't look like a sphere? Correct, it definitely doesn't look like a three-dimensional object, it looks like a gray circle.

But if I add some highlights and shadows to it with soft white and black brushes, it will immediately start looking more like a 3-dimensional object. It is the same drawing, only this one does look like a sphere:

And the difference is only in these brush strokes (I added the gray background so that you can better see the highlights):

How did I make this sphere look more less like a 3-D object on a 2-dimensional canvas? By respecting physical light behavior in my drawing.

This is the fundamental knowledge that painters learn before they proceed to any advanced painting techniques, and it shouldn't be any different for retouchers.

The ABC of Rendering Light & Shadow In Art

1. Highlight occurs where the direct light hits the surface of the object. It always appears on the area closest to the light source and it is the brightest part of the object illuminated by that light source.

None of other areas of the surface can be brighter than the highlight if they are further away from the light source. Unless, of course, the illuminated surface has a different level of reflectivity. For example, the highlights on the face can be in the eyes (catchlights - wet surface of the eyeballs), on the forehead and the nose (the closest areas of skin to the light source) and on the lips (highly reflective surface of lip gloss).

2. Transitional light, 0r the midtones - the light that wraps the object and gets darker as it reaches the surface further away from the light source.

The rate, at which such darkening occurs depends on the angle of the surface in relation to the light source, and of course the viewer's position. So, the fall off of the light will be the least noticeable on the planes, which face the light source. The fall off will be the shortest and most noticeable on the planes that are slightly turned away from the light, but are still partially exposed to it.

I believe it is most important for retouchers to understand the properties of this element of lights and shadows - the midtones - because we mainly work in the areas of transitional light when we use Dodge & Burn.

One of its physical properties, which I often see being disregarded by beginner retouchers, is that within the area of transitional light the surface that is further away from the light source cannot be brighter than the surface closer to it, given that it is illuminated by one same direct light source and is of the same color value.

The more even the surface the softer and more gradual this transition from light to shadow will be.

When that is not true the surface appears patchy and bumpy - our brain reads those inconsistencies in luminosity values as bumps and hollows on the surface - they catch on the light and cast shadows. So, by evening out those inconsistencies we can create an illusion of more even and smooth surface.

And that is what the Dodge & Burn technique is for when we talk about local retouching of a surface such as skin in beauty photography, or surface of a product in product retouching.

3. Cast shadow - the object blocks the light and shadows the area right behind it on adjacent surfaces and objects. If there are multiple light sources in the scene, there will be multiple cast shadows.

By the softness or hardness of the edge of the cast shadow we can tell what light source was used to illuminate the scene or how far from the object it was. We can read lighting in photographs based on this principle - make sure to read my articles How To "Read" Light In Photography - Part 1 and Part II if this topic is of interest to you.

Cast shadow is always the darkest where it is closest to the object and it softens (gets filled in by reflected light bouncing off of other surfaces), as it gets further away from the object.

Cast shadow may have different colorcasts if there are other objects with colored surfaces near it or when it [cast shadow] is illuminated with a less powerful light source with a color gel on it. I use this property of cast shadows when shooting with color gels to fill in one of the shadows with a color.

4. Core shadow is the darkest part of the shadow and it is the area of the surface of the object that isn't illuminated by either main or reflected light. This is the darkest out of all other areas of the object's surface, and it cannot be brighter than transitional light.

5. Reflected light is a bright area on the dark side of the object. The light that bounces off of adjacent surfaces and objects illuminates it.

This light is what I believe makes or breaks lighting in painting and photography. It adds volume to the objects in the scene and is often disregarded by beginner artists. It must be brighter than core shadow or cast shadow.

How All Of This Is Connected To Dodge & Burn?

Now with all of the mentioned above in mind, let's see what the Dodge & Burn technique can do for us when we are presented with a subject with a surface that does not look as even as we need it to look.

Here's how I went from the patchy and bumpy surface to even and smooth with the help of six rounds of Dodging & Burning. In the first few rounds I was focusing on smaller areas and patches ("local" Dodging & Burning) and in the last few I was working on a "global" level enhancing the shadows and lights, perfecting the overall shape of the sphere.

This is all for today.

In Part II we will talk about the actual digital photography Dodge & Burn technique. My retoucher-friends and I will share our brush and layer settings for effective and accurate Dodging & Burning, a few variations of the technique and their pros and cons, as well as the use of temporary help layers when retouching skin in beauty, fashion and portrait photography. Stay tuned!
This material is an excerpt from my upcoming video book "From Amateur to Pro In A Week", I cover this and a lot more in-depth retouching tips and techniques in video tutorials. Estimated release time - this summer.
Meanwhile, check out our Retouching Academy blog where my fellow-retouchers and I share our tips, techniques, mindset and business practices with our readers: www.retouchingacademy.com/blog.

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The Ultimate Guide to the Dodge & Burn Technique - Part 1: The Fundamentals

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Dodge & Burn (D&B) is a technique that came to us from the darkroom days when luminosity values in a photo could be only manipulated by the duration of the exposure of the light sensitive photographic paper.

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•https://sites.google.com/s/1YwuF8Kw_4cn6vSy9ODtQhbfp310H7rq6/p/1kzCnQzVJxWIJAbWBaPMEriEhAm5VwjI2/edit