![]() ![]() See how the eyes are brighter and the red skin under the eyes is more pleasant? You don’t want to clip the highlights there. Keep an eye out not to lose contrast and/or wash out the colors.Īlso, pay attention to the areas that are already bright, such as the spot on the forehead of my model. I also move the white and highlight sliders until the image gets a bit brighter. Use the black slider in ACR basic panel to set the black point for your model, so that blacks are deep and rich, but not so strong to delete the fine details of clothes, etc. This will give a nice black color to the sweater, but still allow me to see the details of the fabric. This means that I will move the black slider on the left only until I start losing detail in my subject’s sweater. Bu all the editing settings in the ACR Basic panel are global ones. Working on the Dynamic Rangeīecause this is a low key image, I want to have the background really dark, if not pure black. Keep those warning toggles on to check you are not losing details when working on your dynamic range. In this image, I have only small warnings for the blacks on the left sleeve and for highlights in the zipper. This means that there won’t be much detail to pull out. You might have clipped the highlights in there. Sometimes you’ll have hot spots on your model’s forehead. Toggle them on and look if areas in your image are now colored in blue (black warning) or red (highlight warning). Those toggle on/off the warnings for clipped highlights and blacks. In ACR, above the histogram, there are two small icons, at each side of the histogram. Same photo, different white balance settings while looking for natural skin tones. So I kept that white balance and moved on with the editing. I found that sampling the zipper (last image) gave me the most natural looking skin tone. The rest are versions where I sampled various areas. The first is the RAW image, followed by the one with Auto white balance applied. Sample areas that you know should be white-ish, grey or black. To fix the white balance you can use the eyedropper tool. I prefer to have less orange in the skin tone. Straight from the camera, the image looks a bit too warm to me. I like to start with fixing the white balance. This happens even if you used the flash setting for the white balance. Usually the skin is going to be a bit too orange in the image straight from the camera. I also adjust the white balance to ensure my subject’s skin color is natural. The basic editing I start out with is correcting or setting the dynamic range of the image. This way that the viewer can engage with the model. You may also note that this is a classic low key setup, so shadows and black should be rather deep.įinally, as in all portraits, the eyes need to pop but not look fake. This works particularly well in this image, thanks to the subject’s hairdo. To do this, I used rim light as the separation light. I was showing the role of separation light. When I took this portrait, I was using a classic two light setup. What is the final use of the image and what aspects do you want to emphasise? What was the lighting scheme and why did you chose it? Before You Beginīefore starting the editing, it is best to look at your image and try to remember how you shot it. The three main sections of the ACR interface. This is where you can export, save your editing and open your image in Photoshop. It has a tool bar, an editing settings section and an image control section. Your Photoshop retouching will start with ACR when working on raw images. This is an automatic process you can’t avoid. When you open a RAW file with Photoshop, Adobe Camera RAW (ACR) opens in a new window. The test portrait for this article is a simple one. This is often the most difficult thing to get right when it comes to Photoshop. I chose this portrait because it is almost there straight from the camera. The key to enhancing this portrait is in the details. Buy from Unavailable Photoshop Portrait: The Portrait ![]()
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