0:08 hello and welcome to this video series
0:10 where i have the privilege to take you
0:12 through the steps
0:14 from raw conversion to the final image
0:17 retouching in photoshop
0:19 on this beautiful fashion editorial shot
0:20 created by my friend
0:23 pefloren abergreen internationally
0:24 published photographer from cologne germany
0:25 germany
0:26 i'm happy to share the link to his
0:28 website in the description below so that
0:30 you can check out his work
0:33 and get in touch and i'm thrilled to
0:36 take you through the image and to show
0:37 you how
0:40 we came from the raw version
0:43 of this image to the final result that
0:44 was published
0:47 recently and if you're interested in all
0:48 the steps
0:51 from developing the images in capture one
0:52 one
0:54 to the final retouching process in adobe photoshop
0:56 photoshop
0:58 and if you would like to see and learn
1:01 how and especially why i do things
1:03 then just stay tuned and let's dive in
1:13 so right now we are in capture one which
1:16 is my weapon of choice when it comes to
1:17 raw conversion
1:20 and creating looks for retouching
1:23 um that being said you can find a link
1:26 in the description of the video to the
1:27 website of capture one where you can
1:30 download a 30-day free trial
1:32 to check out this amazing software and to
1:33 to
1:36 to experience the differences yourself
1:38 and the benefits that it gives you in
1:40 your color conversion and
1:44 everything raw and i would like to
1:47 show you this image
1:50 as i said in the in the intro already
1:51 and to show you the steps
1:54 and the thoughts behind what we did to
1:58 come up with the initial look and
2:01 as you can see this image
2:05 is lit in a way that it emphasizes
2:08 one side of the face dramatically
2:10 and we want to enhance that and also put
2:12 a warmer
2:15 and more moody atmosphere to the image
2:19 we are going to do that by first
2:22 taking on the curve and
2:25 we will lighten the
2:29 dark mid-tones to
2:33 let's see something maybe
2:38 here something like that and
2:41 i think we are going to bring down the
2:47 highlights to a point where it
2:50 let's see um
2:53 somewhere here i think it's a good
2:56 base and what we
3:00 want to do now is to first
3:03 alter the white balance and
3:06 i think we are going much
3:11 warmer maybe something
3:13 something or maybe a little more maybe 50.
3:15 50.
3:19 and we are going to lower this
3:23 where to give it a little green notch
3:27 maybe a little more let's see here
3:30 yes and um
3:32 i think we still need to lighten it up a bit
3:35 bit
3:38 how far do we go um
3:41 maybe one more yes and
3:44 what happens when we boost the contrast
3:47 a bit
3:50 maybe not so much like it's like so
3:54 i think a little brightness
3:58 so that we are coming into the more
4:03 bright area and now
4:06 this high dynamic range has a very
4:07 powerful impact
4:10 if you use it right so if you if you
4:13 boost it up uh nothing much happens but
4:14 if you
4:22 you can see that the edges of the images
4:26 of obviously of the image go
4:28 into the right direction so they tone down
4:29 down
4:32 and i think we are pretty much right
4:33 where we are here
4:36 and we lighten up the shadows a bit
4:39 to make it a little more soft if you
4:41 push the alt button and click
4:44 this arrow here you can see the
4:45 difference that we
4:48 just created
4:52 and i think by darkening
4:56 the background and the highlights a bit
4:59 the model pops a bit a little better
5:03 out of the image and
5:06 what we do now or what we can do now
5:10 is that we
5:13 work on the noise reduction but in this case
5:14 case
5:18 if we zoom in i think
5:21 we don't have to adjust anything here
5:25 the noise looks good
5:29 and i would like to take out the
5:36 that is because if you look here
5:39 if it if we leave it as it was with 180
5:40 the image gets
5:43 sharpened already this also enhances
5:45 details that we
5:46 don't want to deal with in the
5:49 retouching process so in this case
5:51 we just take it out and see that the
5:53 image gets slightly softer
5:58 and what
6:00 we could do now and what you what you
6:02 see is when we
6:05 zoom out a little we can see that we can
6:09 use the color editor to uh
6:12 to bring in some more warmth and
6:16 uh some more color into the skin
6:20 and therefore we can use this uh direct
6:22 color editor from capture one which is a
6:24 very useful tool when
6:27 used in the right way so you click on it
6:31 and then once you find the spot that you
6:32 would like to work on
6:35 you can you can see that it switches to these
6:36 these
6:39 four arrows and by moving it to the to
6:40 the right side
6:42 you adjust the hue and by moving it up
6:43 and down
6:46 you adjust the saturation
6:50 and let's see where we are going here i think
6:51 think
6:55 something around 1.4 1.5 and the hue
6:59 shift to the oranges enhances the image
7:02 and if we take on the saturation
7:06 to maybe something around 14
7:13 for like something like
7:16 like like this
7:18 if we check the arrow you can see what
7:19 it does
7:22 it brings in some more of the warmth and
7:25 the color
7:28 where's my color editor here and this is
7:32 what i think does well to the image
7:35 and the next thing i would like to do
7:38 in this stage is work
7:42 in with the layers
7:45 and i would like to
7:49 use the new addition to um
7:55 to capture one which are the style
7:58 brushes i don't know if you have tried
8:01 them but i would encourage you to do so
8:04 and we will just put the tool by
8:07 pushing control uh on the mac
8:09 and clicking here you can add a tool
8:10 which is
8:13 the style brushes and
8:17 there are i'm going to move them out
8:20 there are style brushes that it gives you
8:21 you
8:24 which have got presets and we
8:27 want the dodge and the burn ones
8:30 the amazing thing is here
8:34 if you use the dodge tool and
8:37 if you change the brush size
8:41 and if you start brushing for instance
8:44 we want to emphasize the hair strands
8:45 and the light
8:47 and the dark strands so that it gives a
8:49 little more dimension to the hair you
8:51 can start painting
8:54 and you can see that it uh here
8:57 that it just created a new
9:00 layer and if you push the control button
9:03 and click on the image you can see
9:07 um that it is set to auto mask and that
9:08 it also
9:11 links the brush with a layer which has a
9:13 great benefit so if you switch back to
9:14 the background
9:17 and you would change the brush and if
9:19 you click here again
9:22 to the dodge layer it just puts
9:25 the settings back to the way
9:29 you left when you were working on this
9:30 very layer
9:33 so let's get back here the flow is set to
9:34 to
9:36 four let's pump it up slightly to 8 and
9:38 the opacity is 100
9:43 and we will boost some of
9:46 the and some of the highlights
9:50 i think now 8 is just a little too much
10:03 just bring in some some light
10:06 into the hair and the same
10:09 is happening when you take
10:12 uh the burn one
10:15 because now i would like oh and how do
10:17 you change the the
10:20 size of the brush you can push ctrl
10:24 and option and then just click and drag
10:28 on the image and the settings here are also
10:29 also
10:32 at 4 which is fine i guess it was
10:33 slightly too much
10:37 so i can paint in and the mask
10:39 you can see here if you push the button
10:46 appears
10:49 here and i can push m again and
10:53 you can hide the mask but still
11:11 the other thing that i would like to try
11:15 is to match the color
11:18 on her chest more to the
11:21 color of her face and therefore i would
11:24 like to create a new
11:28 adjustment layer and call it chest
11:32 and you should use my my brush and this
11:34 time i would like to activate
11:38 with the letter m the mask
11:42 and i i'm going to try the
11:45 auto mask feature but i i'm
11:49 going to in crease the flow
11:53 and auto masking is enabling me
11:56 to roughly paint around
11:59 the skin here and if i
12:02 leave the edge right between the two circles
12:03 circles
12:07 it should activate the auto mask feature
12:11 and help me create this mask
12:13 in a very efficient way so i can paint
12:15 down here
12:22 and once again i'm gonna pain here
12:25 and continue
12:28 there you can see how it snapped let's
12:29 go back
12:39 it doesn't need to be perfect
12:42 since we can always work on the mask edge
12:44 edge
12:50 i'm going to put the style brushes here now
12:52 now
12:55 out of my way and with
12:59 e and pen pressure deactivated
13:03 i will paint
13:06 these parts of the mask away so that
13:08 there is no color spill
13:19 and by switching between b
13:22 and e i can switch between my brush
13:26 and eraser to
13:35 finish off the mask
13:37 and if you're wondering i'm using a
13:39 wacom tablet to
13:43 paint and draw all my masks and
13:46 i'm highly recommending you to
13:49 do the same because working with the mouse
13:54 in the professional retouching world is
13:55 not just a challenge
13:59 i think it's uh impossible
14:03 to create very decent results
14:07 so um now i'm gonna take down the flow
14:10 and the opacity to
14:13 draw some kind of gradient here so that
14:14 we can fade out
14:18 the adjustment in
14:22 this area by pushing m i can
14:26 reveal or hide the mask
14:30 and now i can create a curve
14:33 for instance to
14:37 create the color correction
14:44 i would like to slightly lighten
14:47 the the chest see
14:54 and pull out a little blue so that it gets
14:54 gets
14:57 slightly more yellow in this case we
14:58 need to be
15:01 a little careful so that it doesn't get too
15:01 too
15:04 colorful but the good thing is
15:08 that we can work on the layers opacity
15:12 so that if this was too much which it
15:15 definitely was we can take it down to
15:19 maybe 40 which just
15:22 the job for me i think all right so this
15:23 is what i
15:26 would do in uh
15:30 let's zoom out to see the full image
15:33 this is what i would do in capture one
15:34 and if we compare
15:37 the before and after by pushing command r
15:38 r
15:42 for reset or command z
15:45 comma z for going back to all the settings
15:46 settings
15:48 we can toggle between what we did and
15:49 this is
15:52 pretty mind-blowing i think what can be done
15:53 done
15:56 in capture one the only thing left
15:59 that i would like to do is to crop the image
16:01 image
16:06 and make it uh a little more
16:07 let's say interesting or dramatic
16:09 dramatic uh
16:12 in the composition and therefore i'm
16:15 moving it up just to cut off
16:19 the the top of the hair and
16:23 just cut off parts of the tie
16:27 and of course pear allowed me to do that
16:31 i would never crop an image
16:33 if the photographer wouldn't be fine
16:35 with it or if it's
16:38 not in the brief so always make sure
16:42 that you you if it's not your own image
16:44 and you're working
16:48 commissioned by someone either
16:52 clients an agency or photographer
16:56 make sure that the crop is the way
16:59 the photographer intended it to be
17:02 or retouch the full image to have
17:05 the magazine or whoever is the recipient
17:07 of the final file
17:09 deal with the final crop themselves in
17:10 this case
17:14 this is what we wanted to create
17:17 and i'm gonna
17:21 go to the settings for the
17:24 for the export and in this case i
17:25 decided to go for
17:29 a photoshop file in adobe rgb
17:32 and 8-bit if everything is
17:35 set correctly we can
17:37 export the image and take it to photoshop
17:39 photoshop
17:41 here we are and from here we will continue
17:42 continue
