![]() ![]() Level 3: Finely sculpts the face with contrast, color, and detail toaccentuate the eyes, lips, and facial contours just as a classic painter woulduse light and shadow to define important details.Ī three-level approach enables you to develop a plan as to the amount ofretouching you will do, which in the end determines how much you will charge theclient. Level 2: Continues where Level 1 stops and uses lights and darks tocreate volume and shape this draws the viewer's eye into thesubject's face. Level 1: Removes obvious blemishes, wrinkles and distractions with aprocess similar to applying a little make-up. Rick Billings has developed a three-level approach to retouching, shown in Figure 9.1 through Figure 9.4: Not all clients will want the full treatment, and knowing this beforeyou begin will save you time, effort, and money. As clients page through the portfolio, explain that you canremove blemishes and wrinkles for X number of dollars if they would likeadditional retouching as seen in your more advanced examples, it will cost themX dollars. Toavoid any confusion or miscommunication, create a sample portfolio of yourretouching services. Additionally, you don't want to put time andeffort into a portrait retouch that the client isn't willing to pay for.Before you begin any retouching it is imperative that you discuss with theclient exactly what they want done to the portraits.Ĭlients may have a hard time envisioning the possibilities of retouching. Youdon't want to take away important characteristics or accentuateless-than-flattering features. Retouching a person's face can be a very sensitive undertaking. When those problems are solved, you can move on to correcting and enhancing selective areas as described in this chapter. If by chance you jumped to this chapter first, please understand that the very first step to working with any digital image is to apply global exposure and color correction, as explained in earlier chapters. So study the character of the person in the picture and decide which attributes to accentuate and which to minimize before you begin to click your mouse. Not every person will have the Hollywood ingenue's flawless skin or a lion's head of hair. Most importantly you want to maintain the individuality of the person. The areas we'll concentrate on in this chapter areĪs a portrait retoucher your role is to accentuate the person's natural features while minimizing the blemishes that can detract from a pleasing portrait. ![]() In this chapter we'll learn to work with contrast, color, and detail to make each person look their best. Before you pick up the mouse, take a moment to look at the portrait and recognize what type of person you're working with.Īs a retoucher, it's your job to bring out the best in each person. In the senior executive's portrait you wouldn't want to take out every wrinkle or gray hair because lines in the face and gray hair are signs of wisdom and experience. The teenager's skin might need to be cleaned up, whereas the professional athlete's sweat and muscle tone could be accentuated for greater effect. Each of these people has different characteristics to recognize and enhance. Imagine you had to retouch three portraits: a fashionable teenager, a professional athlete, and a successful senior executive. The first step of successful portrait retouching is to identify the character of the person and which facial features you can accentuate or minimize to help that person shine through the picture.
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