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Some folks have inquired about my retouching method. Quite simply, I have a machine. Here, one of my models demonstrates the process in my studio. Thanks for asking.
Created for 50th MMM Challenge
Source image with thanks to ComputerHotline aka Thomas Bresson
In addition, thanks to the following for elements of this image:
faestock.deviantart.com/art/Clean-271968855
Model: Samantha Green - MM #96497
Photographer: Satu
Same model as www.flickr.com/photos/lumendipity/1448602318/in/set-72157...
Have been doing some retouching on other people's pictures.. check the set: www.flickr.com/photos/lumendipity/sets/72157602181052031/
or my site www.lumendipity.com/retouching
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Higher resolutions with no attribution required can be downloaded: www.rawpixel.com/category/public_domain
Photo by
A. S. Creech
Sullivan Ill.
This cabinet card was scuffed pretty badly, so I gave it a little bit extra retouching. This is the retouched version.
© All Rights Reserved
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This is a scanned image from a batch of wire photos, publicity photos, film negatives, vintage snapshots, cabinet cards, CDVs and real photo postcards purchased at auction. You are welcome to pin, re-post, embed and share this image, but please do not reproduce for your personal gain or profit without my permission.
I did some small, cosmetic clean-up retouches in photoshop.
Any comments or observations are much appreciated!
Latest retouch.
Photographer: Isaac Ruiz
Model: Myrriah Train
Make Up: Shiree Collier
Retoucher: www.facebook.com/Rkade170/?ref=aymt_homepage_panel
In portrait and glamour photography, skin retouching is as important as anything we do. I have shot exactly ONE model with perfect skin and she was 6 years old! I’m not a big fan of the super-smooth look. While it’s certainly trendy, to my eye it can often look over-processed and a little plastic-y. So except for highly-stylized images (like vintage pinups), I try to retouch wrinkles, blemishes and other imperfections while preserving realistic skin textures. That’s hard, and so I’m always looking for new ways to improve my technique. I’ve been using a process I adapted from the Lee Varis book “Skin” for a while. I recently stumbled across a new technique shared by pro photographer Joel Grimes and wanted to give it a try.
I decided to compare techniques on a somewhat challenging retouching job. This is a detail from an image where I used directional lighting to emphasize the model's sensual pose and lingerie. Unfortunately, this kind of lighting accentuates any imperfections in the model’s skin and needed careful retouching.
Both techniques start out the same way, smoothing out major imperfections with a clone stamp. I always begin with a small brush at high opacity and gradually increase the brush size while decreasing opacity. [2011 update: i now use a combination of the clone and patch tools. and, with CS5, the spot healing brush seems to be turning out acceptable results on small blemishes, stray hairs, etc] In the middle image, I then used a fairly generous surface blur on a masked duplicate layer and adjusted opacity til I got a nice balance of smoothing and texture. In the third image, I tried the Grimes’ technique. Instead of the surface blur I used a median filter layer for smoothing, a high pass layer for texture, and a masking layer to isolate the adjustments. Again, tweaking opacity of the various layers til I got a combination i liked. [2011 update: I now typically start with 60% opacity for the high pass layer and 30% on the median layer and adjust from there]
Both techniques yielded good results. Here, I slightly prefer the surface blur treatment which I think is a little more subtle and fits the image better (feel free to disagree). The Grimes method produces some interesting specular highlights – sort of a subtle glittery effect. This was my first experiment with the Grimes technique and I plan to use it more. I think I'm gonna love the look with higher key glamour lighting, especially on lighter skin tones, and look forward to giving it another test drive.
Here you can see this detail larger
And here’s the full, finished image (filtered moderate because flickr has me a little neurotic about such things).
Free download under CC Attribution ( CC BY 4.0). Please credit the artist and rawpixel.com.
Higher resolutions with no attribution required can be downloaded: www.rawpixel.com/category/public_domain
Free download under CC Attribution ( CC BY 4.0). Please credit the artist and rawpixel.com.
Higher resolutions with no attribution required can be downloaded: www.rawpixel.com/category/public_domain
Photo: Doak Phan
Retouch: Moon | Photography
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Welcome to our pages Moon | Photography | facebook | 500px
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Thanks for watching !
Contact us :
Nguyễn Hùng - 098.98889.43
Email : nvhungss.1994@gmail.com
Moon Design. © Copyright 2013
Photographer: Matt Henry
Model: Katy McGee from Oxygen Models
Make up: Catherine Frankel
Retouched by Joanna Ortynska-Muses Touch
I love retouching and editing picture and I thought you might want to see one of the before and after I did .
I edited that picture quite a while ago, so this is not a new image.
I chose this picture because the style is very well know from Jill Greenberg's children series.
The picture was taken by Dragonfly Imaging and is copyright protected.
Photo: Doak Phan
Retouch: Moon | Photography
_________________________________________________
Welcome to our pages Moon | Photography | facebook | 500px
Press "F" or like our pages to update photos faster
Thanks for watching !
Contact us :
Nguyễn Hùng - 098.98889.43
Email : nvhungss.1994@gmail.com
Moon Design. © Copyright 2013
Free download under CC Attribution ( CC BY 4.0). Please credit the artist and rawpixel.com.
Higher resolutions with no attribution required can be downloaded: www.rawpixel.com/category/public_domain
While the gentleman at the rear disregards work, health and safety regulations by going bare-footed in a photographic department, he continues to entertain the photo-finishing staff. The lack of a radio at that time would certainly demand his skills on the guitar.
While it's difficult to see exactly what the gentleman in the white dust-coat is doing, the lady is spotting or retouching a large format portrait negative prior to the subsequent printing process.
This photographic lab is in Germany during the 1920's.
Please go here to see more images of Photographers at Work
www.flickr.com/photos/69559277@N04/sets/72157629353901321...
Produced from the original negative in my collection.