When using the healing brush you will basically be replacing texture. It attempts to separate tone from texture and allow us to paint in and adjust texture while maintaining the the tone. Healing brush: The healing brush is in a way an automated frequency separation. It is very important to remember that in order to see most these issues I am applying a Curves adjustment layer to make the image much darker. The third and final step will be to blend the gradation of value in the background with frequency separation. The second step will be to even out some of the tones in the backdrop with dodge and burn. The small wrinkles are a texture issue, so I use the healing brush tool. The first step will be to remove the small wrinkles in the paper. If you would like to learn more about Beauty Photogrpahy and Retouching with me, join me and our big Fstoppers family at the Fstoppers Workshops in May 2015.Cleaning up the background will be a three part process. Hopefully, you will learn something new and exciting from my explanation too. I think I have found some answers and I am happy to share them with you. Please remember I am not a biology specialist or beautician, I am only a female beauty photographer and retoucher. I have put together this video in an attempt to explain what it is that makes female faces look less attractive, so that we know what it is that we need to be looking for to minimize or eliminate when retouching a female portrait or a beauty image and make those faces look fresh, youthful and beautiful. When I started working on my new retouching video training "From Amateur to Pro in a Week", I decided that I had to do my research and find out why the retouching decisions that I had been making always worked and pleased my clients. And since I had been always relying purely on what I thought looked good when retouching, I did not know how to explain my tactics to my students. When I started teaching retouching I realized that even after I explained how specific tools and techniques worked, most of my students would not know what they should use them for to make a female face more attractive in post-production. It almost turned into an obsession - I would pull out pages in magazines while waiting for my hairdresser appointment in a salon. I continued collecting magazine covers, photographs, illustrations and even business and post cards if they contained inspiring visuals. That was the beginning of my Visual Journal that may have caused the big changes in my life a decade and a half later. I carefully cut the photos out and glued them into a large notebook. When my parents suggested I start getting rid of old issues, I went through them and torn out the pages with photographs I liked. But as any teenage girl I was in love with glossy fashion and beauty magazines and I managed to collect big piles of various titles over the years. My photography and retouching preferences and taste have changed a million times since then, as I kept improving my technical skills, but the problems and imperfections that I was attacking in almost every single image stayed the same. I had never been taught by anyone, and I had not taken any human anatomy classes for artists before I started retouching. I intuitively targeted specific areas and imperfections when retouching faces, and I must have done it well, because, even despite the lack of technical knowledge back then, I managed to make all my clients and models happy with my manipulations.
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