The goal of our lesson is the effect of moist (shimmering) skin.
In this lesson there will be two main points to which we will pay attention:
– channel duplication to use it later to load the selection.
– using Adjustment layers for darkening and lightening.
Here we will work with such a picture.
Let’s try to ensure that the skin “shimmered.”
To do this, we need to make our image more contrast, so that the forms take a more volumetric appearance, and the image does not seem so “flat.”
You can use any methods to achieve this. But, for example, it is better to use the correction only Levels (or Curves) (levels (or curves)) than the difficult stage of correction Levels (levels), accompanied by corrections Hue / Saturation (hue / sat), Color balance (color balance) and Brightness / Contrast (brightness / contrast).
Instead of all this, we want to get a good result, without resorting to complex methods.
First you need to use the Levels to “pull up” our image a little so that it is not so “flat”.
If you do not know how to make a correction using Levels, then the site has a lot of lessons on this topic.
I, for example, do it simply “by eye”: we cause a window Levels (Ctrl +L) and drag a little Black slider to the right, so that our image becomes richer, and then the White slider is slightly left to brighten and make the image a little brighter and more contrast.
After you have “pulled up” your image with Levels, the picture has already changed a little, but our goal is to achieve a “flickering” effect, a wet skin effect. And so, we proceed to work.
To begin with, the author suggests that we prepare the Channel so that it can be used as a selection, which later on possibly, you will need.
Go to the palette Channels(Channels). And by clicking on each channel: Red Green and Blue, select the most contrast channel. In our case it is Blue.
This channel will serve us in the future, to load the selection. And the very allocation of us possibly need to work with both dark and light skin areas.
Duplicate channel: pull channel to icon Create a new channel at the bottom of the Channels palette. This action will create a copy of the channel. Then click Ctrl +M, in order to call the window Curves. Make your image more contrasting, giving a curved position, as in the screenshot.
After that, blur the Duplicate Blue Channel with several pixels (using Filter / Blur / Gaussian Blur(Filter – Blur – Gaussian blur).
Click on the layer Rgb and return to the palette Layers.
* If the above procedure is difficult for you, then you can not do it. This is just an example of how to prepare the Channel for loading a selection, which, may be, you will need in the future. *
Return to the palette Layers. Duplicate the layer (this can not be done, the author suggests taking this action as a habit).
Add a new adjustment layer – Curves: while on Layer1 (copy of the first layer), click on the icon Create a new adjustment layer and select there Curves.
As soon as you open the dialog box Curves, pull the center of the curve upward so as to lighten the image (this is the Correction layer will be responsible for the bright areas on the skin). When lighten enough, press YES, do not be afraid, if you re-clarify, the advantage of the Corrective layer is that you can correct it at any time.
The image has become very light, we will hide it by inverting the mask of the Adjustment layer: staying on the Adjustment layer – Curves, click (Ctrl +I), the mask will be recoloured in black color, and the effect of the correction layer will disappear and the picture will get the same look.
Now we need to do one more. Correction layer, for dark areas.
Add a new adjustment layer – Curves.
Drag the curve down so as to darken the image (try to give the skin a dark but naturally dark shade), then invert the mask (Ctrl + I).
You can name these layers, for example, light and shadow, but you can not waste time on it.
As a result, your buta layer palette looks like this:
Well, approaching the most interesting.
We turn to the Corrective layer, which we are responsible for the bright areas on the skin. Take the tool Brush(Brush Tool (B)), Colour White, Opacity(Opacity) better to reduce to about 20%, Rigidity(Hardness) put 0% and start painting white on the skin with white. Thus, by drawing on the black Layer-Mask with white color, we will gradually lighten the areas you need on the skin (we will open the hidden effect of the Corrective layer).
What is the Correction Layer good for, and the Layer Mask itself, in principle? The fact that at any time you can switch to Black (X) (or White, depending on the situation) and correct (erase) if you suddenly make a mistake. Or, then, after you finish your work, and decide that something needs to be fixed, you can go back to the Layer Mask and fix everything easily without touching the History palette.
As soon as sufficiently lighten all the light areas on the skin, go to another Correction layer, which is responsible for the dark areas and do the same operation, but with dark areas of the skin.
Reduce and increase the Opacity of the brush, its size, so that the transitions are soft.
Thus, you yourself will draw her tone, color and skin tone.
You can also use the selection for which we previously prepared Channel. Go to the Channels palette, and hold the key Ctrl, Click on the copy of the Blue Channel. You will have a selection.
Go to the Layers palette.
The resulting selection is the selection of bright areas. You can use it in different ways. For example, you can go to the Correction layer, which is responsible for the light areas and simply fill the selection with white color, then all the light areas will be greatly brightened. Or, without removing the selection, invert it (Ctrl +I), go to the Correction layer, which is responsible for dark areas of the skin, and paint with a black brush, not being afraid to paint over the light areas, since everything except the light areas will be painted.
From myself I can advise. After finishing work, slightly blur each Layer Mask, applying to each Correction Layer Filter / Blur / Gaussian Blur(Filter – Blur – Gaussian blur). You can also apply graininess and play with blending modes. In a word, do not be afraid to experiment.
Here is the end result.
* The spectacular result is obtained not simply because of the effect applied to the work, but because of the completion and completeness of the whole picture. As in this lesson: replacing the background with a brown color and whitening a swimsuit (erasing the logo from it), gave the skin a more pleasant shade (due to the perception of color combinations with our eyes). *
This technique can be used with any adjustment layer in your subsequent work.
I hope you found the lesson useful and clear.
Good luck in your execution.