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Fidel Castronaut posted:This thread is making me happy that I'm not doing this for a living, because it is apparently a bunch of photographers waving dicks and getting really self-important about printers when you reach the "professional" level. Nah, I'm gonna count myself as a professional but where I work we create our own custom rgb and cymk spaces for viewing and printing, though I work with some super anal people (not to be confused with angry)
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Jan 15, 2009 05:07
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mindphlux posted:I am not sure if this is really a 'post processing' question, but - You can copy and paste the good eye to the other side, transform it and mask it to fit
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Jan 17, 2009 03:42
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Mannequin posted:
Since you keep all of your cloud work in it's own group it might be easier for you to just put the mask of the clouds into a layer mask on the group, then you wouldn't need to repeat it so often. For skin a lot of people just clone and heal, really to give it a nice clean tone you want to dodge and burn. for ex  I'm not allowed to post a before but you know Kate Moss doesn't look like that obv. What I find is healing is good for zits, unwanted freckles. Cloning is the tricky one, you can quickly get mushy fast. I use cloning mostly for little hairs on the face, zoom in with a very tiny soft brush on darken at 70% or so and take them out. If the model is shiny you can use a bigger soft brush at 30% and just sample and dot, sample from a new spot and dot again. I haven't used cs4 so I'm unsure of the new dodge and burning stuff I'm hearing about but for 3 I'll stick with it on dodge at 2% (or 1 if its too strong) and start blending the little shapes of blotchyness on a face. For non beauty you can do this zoomed out, 16%, 33%, 50 etc with a big and small brushes then zoom in if necessary to blend smaller blotches. This is a great tool for changing shadows on skin too w/o having to liquidify (as with the shadow/highlight tool), but you have to be careful to keep it natural. You can click other dynamics in the brush palette to help with sensitivity, but I have a very light touch with my tablet and don't prefer it. If you go overboard use the history brush (set it after you dupe your original layer) and brush things back in at like 20% or so. Helpful things you probs know but others might not: When dodging/burning press option to switch without having to use the toolbar. [ and ] to quickly switch brush sizes "shift [" and "shift ]" to switch hardness of the brush I can try and explain this better with pictures if anyone is interested but I'm on a new laptop and haven't really set much up yet ferdinand fucked around with this message at 02:28 on Jan 18, 2009 |
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Jan 17, 2009 18:19
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Mannequin posted:
I work at a high-end retouching house
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Jan 18, 2009 17:19
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Santa is strapped posted:What kind of education/experience are retouching houses looking for typically? If you dont mind telling of course. I got my bfa in photography and had about a years experience working for a photographer as his personal retoucher, the place I'm at now though kinda stripped most of what I knew as a retoucher away because they like to rebuild. Seems like a lot of companies want several years of experience, but if your work is good whatever. You can always get it from a photographer, build yourself up kinda thing.
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Jan 21, 2009 03:01
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Rocketface posted:i dont know why these aren't here: oh but they are (on this page even) Raw is great to make sure there is detail in shadows and values in highlights.
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Jan 28, 2009 01:40
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SpecialAgentCooper posted:I have a question that doesn't really apply to either photography or post-processing, but 1) I don't want to muck up the forum by making a new thread for such a small question and 2) I doubt anybody knows more about RGB vs CMYK than the people posting here. So: If your monitor isn't calibrated you really won't know what the image will look like printed. Though a lot of times when I need to pop a red in cymk for print I'll have the red part masked and saved as an alpha channel then after I've done my conversions for print I'll load the mask and use a selective color adjustment layer. You won't get exact but you can boost it a bit. You can save the adjustment layers to load later which is helpful if you end up doing multiple versions.
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Feb 5, 2009 02:17
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evensevenone posted:Don't use the individual R G and B curves, just use the combined curve. If you use the individual channel curves you need to make microscopic adjustments (and these probably aren't the best tools for color editing since its so hard to do anything useful). Maybe as a beginner but you can do some beautiful overall color work using individual channels, and for masking they are great (along with selective color)
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Mar 20, 2009 00:40
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Still going to profess my love for dodge & burn!
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Mar 30, 2009 20:39
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The only people I know that use DNG are the people in this thread, amazingly. No, maybe I've seen it come in once at work, but I don't recall. We also keep g4s around for drum scanning. It sucks.
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May 13, 2009 02:16
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oh yeah, MOS comes in next for rarest file types we recieve @ my job. Always a pain!
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May 16, 2009 01:23
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For sharpening in PS I usually start out at(unsharp mask) 100/1, sometimes varying. Afterwards perhaps 10/250 for a nice richness, like to play it up on jewelry or sparkly things as well.
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May 29, 2009 03:10
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poopinmymouth posted:Here's the before/after of the latest shot of mine. I'm thinking of doing a thread where I just go through my whole post processing workflow for an image like this. Any interest? Do you deliberately shoot to give yourself a lot of post?
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Aug 14, 2009 06:32
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dunkleosteus posted:I have a handful of badly composed and out of focus shots of geese that I wanted to have a go at in post because they were all underexposed as they were all backlit on a sunny day and I just shot auto. I got stuck pretty quickly - I just took the exposure down and brought up the fill light in LR to relcaim the details on the geese but that resulted in them looking washed out and lifeless. I've tried increasing the saturation but it just ends up looking like a cartoon, any tips? Unsharp mask at 10.250.0 (maybe even twice) and a simple S curve would make them pop a bit.
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Aug 18, 2009 09:21
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TsarAleksi posted:I don't think anyone is "hating." There is nothing wrong with legitimate criticisms: they can do nothing but help. You want to edit your photos that way, go crazy, but there is no reason it should be in a critical vacuum. If anything this has taught me people will pay for actions that are basically just curves 
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Aug 21, 2009 01:53
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BeastOfExmoor posted:Well, I'm starting with RAW files and my understanding and experience is that when coming from RAW files you have a lot of headroom. I have been able to get a lot of detail back from overexposed areas before and since I'm just combining a bunch of files with the plan to come back and tweak later I'd like to keep my options somewhat open. The only thing I ever do in 16 bit is the initial sharpening, don't be afraid of 8 bit
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Mar 25, 2010 00:26
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orange lime posted:A very carefully hand-painted layer mask. There are tools that will automate parts of it pretty well (mess with the refine edge tools for instance), but for the highest quality in a selection like that, you're going to want to be painting in each hair individually. Actually a combination of the two works best, start out with the channel masking then fix with drawing the mask with pen pressure on, especially great for curly hair and when there isn't much contrast in the channels. I don't do catalog work though so no comment on that one
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Jun 14, 2010 22:31
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squidflakes posted:I've just started getting in to D&B retouching. It takes time. Lots and lots and lots of time, but the results are amazing. nooooo, (I mean it is the best for skin retouching no doubt). Skin retouching is all shapes (+ shadows), you can dodge and burn (2% is nice) zoomed out quite a bit and still get results (unless you are doing a beauty ad or headshot whatnot). Color cloning, simple cloning at like 20% (textured brushes are nice), and light healing. The vein I'd color stamp first to get that annoying blue out, then dodge/burn it zoomed out, same with the shape above her eyebrow though I would not totally remove it (or the vein area), you want to blend shapes not totally remove them.
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Jul 7, 2010 01:05
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AIIAZNSK8ER posted:I've always kind of wondered about how much of a team effort goes into this stuff. Does a producer freelance out the photographer, hair/makeup, and retoucher? Or do you belong to one production house? I work at a retouching house (we publish and as of recently do movie editing as well), the photogs choose us though we have some contracts with certain companies quote:I don't think you can really equate the two in terms of actual result. I use clone/heal/patch a lot and it up close it isn't that satisfactory in preserving skin texture detail. Dodging and burning is the best for skin, I say this a lot. But god don't do it at 300% or 500% or whatever that sounds painful. Switch between 100% and more zoomed out, blend shapes. That one goon posted tutorial is a good start for learning
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Nov 4, 2010 06:19
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