CARRIE BEENE REAL RETOUCHING PDF

Lacking contrast or shape. The armpit of the Vania lifestyle is an example. A common request is to soften the transition. It is turned off when the file goes to print. Warm up xii Add red or magenta. Introduction About Me People often ask me how I ended up as a professional retoucher and how long it took me to learn how to do it.

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Lacking contrast or shape. The armpit of the Vania lifestyle is an example. A common request is to soften the transition. It is turned off when the file goes to print. Warm up xii Add red or magenta. Introduction About Me People often ask me how I ended up as a professional retoucher and how long it took me to learn how to do it.

I graduated with a degree in painting from the Kansas City Art Institute and left for New York before the ink was dry on my diploma. After bouncing around for several years painting and working in New York, Europe, and the Caribbean, I finally returned home to Kansas City in I was starting over from scratch.

I took off six months and made it my job to get up every morning and spend eight hours teaching myself Photoshop. I read books, I did tutorials, and I puttered. I signed up for a class at the local community college and learned Illustrator and Quark as well. It was overwhelming at first.

Then one day I saw a help wanted ad for retouchers at a large photo lab. I applied, and I got the job! The job felt very restrictive after my vagabond years, but I stuck with it. I worked at the lab for two years. When you started there, you had to sign a contract saying you understood that overtime was required during busy season, which lasted about four months or so. I had no idea. I bugged the retouchers to death, asking them questions: How do you do this? Why do you do that? I still went home at night and read more books and did more tutorials online to learn how to do it like the high-end professionals did.

I also started sending my resume to studios in New York, a place I fully intended to return to as soon as I could. Finally, about two years later and during the busy season, when we were working hour days Monday through Friday and eight on Saturday, and I was hollow-eyed and exhausted, I had a message from a New York studio on my answering machine.

I called them back the next day and convinced them somehow to send me a test. I was impressed. So I worked my hour days and 8 on Saturday and got up Sunday morning and retouched that actress from 9 am until midnight and then again after work on Monday, Tuesday, and Wednesday. On Thursday morning I mailed the disc to the company.

I got the job. So you can conclude from my little story that learning to be a good retoucher takes dedication. I went on to work and learn at that first retouching house for another two years before I went out on my own, and even then I continued to freelance at major studios, where I still always bug other retouchers with questions. About This Book If you are reading this book, then you are already familiar with Photoshop. In this book we are going to retouch an advertising image, just as if we were doing it for a real ad agency in the real world.

We will do it together step by step. The only difference between what we do and what happens in the high-end retouching studios is that I will be walking you through it, telling you what I see and why I make the choices I make, and, of course, showing you how I do it. I want to encourage you to experiment as we move forward. Take your time, experiment, and try a different method than the one I use if you like.

For once, there are no deadlines to meet. When I introduce something new, stop and play with it to see what effects you can create. By the time you have finished this book, I want you to be able to: 1. Look at an image and see what it needs. Build a correctly organized multilayered PSD file.

Confidently combine multiple files. Create a convincing silhouette. Retouch skin for perfect texture. Match a product for color. Deliver a file to a client. The real-world professional retoucher knows that a great finished image is the culmination of lots and lots of hours of creative decisions and elbow grease. This book is not for the faint of heart or that person who wants to use the xiv Wow Filter. There are no quick fixes in high-end retouching.

Just like the gym, nothing good comes easy, and there is a payoff. I will walk you through how to discuss the job with the client and clue you in to the vocabulary that retouchers and art directors use to communicate. You will learn how to completely retouch the beauty the head shot of the model and remove her from the background. I will show you in detail how to retouch the skin, refine and create lashes, make eyebrows that look 3D, and create lips that shine with perfection.

You will learn how to drop the beauty into a new background and make it pop. You will color-correct it all and bring it to perfection ready for print. Step by step together we will do an advertising job just as it is done in the best real-life New York City retouching houses. We will also do some heavy lifting in the hair department. The ad agency designs the ad using low-resolution files and gives this file to the retouching studio to use as a guide. The retoucher then reconstructs the ad with highresolution files to create the finished image.

The ad agency provides all the high-resolution images used in the FPO. On the DVD, you will find the hires beauty shot of our model, Vania; three shots of the lifestyle full-body images of Vania , which we will compose together; and all the product shots and the images for recreating the background.

There are also extra selects for stealing pieces of hair and lip shine. I orchestrated the photo shoot with my dear, talented friend Rick Day rickdaynyc. FIG i. Unretouched low-resolution client mockup. Either choice of color space is OK. Some people prefer to create profiles that adjust for this, and it does seem to work for them.

I also like having a black channel to tweak, and there are certain aspects of the CMY channels that lend themselves to my style of retouching.

If you prefer, you can convert your files to RGB xix and still be able to follow along, although you will encounter some differences along the way, especially in the color correction Curves. The simple reason for dropping to 8 bits rather than keeping your superior bit file is size.

Complicated advertising spreads can have literally hundreds of layers, and the file size just becomes too big at a certain point. I do, however, leave the file in 16 bit at the very beginning if I am going to convert the profile, do any preliminary color work, or do a slight sharpening, and then I convert to 8 bit after I am done.

Actually, if you have a large gradient or blur that you want to apply to an 8-bit file, you can convert your file to bit mode and apply the effect and then return to 8 bit again.

We will be starting and finishing the job exactly as if it were a real-life ad campaign. I might not be able to throw in every little retouching trick I know while building this image, but I have tried to create a scenario that will take us through many of the most commonly encountered challenges in retouching today. This book was intended to be read from beginning to end. When you have finished your beauty spread, please visit my website at www.

Please be considerate when commenting on the work of others! Remember that this file may grow to over 4 or 5 gigabytes in size! In a perfect world, I would prefer that you work on the file full size, but I understand that not everybody has a computer that can handle this heavy load.

I will show you how to do this when we open our file. Inside the main folder you will find four subfolders. If you would like to open the files to examine them at this time, go ahead and do so, but the file that we will begin with is in the Beauty folder, so when you are ready to get started, open the file named Vania.

Be sure that Constrain Proportions and Resample Image are both checked, and in the pop out menu at the bottom of the dialog box, choose Bicubic Sharper best for reduction. Changing the height dimension to 10 inches will bring down the file size from 96 to Be aware that you should never do this on a job for a real studio, since this will lower the quality of your file and the size it can print.

Fig 1. Professional retouchers commonly work with two monitors: a high-end graphics monitor for the main screen I use an Eizo, as does nearly every retouching studio I know and a separate smaller monitor to store the Photoshop panels so they can be seen anytime at a glance. We also use a graphics tablet and stylus instead of a mouse. If you are serious about retouching, you must have a tablet because you cannot accurately draw with a mouse.

The graphics tablet also allows for pressure sensitively, which I will explain later as we set up our retouching brushes Figure 1. Setting Up As a freelancer, I sat at a different computer at every studio I worked at, so the first thing I would do is arrange my panels and set up my tools the way I liked them.

Thankfully, Ps has given us a way to save individual configurations so the next time we are working on the same machine, even if it has been changed, we can get those settings back.

I have done a lot of experimentation and conferred with many other retouchers, and I think my techniques are proven and sound. But having said that, please feel free to experiment with anything and everything in this book, and in Photoshop in general. Experimentation is how we figure out how to create the seemingly impossible. Remember that there are many levels of retouching, and you can always dial it back, but for our purposes I want you to be able to take it all the way there in case you are asked to do so.

See Figure 1.

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Dozshura A Professional Step-by-step Guide. Real Retouching by Beene, Carrie Being a high-end retoucher is a lot more than knowing how this or that Photoshop tool works-being a high-end retoucher means rtouching know how to see, compose, finesse, refine, listen, and pay attention to the details. Backwards compatible with any version of Photoshop and written in an easy-to-follow, conversational style, this book will have readers creating their own works of retouched art in no time. Each and every image is included on the bonus CD so that readers can practice as they work through the book and have a complete job to show for it at the end.

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