Make sure to set the “Sample:” field in the Tools’ Option Bar at the top of the open window to “Current & Below” so as to not select any pixel information from the top layer Select the “Retouch Colour & Tone” layer then brush over wrinkles and blotches with the Healing Brush tool, or the Clone Stamp tool. Here’s how I like to do it: step 7 – Low Frequency.
#Clone stamp tool not working with frequency skin
Now Frequency Separation is set and ready to be brushed over the subject to smooth and tone the skin reducing roughness, making wrinkles less dark and less noticeable, plus toning down “glare” areas. make wrinkles less dark and so less noticeable, or tone down “glare” areas. The next step is to smooth the subject’s skin-tone, i.e. This is what the final layer stack should look like. Notice how your weird grey image now looks normal again, only now it is sharp again. With the Detail and Texture layer still selected, go to the top left corner of the Layers Palette then click on the Blend Mode field (which by default reads Normal) and set it to to “Linear Light”.
In the resulting Apply Image window, make the appropriate settings for an 8 bit image or a 16 bit imageĬlick the “OK” button to apply the “Apply Image” settings to your image, you now have detail & texture separate from colour and tone, although the image now looks like a weird grey line drawing. Select the Detail & Texture layer (the top layer) and click on its visibility eyeball to turn on its visibility. Type Cmd/Ctrl-Shift-N to create a blank new layer above the bottom layer, name it “Retouch Colour & Tone”. The result you are looking for is a radius that lightly blurs all the fine detail. With the Colour & Tone bottom layer still selected, go to the Filter menu and select: Blur > Guassian Blur > Radius: 2.0 pixels (that’s the amount I like to use).
Right click on the Colour & Tone layer and select “Convert to Smart Object”. Rename the Background layer to “Colour & Tone”, this will be the low frequency layer. Name this duplicate layer “Detail & Texture”, this will be the top layer of the layer stack – the high frequency layer – click on this layer’s visibility eyeball to temporarily turn its visibility off. With an image file open in Photoshop duplicate the background layer by typing Cmd/Ctrl-J To unlock the magic of Frequency Separation you need to geek out for a bit and follow my recipe below. Or I can seamlessly put detail back into a burned out area in seconds (see see Image_04). Or I can completely remove black-heads from a nose by wiping over the affected area with the clone tool, removing just these blemishes (see see Image_03) without messing with the colour and tone. As master retoucher Robb Carr says, “It’s about reducing the distractions so that we can get to the essence of the person”.įrequency Separation is a tremendous aid with this, if for instance I’m dealing with a deep wrinkle (see Image_02), Frequency Separation allows me to go in and keep some texture and detail for authenticity, while reducing the toning that makes that wrinkle look so deep and distracting. I don’t like that look, I want my subjects to look real, but I still like to tone down the wrinkles and remove temporary imperfections so that they do not distract the viewer. When you think about, when someone has a wrinkle, if you fully remove that wrinkle with the Clone tool or one of the Healing tools, they start to look artificial, they start to look like they are made out of plastic. Frequency Separation sounds like a mental condition audiophiles might battle after too much time away from their stereos, but happily for them and myself it is not.įrequency Separation allows retouchers to separate the high frequency pixel information from the low frequency pixel information in images and make edits to them separately, in other words you can work on texture and detail independently from colour and tone and vice versa making most day to day retouching so much easier. This technique is called “Frequency Separation”. So what follows is one of the techniques I use to stream-line facial retouching without compromising quality for speed.
Also I love making money, I like making lots of money, so if I could shoot and retouch many more faces in a day, I’d become inconsolably happier than I already am – if such a thing is possible. Now I absolutely love retouching in Photoshop, but it’s not something I want to spend the whole day on, and that is easy enough to do. Invariably no matter how much I put into lighting, they almost always need some retouching. I love sculpting subjects with light then working with them to bring out their best and finally when all is right, immortalizing them into pixels.
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