In this tutorial, learn how to make an animated fire flame effect in Photoshop. Step by step instructions is gone over on how to create this perfect addition to any animation or presentation. Create fire flames in Photoshop with help from this tutorial.

photoshop plugin,photoshop,adobe photoshop (software),photoshop plugins,plugin,photoshop plugins 2018,photoshop plugins 2017,plugins,photoshop filters plugins free download,photoshop tutorials,plug-in,photoshop new plugins,plug-in (software genre),photoshop plugins hindi,photoshop plugies,photoshop filters plugins,photoshop plugins effects,photoshop plugins install,photoshop filters,new photoshop plugin,photoshop plugins tutorial

#photography #photoshop #composition #tamron #lightroom #style #modeling #picsart #photomodelling #nikon #streetstyle #girl #retouching #skintexturing #photoshopplugins #nature #fashion #portrait #Photoshop #PhotoshopCC #PhotoshopFilter #PhotoshopPlugins #LookupTable #LUTs #PhotoshopAddict #PhotoshopIndonesia #PhotoshopTutorial #PhotoshopMockup #PremierePro #PremiereProgram 

Retouching has never been more simple!

Frequency Separation splits texture from color and makes retouching skin much easier!

What is Frequency Separation?

Frequency Separation helps make Retouching a portrait easier in Photoshop. Frequency separation works because it allows you to separate the Texture of an image from the tone and Color. When Retouching you can focus on just the texture or the skin beneath it.

It sounds quite complex but in practice, it is quite simple. If you want to work with texture, choose the high-frequency layer, if you want to work with skin choose the low-frequency layer.

Getting Started with Frequency Separation

To get your image set up for frequency separation, you will have to make 2 copies of your background layer. If you are not starting from the beginning, add a stamp visible over all layers by typing CTRL+ALT+OPTN+E. One of these copies will be for your low frequency (skin) and one will be for your high-frequency texture.

First, apply a Gaussian Blur to the lower (low frequency) layer. Choose a radius that blurs out the skin texture, but don’t go too far as to make the face unrecognizable.

Next, choose your high-frequency layer and go to Image – Apply Image. Here you will want to set the Layer: to the low-frequency layer. For blending choose to Subtract and for Scale:2, Offset:128. These will be your settings every time, no need to change them.

Now you should have one layer with a blur (low frequency) and a layer above it that looks mostly gray (high frequency). Select the high-frequency layer and change the blending mode to “linear light”.

Your image should now look identical to the image before you started the process.

Correcting Underlying Color

To correct the underlying color (skin) choose an area with the Lasso Tool. I suggest feathering the selection to make it look more realistic. Use Q for Quick Mask as a quick way to see what your selection looks like. After you have made your selection choose the low frequency (blurred) layer and apply a Gaussian Blur in the selection. Choose a radius high enough to blend the tones together.

Repeat this process over different areas of the portrait to smooth the Skin tones. Because the texture is on a different layer, it should stay intact during this entire process.

Correcting Texture

If you need to correct texture, we recommend waiting until after you do the tone. Select the high-frequency layer and choose the Clone Stamp tool. In the Clone Stamp tool, settings are sure to hit Sample: Current Layer. This will make sure you are just using the texture and not sample anything else. Then on your high-frequency layer sample good Skin texture using ALT and then paint over “bad” skin texture. This will work very well for stray Hairs, acne, wrinkles and other small blemishes.

Unlimited Tutorials, Presets, Actions & Brushes.

***NOTE***

if you click on that and it will do not allow to download the file just click on it Thanks!

When it comes to editing skin tones, Adobe Photoshop has always reigned supreme. Lightroom could change the white balance and even alter the Hue, Saturation, and Luminance values, but this is often not accurate enough to render great skin tones.

This changed with the introduction of RGB curves in Lightroom 4, allowing us to change the values of Red, Green & Blue at a specific tonal range of the image. How this changes things will be explained below, but suffice to say it makes for much nicer skin tones without the need to export to photoshop.

(Not exporting to photoshop has numerous benefits including file size, no duplicate files, and all changes stay non-destructive.. Not to mention speed of workflow)

So let’s get to it..

The image above, straight from camera looks pretty good to start with.. And if you are not looking for a colour cast it would be easy to miss the slightly red/magenta skin tones. (See before and after image at the end of the post for a comparison)
Select the sample tool in the top left of the tone curve panel and sample the colour on your selected area on the forehead by click on it. This creates a point on your red channel tone curve.
Hovering over the newly added point on the tone curve shows two figures in the top left of the tone curve. The first number is the original value of red, while the second number is the adjusted value. We will be adjusting these values to make better skin tones, but not yet!
Repeat the steps above for both the green channel and the blue channel being careful to sample from the same point as the red sample.
Having sampled the information from the Red, Green and Blue channels we can see (by hovering over our selection points in each channel) that our original values are as follows..
Now repeat the same procedure for the Blue channel, remembering to hold the shift key. Changing the value from 62.4 to 61.8
As you can see below this has already made the skin tones more pleasing
At this point, we have made no adjustments to the Green channel. The green channel in this method is to account for personal preference and individual differences in skin tone.

Warning: there will be a little bit of math involved in this post, but I promise it will be really simple

First thing to check is that you have the current process version checked in Colour Calibration tab in the Develop module. This technique will only work for process version 2012 onwards.

With the process version set to 2012, change to the Tone curve panel as shown below and zoom in on the face of your subject. Choose a point of medium tone on your models face, the forehead is often a good place to choose. We will be using this point to make our selections in the three separate red, green and blue curves channels, so remember where you select.

As shown below, change the tonal curve from the composite RGB channel to the red channel.

Red = 79.2, Green = 70.2 and Blue = 62.4

Now comes the math..

(Red – Blue)/2

79.2-62.4= 16.8

16.8/2= 8.4

8.4 is our adjustment value.. To get the new number for the red and blue channel simply do the following

new Red = 8.4 + 70.2 (Green) = 78.6

new Blue = 70.2 (Green) – 8.4 = 61.8

What this achieves is a good balance between the red, green & blue channels at the point of skin mid tones.

To change the values of the red channel, select the red channel and then while holding down the shift key to limit adjustments to vertical.. Drag our selection point on the curve from 79.2 to our new value of 78.6 as shown below.

NB! It is not possible to get the number exact but get as close as you can

                                                    

Using the same method as the other two channels, holding the shift key and dragging the green channel until you find a pleasing look. The two signs you’ve gone too far is that either blond hair has a slight tinge of green or skin tones have too much magenta. Small adjustments are key here.

As you can see above in the before and after. These simple changes have made a subtle but significant improvement to the skin tones.

NB! When taking account of darker skin, you may find that you need to lower the value of the red channel by a small amount to avoid an oversaturated look.

I hope that you have found this tutorial helpful and would appreciate your comments below.

I would also like to thank Lee Varis for the inspiration for this post as his work on CMYK skin correction is the basis of this Lightroom post