The Photographers' Guide to Photoshop by Daniel Lezano

By Daniel Lezano

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The intensity clthe selected tone can tIl en be adjusted with tl1e Dellsity slider to allow for some very subtle effects. giving tar greatercootrol than that of optica l lens filters. When you 've fin ished adding a grad effect to an image. iI's we ll worth the time trying some of these out to see if the im age can be improved upon further. ABOVE: Choose from ill3nge of preset filtt'f5 available in the PIloto Filter function or use the Color Picket to customise. RIGHT: FINAL COLOUR SELECTlONAlthough happy with the results of the grad filter effect.

So Irs good to know how to reproduce the effect yourself. The effect ~ks best on pICtures that have been shot against a whtte backdrop. We'll use a mocture of Photoshop fitters to make the subject 'pop off the backgrOlJ"ld and retouch any spots or pnnples with the Healing Brush and Clone Stamp tools. High-key portraits are SUPlXlSed to be very bnght. consISting predormnantly of tones that are Itghter than 50 per cent grey. For this reason. you shouldn't be afraid of pushing the brightness up to levels where you might rlOfmally consider It to be overexposed.

Once again. use f:dit>Undo (Clrl+Z) to go back a stage or two if you think it's necessary. Although this expressiOl1 was by far the best from the set, there's an annoying section of hair blowing across the model's face . So. wilh the CIOI1etool set toa small brush and Opacity at 65% to allow a gradual build-up, begin removing the hair by holding the Alt key to select the source points from the face. lips and teeth. psd) to preserve aillay€r work. Then go Layer>Flaffen Image toal low for some overall alteratiOl1s.

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