teeth, but be careful to keep it realistic. Men, specifically, should look more "weathered" especially if they're in outdoor or sports businesses. 8.2.3.1. Re-lighting for emphasis From a workflow point of view, lighting effects are more in a category of special effects than of retouching. There are several ways you can "re-light" a photo to make it more interesting, to make it stand out from the background, or to make it a more natural match when combined with other photos. Check out Chapter 9 for lighting methods suited to compositing and Chapter 10 for a number of lighting effects that are traditionally applied with special effects filters. There's one useful re-lighting trick that can be done using the Burn and Dodge layeror a "lighting" layer that is also a layer filled with 50% gray in Screen mode. Best of all, thanks to this gray layer technique, you can modify your results endlessly without any damage at all to the Background Layer (the original image). The differences between these techniques and those done on the Burn and Dodge layer are that you'll be using a larger brush and often limiting your lighting effect by adding a selection or layer mask. Earlier in the "Moistening, smoothing, and highlighting lips" section of this chapter we brightened lips in an image using a certain technique, which is really a junior version of something I call the Glow technique (see Figure 8-24). You can use it to give depth and a kind of shininess to almost any type of subject. Since glamour is one of my specialties, I'll show you how it's often done with a facethough the same technique could be used in a car or liquor ad. Figure 8-24. A low-key portrait out of Camera Raw (left) and a glow stroke or two on a Burn and Dodge layer (right). Here's all it took to produce that magical glow: 1. After you made the low-key interpretation of your RAW file, open it in Photoshop. If you must shoot JPEG, simply underexpose for about a stop and a half and then work a bit with Levels and Curves adjustment layers to get the dramatic tonalities you really want. In this instance, you see the result on the left in Figure 8-24. 2. Apply any necessary healing techniques on the Retouching layer in your Workflow layers. 3. Brush glows into place (may take a bit of practice); if there are large areas, such as the Highlights on the face that you really want to make glow, draw that area with the Pen tool (see Chapter 9). Edit the resulting path so that you have a very smooth-edged shape in which to center the glow. 4. Convert the path to a selection. Open the Paths palette and click the Make Selection icon. You have a selection. Choose Select Feather and enter a moderately large number of pixels so that the glow blends smoothly. Press Cmd/Ctrl-H to hide the selection whenever you want to see what you've done, then press Cmd/Ctrl-H again to toggle it back on to position your brush. 5. Press D to make the color swatches turn to the default Black and White, then press X to make White the Foreground Color. Choose a large, soft brush and paint inside the feathered selection. If you feel you've overdone it, paint 50 percent gray back onto the Dodge and Burn layer and try lowering or raising the Brush Opacity and then do it again. Drop the selection (Cmd/Ctrl-D) when you're satisfied with what you've done in that area. If you want to make some other areas glow a little, try using a brush for smaller areas. Just be sure to undo quickly if you don't like the results of a stroke. Practice makes perfect. Of course, you can easily do the same thing in reverse to bring up shadow areas in an image. It can be a good way to add mystery to the shot. The steps are the same, except you press X to change the Foreground color to black. 8.2.3.2. Killing eyeglass glare People who wear eyeglasses can be tough to photograph in bright sunlight or with flashespecially on-camera flash. If you have a photo with glasses and there is hardly any detail, you may have to do a fair amount of hand-painting. If you can plan ahead, be sure to take several pictures of the person without their glasses and with their heads at different angles and tiltsthere's a pretty good chance you can match up an eye from another photograph. In the photo in Figure 8-25, the subject's left lens caught the reflection from a sunstruck window on the other side of the street. (Actually, that's bull. I made the reflection from a combination of filters because I didn't have any other shots I could use to demonstrate this process.) To correct eyeglass glare: Figure 8-25. Luckily, I had the subject pose without his glasses, too. Good thing he wasn't driving the motorcycle. 1. Place the photograph with the eye in it on a separate layer above the original layer. Temporarily reduce the transparency of that layer to around 50 percent. You're reducing transparency to scale and position the "replacement" eye. 2. Make sure the new layer is still selected and press Cmd/Ctrl-T. You'll see Transform handles appear on the corners and midpoints of a thin frame. Move the new layer so that the eye is positioned immediately above the flared eyeglass frame. 3. Drag a rectangular marquee around the area that contains the eye so that the frame leaves a fair amount of room around it. When it's in place, press Cmd/Ctrl-Shift-I to Invert Selection, then press Delete/Backspace. Since the eye layer contains little more than the eye, it won't take up a lot of extra memory and transformations will be much faster. 4. Place the cursor just outside one of the corner handles. The cursor will turn into a curved, double-headed arrow. Rotate the eye so that it's in the same position as the eye that was flared out. Since the original eye is somewhat blocked by the flare, zoom out to make sure the position of the new eye has the proper orientation. 5. While the Transform marquee is still in place, proportionately scale the eye so that it matches the size of the original eye. Scale proportionately by pressing Shift and dragging a corner handle. You must be very precise about sizing the new eye to match the other eye, or the image will look downright scary. 6. Drag the Opacity slider until the new eye is the same brightness as the old. Remember, it's supposed to look like it's behind glass, so it shouldn't be as bright or as contrasty as it originally was. 7. Change the brightness and contrast of the new eye by using a Brightness/Contrast adjustment layer and Clipping Mask on the eye layer. 8. Blend the edges of the new eye with its new background. If you have one, use a pressure-sensitive tablet for this and check Shape Dynamics in the brush presets. This will let you interactively broaden or narrow your brush by varying the stylus pressure, so you can more easily shape the erasure. Be sure none or very little of the flare shows through. Figure 8-26 shows the end result. Figure 8-26. The results of the steps taken above (right). Looks pretty natural, eh? 8.2.3.3. Punch out the paunch Subjects will almost always want to see an image of perfection. For example, the subject in Figure 8-27 really wanted her picture to look more like the photo on the right. If there's even a hint of a chubby thigh, oversized derriere, or saggy upper arm, you're likely to have an unhappy subject. Figure 8-27. From certain angles, especially using the wide-angle lenses that are so popular in fashion, certain parts of people appear to gain weight. On the right, the Liquify filter has been used to remove those extra pounds. If you suspect that you'll be dealing with this problem, shoot your subject in the studio against a seamless backdrop using a knockout color. This way, you can easily knock out the subject's silhouette without having to worry about cloning in background. You can then use the Liquify filter to reshape the person's silhouette. If your shooting situation forces you on location, you can still use one of the more sophisticated knockout tools, such as Extract or the more versatile Corel Knockout 2. It will just take a bit more time and effort to clone the background over the parts that were formerly hidden by the subject's shape. That's what I did in the example shown in Figure 8-27. Here's how to slim down your subject: 1. Decide how extensive the changes need to be. If just one small area needs work, clone it into a carefully made selection on the original layer. For a bigger job, you should start by duplicating the background layer and then using the Extract filter or one of the knockout plug-ins (Ultimatte AdvantEdge and Corel Knockout 2 are my favorites) to isolate the subject onto its own layer. 2. Use the Pen tool to carefully outline the area(s) you want to whittle away from the body. Be sure you have the Paths option chosen in the Options bar. You want to draw a path that's outside the main shape of the body. 3. Convert the paths to selections by clicking the Convert to Path icon at the bottom of the Paths palette (see Figure 8-29). Save this path (Select Save Selection) just in case you need it again in the future. Figure 8-29. The Lens Correction dialog, as it appeared after all distortion corrections were made. As a finishing touch, you would want to correct any camera tilt with the Angle icon and drag the Scale slider to push any transparent areas outside the limits of the picture. 4. If the subject's edges were a bit soft in the original, you will want to keep them that way. Feather your selections just enough to soften the edges very slightly. Often, feathering by one pixel is enough. 5. If your subject is on its own layer, press Delete/Backspace. The contents of the selections will evaporate. If the subject wasn't knocked out of a plain background that you are substituting with another, keep the selection active to protect the subject and use the Clone Stamp tool to clone in the surrounding background details. Of course, the less detail filled the background, the easier this will be. 6. To "light" the edges you trimmed so they seem rounded rather than flat, recall your selections by choosing Select Load Selection. If you're lighting with a highlight, brighten the selection on the shadow side. If you're lighting with a shadow, lighten the selections on the highlight side. Feather your selection enough to make the drop-off in lighting look natural, and use the Brightness/Contrast command to adjust the highlight or shadow edge's luminosity. 7. Fine-tune the edges of the lighting fall-off with the Dodge and Burn tool, since the edges of the lighting are likely to be a bit too regular. You can't always plan ahead, but if you know you're going to have to do some trimming after shooting on a set or on location, try to remember to take a shot of the setting in the same light and at roughly the same time as you shot the model. Then, if you have a really tough time cloning in the background, you can just knock out the model and substitute the unpopulated background. If you are careful to adjust the brightness and color balance of both layers so that they look like they belong together, it should all look perfectly natural. If it turns out that you don't need the saved paths after you've finished your retouching, it's a good idea to delete the channels to save file space. Open the Channels palette and drag the selection channels to the trash can at the bottom right. 8.2.4. Architecture Tips Although you can buy (or rent) digital camera backs that will work on traditional view cameras, even most of today's pros are only able to afford DSLRs. So being able to correct perspective in-camera just isn't affordable. Neither is correcting the barrel distortion that tends to occur when lenses are zoomed in to accommodate the widest angle of view. . certain angles, especially using the wide-angle lenses that are so popular in fashion, certain parts of people appear to gain weight. On the right, the Liquify filter has been used to remove. Corel Knockout 2. It will just take a bit more time and effort to clone the background over the parts that were formerly hidden by the subject's shape. That's what I did in the example