Using Frequency Separation Techniques In Photoshop For Professional Retouching – Frequency separation is the process of dividing an image into two parts: color and texture, which can create color effects without affecting texture. For many photographers this is the main method in their retouching workflow. I have a video on how to do this that you can watch here: How to Split Frequency in Photoshop.
In this tutorial I will show how to use traditional FS retouching techniques with portrait photography. Including some tips for evening skin tones. Using them together can significantly reduce the time required to edit images. As with any technique, it is overwhelming. So be careful. Phil and blur are your friends.
Using Frequency Separation Techniques In Photoshop For Professional Retouching
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Photoshop Tutorial: How To Retouch Skin Flawlessly With Frequency Separation
Previous Back CHATGPT and How to Use it as a Working Photographer Next Next One Click Dodge and Burn Retouching Skin A long time ago (a long time ago) I wrote an article on frequency sharing. Although the main thing is disguised as a more accessible name. “Notes On Hone” It was early 2009, frequency separation was cool and then popular/mainstream. Then it might cool down again. I thought I’d revisit the original story to give the object a fresh coat of paint for 2021, including all sorts of new diversions.
Spoiler alert: I’m interested in frequency separation as a tool for wide tuning. It is not limited to or exclusively focused on skin beauty/improvement.
We TL;DR I think you already know about any signal as sound waves no matter how complicated the composition.
Lower frequencies are at the bottom. A result higher than the height will be black. If you want to understand this concept better. This article explains it in more detail and will surprise you too.
How To Make Frequency Separation In Adobe Photoshop
In the field of more familiar images you can see small high frequency details (in a certain area,
– When you filter with Gaussian Blur (Filter > Blur > Gaussian Blur, GB from now on) as a 10px radius, you remove all high frequencies (ie details)
The range is less than 10px, but if you high pass (Filter > Other > High Pass, HP from now on) with the same radius you do the opposite: you leave everything smaller than 10px (only the high range can pass through the frequencies – hence the name of the filter)
I chose this image as the majority example. This is an 1887 portrait of Abbott Henderson Thayer’s daughter from the Smithsonian Institution collection.
Frequency Separation, Silky Smooth Skin In Photoshop
In the early days we used to blend GB and HP layers (the latter in linear blending mode, 50% opacity), but that wasn’t precise enough for our purposes here. There are two ways to perform proper frequency separation. It depends on whether the file is 16-bit or 8-bit.
Namely: the original layer and the same layer created with 100% low + high frequency decay are identical, but why? And why are different image settings used for 8/16 bit? Not much of an argument to really understand (although) we need to go into mathematical combination mode.
The blend mode is an arbitrary two-layer blend mode. Saying base (b) below and active (a) above according to the formula
If used with simple values such as the range (0, 1), as in the example, multiplication is a well-known darkening blending mode. But not if multiplication is calculated with pixel values in the range (0, 255) Suppose we have the following values.
Frequency Separation Photoshop Actions
[A = frac = 0.2 \ B = frac = 0.6 \ A * B = 0.2 * 0.6 = 0.12 \ 0.12 * 255 = 30.6]
Results are truncated to 0 or 255 to avoid the need to calculate additional combinations when the results are disproportionate.
Many online sources state that linear light is a combination of linear dodge (add) and linear burn. (Spoiler alert: No.) Let’s experiment with linear Dodge (add). You can use the standard range (0, 1) or (0, 255), it makes no difference. Using the same values for A,B from the previous example:
The linear burn formula is A + B – 1: addition and then inversion. (white will be removed)
Frequency Separation Lens Review
Negative values are truncated to zero, where “inverse” means “subtract white” which is in the normal range 1 and
Instead, the linear light formula is 2A + B – 1, so it doubles the effect for the top layer. If you draw a black-to-white gradient on a new document, duplicate the layer and change the Blending Mode. Here are the linear dodge/burn/light results:
So I’m afraid, linear light is not a “combination of linear dodge and linear burn” because the slope of the curves is different. This is not a variation of the formula (resulting in A + B – 0.5), which, when used with linear light, would cause it to rotate around the (0.5, 0.5) line. The slope is steep. And of course, the formula is 2A + B -1.
Now that we understand, let’s try to understand why linear light works with the applied image we’re using. No “y-frequency separation” comes naturally to linear light, which blends well with the kind of image computation we do. We will start with the 8-bit version and move on to the 16-bit version.
Photoshop Tips: Frequency Separation Retouching
The process that uses the image is the original value minus the blur. (so it’s a negative mode) with a scale of 2 (ie divided by 2) and an offset (ie positive) of 128 normalized to 0.5, all equal to the gray detail layer. It is set to linear light blending mode. The top layer is called A. The bottom layer (B) is the original layer. And the mixing formula for linear light is 2A + B – 1. Try replacing A in the formula with (original – blurred)/2 + 0.5 and you will see that everything reduces to the original, QED.
Furthermore, we show why this particular subtraction (with a scale of 2 offset 128) combines perfectly with the linear optical combining mode to return an identical copy of the original.
Here we add an inverse blur (so 1 removes the blur. This is how you invert the pixels) by scaling it by 2 (ie it’s divided by 2 again). Then set it to Linear Light mode. Let’s call it A and B, using the same formula 2A + B – 1, we can replace A there and the formula is much more complicated than the original!
Therefore, Linear Light is not a magic blending mode or suitable for frequency division, the “use image” setting works with linear lights to provide the original value.
Advanced Texture Cleanup
“This gives us the midpoint of the range. (very useful for mixing) and helps speed up the math because we can use bit shifts instead of division.
I tried to figure out how Photoshop handles pixel counts. And something interesting is happening here. Let’s create a mock 8-bit test document.
As you can see, I created two solid layers 102, 102, 102 while the top layer is in linear light. I expect the mix to be 2A + B – 1, where 1 is the highest possible value in the 8-bit range (0, 255 ), ie. white: 255 , so the formula gives:
Alas, the computer “said no” and calculated PS 50. There is no division here. So I don’t expect any rounding errors, it’s pretty simple. I experimented with several different pixel values for the top and bottom layers. And the result
Frequency Separation Freebie — Anna Costa Foto
The only explanation is that Photoshop removed 256 instead of 255, which is actually true. And there’s a reason linear light with 8-bit documents doesn’t have neutral colors.
Is the top tier. The middle gray layer means “neutral” (no effect) in the mix:
It must have an A value (average value, middle gray) where deltaA is equal to zero, but if 255 is used as white it will be zero.
[A = 128 \ delta A = 2 * 128 – 255 = 1] [A = 127 delta A =
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