Hey everybody it's Craig back to here and in this video I'm going to walk you through this portrait retouch step by step and we're going to go from this to this. All right so here we are looking at the raw image. I'll show you the raw adjustments first and then we'll go to Photoshop. All right so this is the raw image right out of camera. This is how it was lit. The first thing I'm going to do is adjust the exposure. I suggest you do the same. Hopefully you shot it in raw. You can also adjust your white balance. So I'm going to make a small tweak. You can see we have a red highlight. I'm just going to take that down just a bit until that goes away and I'm going to take my highlight. I'm going to take that up to 10. So I've just made tiny adjustments. I like the exposure. I took the exposure down just slightly and the highlights down slightly. I'm going to leave the shadows just the way they are. The next adjustment is going to be my white balance. You can see here it was shot at 5500. The reason for that is I was shooting outdoors and my strobe is set for 5500. So I set my white balance in camera for 5500. Although I think I should cool it down. You can see if I go left it gets cooler. If I go right it gets warmer. I think 5200. Calvin that's K-E-L-V-I-N. Sometimes I say it Calvin for some reason. That's what you wanted at for me anyway. I'm happy with 5200. I'm going for the skin tone here. I'm really judging the skin tone. Does it look like skin should look like? Is that what her skin tone look like? Because that's the most important thing in a portrait is the skin tone. Now the tint if I go left it gets a little more greenish. If I go right it's a little more magenta. I think one. So 5200 Calvin and one. Those are the settings that I like on my calibrated monitor. It may look different on your monitor whether it's calibrated or not. Now that's all I do. So then I go to Photoshop. I'll show you my export settings. So I'm going to try to keep this exciting. Make sure you stick around to the end. I save some of my best retouching tips to the end of this video. You don't want to miss those. All right. So here we go. We're going to go to a TIF format 16-bit uncompressed color space pro photo. It's the largest color space. I suggest you use that and we're going to go to Photoshop. All right. So here we in Photoshop. This is the raw image and this is a final image that I posted to Instagram. So that's the before and this is the after. So I'm going to walk you through how to get more orange and red in the sky. How to change the background color. How to do dodge and burn. How to do liquefy. How to do color grading and a whole bunch more. So stick around and watch this whole video. I'm going to try to keep it engaging the best I can. Okay. So the format of this is going to be, I'm going to demonstrate the technique and then I'm going to move on to the next one. So I'll say, okay, first I start with this. Here's how you do it and then it's up to you to practice these things at home. I just want to keep this going quickly so that you don't get bored. The first thing is we've got our background image. The first thing we want to do is duplicate that. An easy way to do that is to right click on the image or you could use a shortcut. I'll use some shortcuts as well. We could right click and say duplicate layer or if you're on the Mac, it's command J. So command J and that's a duplicate. Never work on your background layer. Always have that there and think about the layers as a wax paper. So you've got your original picture. You're putting wax paper over it. You're making some adjustments. So if you want, you can always go back or you can reduce the opacity. So your layers are on the right. Also you have your blend modes. You can see we're on normal. You also have your opacity for each layer. Your tools are on the left if you're new to Photoshop. So let's continue on. So the first thing I suggest you do is make a plan. Look at your overall image and say what should I do to this? Does it need dodging and burning? Do I want to change the color? Do I need to heal the skin? Start thinking about those things and make a plan for yourself. Now I always start with healing the skin first and I go from top to bottom. I'm going to create a new layer. If you come down to the bottom right here, click there. We've got a new layer. Now we're going to heal on that layer. If you come to the left here, we have what looks like a bandaid. We're going to use the healing brush. I think it's a little more effective than the spot healing brush or the patch tool experiment if you'd like. Don't take my word for it, but I do prefer the healing brush. Now I'm going to zoom in. Command plus is a shortcut on the Mac. So I like to get in really close. So I'd say anywhere from 500 to 800 until the image becomes pixelated. I like to get in really close, really have a look at what's happening and then make an assessment about what I want to fix. So I'm on the healing brush right here on the left and then I'm going to sample nearby skin texture. Now an important thing to be aware of. See just above the healing brush, we have our eyedropper tool. If you click on that, you'll see a sample size. Now this is going to sample that size.  You don't want that. That's too small. Three by three average, probably a little too small. So I'm going to go with a five by five or you could try 11 by 11. Make sure that you have that set right. Now click back on the healing brush and now we're going to sample nearby skin texture. Now an important thing is you want to make sure the lighting and the color is similar to what you want to heal. So don't go sample in the shadowy left part here with a different color and a different lighting and then come over here. You want to be as close as you can and you want your brush to be roughly about the same size as the blemish or whatever it is you're healing and then you just paint over. So I'm going to demonstrate how that works a couple of times and then we'll move on to the next step. Now it's up to you to watch this video again and then practice this on your own because as much as you think you're watching and listening, this happens to me all the time. I watch a video and I'm like, I got it and then I go to do it and I can't even remember what I just watched. So I recommend that you bookmark this video and watch it two or three times and then maybe pause and work on one of your own images and then come back to this and then just refresh your memory. So that's something that you should try. Now this works on hair too. I just want to demonstrate. You can use this to remove hairs, blemishes, moles, just about anything you can use. So that's the healing brush. So that's step one. I heal the skin. I start the top. I work my way down. I won't bore you by going through all that. So once I do that, I do something called a micro dodge layer and I'll demonstrate that for you. So step one, heal skin. Step two, dodge and burn. Now there's a couple different ways to create dodge and burn layers. I'll show you a couple of different ways throughout this video. So stick around so you make sure you see all the different ways to do that. Now here's one way. If you hold the option key on the Mac, alt on the PC, beside the garbage can where you create a new layer, you click that and we have a dialogue box. Call it dodge. I'm only going to dodge. Go to your blend mode, which is set for normal. Set that to soft light and we get a different option. It's filled with soft light, neutral color, 50% gray. Check that box, say okay. And on our right hand side, you can see in our layers now we have a gray dodge layer. This is what we're going to use for our first round of dodging. I'm going to zoom in super close, probably about 500 to 800 times. Really super close. It's going to depend on the image that you shot at, the resolution I shot this and then I can T850. It's quite a high resolution image. I'm losing my voice. And so you can see here, we have lines and I use this for fine lines.  These are predominantly skin tones. You can see now we can really see the dark areas of this image and now you're not really seeing the color. You're seeing the lighting. You're seeing the brights and the darks. So you see the difference there. It gives you that focus where you're like, whoa, those are really dark areas. That's going to show up in the image somehow. Now we'll go to our dodge layer, make sure you're on that and we want the brush key. So a shortcut is B. So B for Bob is your brush. Make sure that you're on white. If you look to the left, we have white as our foreground color. Our opacity of our brush is 100, our flow. I suggest one or two percent, just a really small amount. And then you want to use a soft brush. So make sure you're using a soft brush. Now there's a shortcut. If you hold down the controller option key on the Mac, and you go left or right, if you're dragging that, I'm using a Wacom Intuos Pro tablet, and I'm dragging my pen left and right. And if I go up, it's soft. If I go down, it's hard. So I'm holding those keys down. So I've got a soft brush. I can adjust the size. I can also use my bracket key. So left bracket makes it smaller. Make your brush about the same size as that line. And like I said, opacity 100, flow of one percent. And then just lightly paint over that. And so I'll just demonstrate this. I'll show you the before and after and then we'll move on to the next technique just so you don't get bored. So just keep watching because this gets better. All right. So if you're new to this channel, I have a quick message for you. If you're new here and you're not already a subscriber, my name is Craig Bechta. And if you're in a photography, you should hit that subscribe button right now and also hit that bell notification because every week I release a new photography tutorial. Everything from portrait lighting tips to portrait retouching tips and a whole lot more. So go ahead, click on that subscribe button and hit that bell notification. All right. Thanks. And let's continue on with this video. So just keep watching this.  Now what causes these sort of hills and valleys? So let's say you were looking at a mountain, for example, and the sun was shining on the mountain. Well, the peak of the mountain is going to be brighter than the base of the mountain. So that's kind of what happens with a blemish on the skin. If you have a raised portion of the skin and the light hits it, the top part of a pimple, for example, would be brighter than the base of the pimple or a line in someone's forehead because it's indented. There's going to be more shadow. So what you're trying to do is even out the shadows where you see blemishes or lines and that will reduce the look of these blemishes or the lines. For example, instead of using a healing brush, you could just go around blemish like that and just get rid of the shadow and it would blend nicer.  So that's before. Look at the forehead and that's after. So before and that's after. Now you probably wouldn't want to do this if you're doing 300 wedding photos, but if you're working on portfolio images and that you want to just display your best work, this is a technique that you can really get in and fine tune those fine lines and blemishes. And so that's a micro dodge layer. That's what I call it.  You can just delete it and carry on. So that's my first round of dodging.  So my global dodge and burn, another dodge and burn layer. So what I'll do is I'll demonstrate a different way to create a dodge and burn layer.  If you click on curves, you can drag that up. Do you see how much brighter it got? So what you want to do too is also to change the blend mode. Now the reason for that is look at the color on her face. If you hold down the space bar or you've got a little hand, you can move that around. Now I'm on a normal blend mode. Now watch how the color changes if I go to luminosity. You see how it kind of changed? So when you're not on the luminosity mode, it affects the color as well. We just want to affect the brightness and darkness. So when you're using a curves layer, switch it to luminosity. And then what you have is this white mask. To change that to black, you just hit command I and now we have a mask. So just like you would dodge and burn on the gray layer, if we paint on that black mask in white with the same brush capacity 100 and the flow of one, we're also dodging and burning, but we're using the curves layer. So I like to separate dodging from burning. So I'm only going to dodge on this layer. Now let me point out areas of the face that you should be concerned with. So I'm going to create a new layer so I can draw on that. I'm going to click over here and I'm going to pick red and I'll show you where you should be focused on. So there's a few areas of the face that a makeup artist would add some highlights to. And so you should be thinking about that too. So you want to enhance what's already happening on someone's face, whether it's a man or a woman, it's the same kind of area. So what I'll do is I'll look at this area here. I'm just going to change the flow rate here to 100 so you can see that better. I'll focus on this area here. I'll also look at say the highlight on the nose. I'll think about under the eyes. I'll look at this area here on the cheek. I'll also look on this area here. And then I'll look at the area of the chin and then I'll probably put a little highlight on the lips. So those are the key areas that I'm looking at. Also if I see any areas that don't look right, and another thing is too is all back out. So constantly go to what you would look at this image say maybe on the web and then zoom in, zoom out and look at how you're dodging and your burning is progressing. And always keep in mind that it's on a different layer.  So I'm a fan of really creating multiple dodge layers so that you have more control and you didn't do all your work on just one layer and then you go, I screwed it up at the end. So often I'll do the micro dodge, then I'll do the global dodge, then I'll do hair only. So I separate it into portions and then I might do a dodge layer for the body only. And then that way if I make a mistake, I can just go back easily. So let's just say that I went through those dodge areas. One tip I can give you is to vary your brush size. So like I said, have a soft brush and have a low flow rate, but also vary the size of your brush. So you may want to start out with say a larger brush say on the forehead and then go to half that size and then half that size again. The reason for that is so that your highlight is gradual. It's not just one big white spot. So think about that too, varying the size of your brush and then starting in the forehead, then the nose, under the eyes, the chin, and then back it off if you think you went too far. So that would be the second round of dodging. I don't even get to burning at that point. Let's look at the hair. Now I would make another layer. Let's create another one. We'll do the gray layer just because it's either or. I don't really have a preference and we'll go soft light again. We'll say fill with. I'll say okay. Now again, we're just painting in white. I'll look at the areas of highlight and I'll only highlight those areas. So I'm not trying to take up dark areas and make them bright. I'm just sort of brushing over already bright highlights and just sort of giving them a little emphasis and I'm moving quickly. I'm not spending a lot of time doing that. But one tip I can give you, if you switch to the black brush, you can see I was just painting there in red so I probably didn't do anything. Make sure that you're conscious of what your foreground and your background color are and you can hit D to get to black and white and X you can toggle back and forth.  One tip is you see how the part here is a little bit brighter? What you want to do is you want to darken that part as well. When you're doing your dodging and you're burning of the hair, that's a good tip. You can darken that down because you don't want your eye to go to the part and the hair.  So the whole key when I'm doing any retouching of a portrait, how can I get you to look at their face before you notice this part of their hair is too bright, that kind of thing or maybe their clothes are too bright or maybe the background is too bright? Remove distractions. That's the key with portrait retouching is to remove any distractions in the image so that the person is drawn to the person's face and eyes first. That's what you want to do. So that's the whole goal is to remove any distractions and I'll walk you through how to do that. So I've just brought that down a bit. Look at the part in her hair. See how it just got darker but it's subtle? So everything I do is subtle. It's very subtle and it's all in layers and that's why I like Photoshop. We've talked about creating multiple dodge and burn layers. Let's go to what I would call would be stage three. So I'm going to look at the same image and I say okay well I've done some skin healing. I've done a couple layers of dodging and burning. What else does this need? And I'll look at everything and I'll say well I could probably fix the hair with liquefy. I could probably take the shoulder down, maybe tuck in the arm, tuck in the jeans, get rid of these creases. So those are things I'm thinking about. So what I'm going to do now is I'm going to take all those layers. I'm going to merge them to the top but the thing is when I do that I can always go back. I'm always going to keep these layers in the right in case I need them. So a shortcut is shift, option, command E. That will merge everything to the top. Now if I want to go back, all I have to do is delete that layer. All of my original layers are still there but the reason why I'm doing that is so that I can use liquefy. I can't use liquefy on a dodging burn layer or a blank layer so that's why I had to merge it to the top. So I'm going to go to filter. I hope you're still with me. I'm going to go to liquefy and we're going to liquefy some images. So I'm going to show you my settings. If you look at the right here top corner, my pressure is 20, my density is 50 and then I'm going to show you how to use a freeze mask. If you come to the left here we've got a freeze mask tool.  So I'm just going to paint over that. Anything we paint in red when we make adjustments in liquefy tool it won't affect that. So for example if I want it to just tuck into her arm there and I don't want to affect the rest I can do that. If I want to bring in her waist a little bit I can just do that. Same with this if I can protect her arms here if I'm making some adjustments out of the hand. So any areas that you don't want affected by the liquefy tool paint them with the freeze mask. Then you want to go to your forward warp tool. That's right there and you want to make sure that this is large enough. And again like dodging and burning you probably want to zoom in and out of this image. Hold the spacebar down and then you can drag the image. And so I'll have a brush size like that. Be conscious of your brush size in the area you're in and then when you get to a bigger area like this where you just want to affect everything a little bit more evenly make your brush bigger. If it's a little bit smaller of an area adjust that brush and really I'm just demonstrating how to make some tweaks in the hair. Say you're outside and it's windy and for some reason the hair just looks a little flat one spot or you want to add a little body to the hair. You can do that with the liquefy tool. I'm going to exaggerate it a little bit just so that it's easy for you to see when we go out the changes I made. But you can be as subtle as you want with this and I suggest you be more subtle. So I'm going to bring this down a bit there and I'm also going to make my brush bigger. I'm going to tuck in her arm just a touch there. And you can see the jeans here. If you want to tuck in someone's clothing you can easily just sort of tuck that in and then if you want to sort of tuck in their waist you can do that. Again here with the jeans right there where she's got them crumpled up if I want to tuck in that part I can. So it's really just a matter of making these fine tweaks because I don't want something to catch your eye and take it away from the focus of the image. So again here I'm going to tuck in her pocket a bit there and it's really just about taking some time and doing it properly. Even if you wanted to say these are very baggy pants if you wanted to you could even bring in the leg a little more because sometimes the camera will make someone look heavier. So these are things to think about. Now I wouldn't say take someone's you know down like a hundred pounds or something but you know be conscious of things that you know don't look proper when you're taking the photo. So then if they click on and off you can see it'll zoom in a bit more and so just look at the areas of the hair the shoulder the arm the pants and you could see these little tweaks but they did make a difference. So that's the liquefy tool and that's how you use it. So I'll employ this sometimes sometimes not at all it's really depending on the image but I wanted you to see how to use that. All right so let's recap so we started with the background image we healed the skin first top down then we did our first dodge and burn we only did dodging micro dodge layer with the black and white layer then we did more of a global dodge with just the dodge layer again. Now you can use curves or you can use a gray layer for that then we did some liquefy. So once I get to this point I start to look at the entire image and I say well how can I enhance this image? So for me I want to make the skies redder I want to make the background a little bit different I want to make it darker so how do you do that? So I'll show you a great technique and again we're just going to shift everything up.  All right so what I want to do here is I want to create a mask so I can use this mask over and over again. So we're going to use the quick selection tool which is never quick. They call it the quick selection tool it's never quick. I don't think it's going to work that great in this image because her pants are the same color as the background so it's really going to depend on the image of the background how well this works. I'm going to do this really fast I suggest you take your time if you're working on some portfolio images but I'm just going to show you how to do a quick cutout and I'm going to explain why I'm doing it and how I use it in my work and I think it's really important to do this. All right so you can see I've got some of the background if that happens you hold the option key or alt on the pc and then we just want to take away that area that it selected and I'm not going to do the whole pants I think I'm just going to leave it the way it is there's a little bit under arm so if you do this yourself take your time go through do a proper selection I just want to show you why this method is so effective so I'm just going to do a partial mask but you'll get the idea. So you can see we've got a cutout except for our pants I would cut that out normally. Now look right down here output two new layer with layer mask you want to make sure that's set if you don't see red you can adjust that up here too so I'm going to say okay and now we have a mask but nothing really changed right so watch what happens so I'm just going to make sure that I have a layer above this so again shift option command E I'm merging everything pushing up to the top I'm always keeping my layers below in case I want to backtrack so now what I want to do is I want to go up to filter and I'm going to go to camera raw filter so I've clicked there and so this takes us back to Adobe camera raw so if you're familiar with that that's great if you're not what this allows us to do is to make some other changes so we can play with the color temperature so we could cool down the background or we can warm it up I'm going to show you how to just mask the skin so I've warmed up the sky a bit we can play with the tint I've added some more tint there but we can get even more refined if you go for in we have the HSL adjustments which stands for hue saturation and luminance we're going to play with just the hue so we're going to affect the sky so we're going to take the red we're going to drag it far to the left we're going to drag the orange to the left you can see it's making your skin go crazy but we've got that mask right I showed you how to create one and we're going to drag those yellows now we've created a really cool sky it may be exaggerated but I just want you to see what you can do now we can take the aquas and we can adjust the background as well I'm going to say okay now this doesn't look great right now the way we have it right so you see how we have our mask here at the layer below that one if you hold the option key or alt on the pc you can drag that mask up now so we dragged up the mask but you can see that the effects on her and not the background so what we need to do is reverse that so if you click on it and hit command i on the Mac we've reversed that mask now you can see it looks fine because it didn't affect the jeans too much or the background but you would have that cut out properly now if I toggle this on and off look at the difference in the sky like sure that maybe that's a little bit overexaggerated but you can always adjust the opacity because that's a different layer right that's the own layer so if you thought it was too much you could adjust the opacity but now what else you can do because you have that mask so we're going to go and create the curves layer I'm trying to go fast keep it interesting so I hope you can stick with me I can drag this curves layer down and then drag that mask up so again like I did before holding the option or alt key on the pc grab the mask drag it up say yes and now if I toggle this on and off you can see that not only did we change the color of the background but we also made the background darker to put more focus on our subject and again because it's on its own layer if you went too far you just adjust the opacity so it gives you a lot of range really as far as being able to change the background separate from your subject make it different colors make a different lightness and brightness great trick master subject and then you have more latitude as far as doing things all right so let's get to adjusting the eyes we want to brighten and sharpen the eyes the reason for that is in a portrait the focus is someone's face and eyes and your connection is with the eyes so we want to make them stand out so I'll show you how to do that we're going to create a curves layer for the eyes so I'm going to zoom in and we'll get really super close and I'll show you what to look for here I'm going to create a curves layer click down here click curves and I can drag it up now before we're dodging and burning we went to luminosity I'm going to leave it this way because I don't mind if there's a little extra color in there because we're just sort of making some enhancements to the eyes and again like before we have the white mask we want to hit command i and invert that mask so now what we want is we want to hit the b key like bob that's a shortcut for brush opacity is 100 we're going to put that flow at about 20 percent so we want to bring this in quicker make sure you're on a white brush and then size your brush smaller so you can paint little areas in the eye now we have the catch light at the top that's our soft box that's in her eye I suggest you have that at about 10 to 2 o'clock range here it's about 12 o'clock I'll bring those up first then what you want to do is to bring the light in opposite that so below the eye so below that catch light so not the whole eye but the part opposite that's where the light would bounce out of the eye don't brighten the pupil keep that dark so I'm just going to bring this up and then I'm going to show you a trick to really blend this and make this look natural now the left eye I would bring up but not as much because where the light is is to the right so this left eye shouldn't be as bright as the right but it should be brighter than it is so I'm just going to bring it up a little bit we'll toggle it on and off but let's put the focus on this right eye now I want to show you something here if I right click and go to blending options I'll have a little box pops up here and I'll keep it right here so look in the eye as I make these adjustments so if you look at this here it says blend if gray this layer or underlying layer we can click here you can see red green blue make sure it's on gray the go to underlying layer if you hold the option key or alt on the pc and drag this you can split this you can do that at the high end as well the reason we want to do that is watch when I drag this now watch the brightness in the eye see how it goes down as I drag it to the right so we can sort of blend this in so it just blends in naturally and that's the blending option and then we could click on and off now what I suggest you do is to back out to what it would look like on the web and then toggle on and off and see if you went too far or not far enough if you went too far then adjust the opacity slider and bring it down to say 50% and say okay that looks more natural if you didn't go far enough you could just easily click on that curves layer and you could drag that up so those are some things you can do to brighten the eyes and it's really a personal choice I would err on the side of caution of going too bright on someone's eyes it's going to look fake people are going to know all right so I went overboard but I just wanted to prove a point there of how to do it I'll just drag that slider down it blends a little more now the next thing you want to do is sharpen the eyes so again I'm going to merge everything to the top shift option commande is the shortcut again I'm keeping all these layers here so if I have to go back they're still there the reason why I merge them is because I want to sharpen that you can't sharpen a blank layer so filter and then you go to sharpen unsharp mask so there's lots of ways to sharpen this is just one of them this is the technique that I use I click on the eye so I can see it in the box my amount is 200 my radius is 1.2 my threshold is zero I click okay so when I do that now the whole image is sharp you can see that the image is much sharper I only want the sharpness on the eye so I'm going to create a mask quick way to do that hold down the option key or the alt key in the pc come down to this little rectangle right here click on that you see we have a black mask now just like you were dodging and burning wherever you paint in white you'll bring that effect back I'm going to keep my flow at 20% I'll zoom into the eye so you can see how effective this technique is and again I'm just going to paint over the eye so I'll make this a little smaller I'll paint over the eye I'll paint over the eyelashes around the eye here and you can see that it's not working because I wasn't on that properly so let's just make sure I'm on that okay good so if anything's not working in Photoshop like you think it should have a look around look at the layer you're on look at see if you're on a white brush check your settings you'll find that you get frustrated easily sometimes in Photoshop if you're not set perfectly and it happens all the time all right so I'll toggle this on and off watch your right eye see how much sharper that is also I might sharpen say the eyebrow and then I might put a little bit of sharpening on the bottom lip or her lips of course I'd heal the lips I dodge the lips I get rid of these hairs but I'm just trying to go through this quickly showing you the core techniques that you can use and how to do them and then it's up to you to really apply them so I don't you know bore you to tears with this video but again we're going to toggle that on and off and then you can see here if I go to the bottom and I click here you can see the changes we've made to the eyes to the hair and of course I would do more dodging and burning more skin retouching than I have in this video but I just want to demonstrate these techniques okay so we've got to the eyes now I look at the image again and I think okay well what is left we could heal those pants so by healing those pants I mean we could use the patch tool we could use the clone stamp tool we could use dodging and burning so some of these techniques I've showed you we can also do that on the clothing as well to even out those lines and wrinkles now one thing I like to do is color grading and I suggest you have a signature color grading style so that all of your images kind of have a similar feel so I'll show you a technique to do that so if you come down here to your adjustment layers and you go to selective color you can change the different colors so you can pick a tone and change that so what I like to do sometimes is go to the black layer which is going to affect the darks in the shadows of the image and I'd like to add a little blue to that to do that I can take the science slider and go right so you can see how that changed the darks but I'll do it very subtly I'll go maybe plus one on that and then the magenta I'll go plus one and then for the yellow you'll see in a second here I can't get that to work okay so let's just say plus one okay there we go if I go to the yellow you can see all the blue that comes in so I'll go maybe minus one on there and then what I'll do is because it's on its own layer again I can reduce the opacity to about 50% but if I toggle on and off it made a subtle change but all these subtle changes that you're doing with all these layers really add up to a complete image and that's why I like using photoshop over some other applications now I'll show you another way to do that if you come down to your adjustment layers you go to levels and you go to your blue channel now look down here at the bottom where your output levels are if you go from your left to your right you could see I'm bringing blue into the shadows again so another way to do it so maybe you could bring in say five on your output level on your left if you want to bring in some yellow in the highlights like split toning you can do that as well and you can just bring in a subtle amount of that again I suggest backing off some of these adjustments so that looks a little more natural now the last thing that I would do to an image is crop it we'll get to that in a second but also I'll show you how to bring in some contrast to an image so again we're going to go to a curves layer and I just want to bring in some contrast so I think what I'll do is I'll change that blend mode in a second but if you look at the bottom here if I drag this down this sort of brings the shadows down I drag it up here it's more between the mid tone and the highlights and I'm creating s curve is what it's called and that gives us more contrast we're going to change that blend mode to luminosity so we're not affecting the colors and then we're going to drag that down to about maybe I'll give it to about 16% so you can see how this works toggle it off and toggle it on toggle it off toggle it on you can see how it gives a little more punch to the image and you've got that its own layer there you can adjust the opacity to your taste but that's how to give it a little more kick and then I would crop it so some cropping rules if it's a portrait I don't like to have a lot of space above the head because it's really about the person not about the sky so I'll often crop close to their head and then cropping points would be at the knees or at the waist or at the elbow because I missed her shoes in this shot I can't just show her with no feet so I have to crop at the knee so I'll look for the knee crop and then I'll crop it like that and then I'll do one last look at the image and sometimes what I'll do is I'll export a really large image I'll go take a break and I'll come back and I'll just look at the image and I'll say oh I missed something oh I should do that again and I might do another round of dodging and burning or I might tweak the colors or I'll say you know what that's oversaturated if I put that on the web her skin tones are too saturated so one last trick if you want to desaturate someone's skin a little bit sometimes people go the other way they oversaturate well you can do that's a color balance tool that's good if you want to balance certain colors but I want to show you another way to do this if you go to hue saturation and you go to the red channel so this is going to affect the skies too because we're going to affect the whole image but you can reduce the saturation of just the red so you can go plus or minus so you can go minus say four yellow minus four and then you can go master which is the whole image and then you can reduce that by saying minus five and then that'll take down some of the saturation of the image if you feel someone's skin tones are overly saturated or certain colors so that's just the tip right there so I hope you enjoyed this video if you found these tips helpful give me a thumbs up and if you're not already a subscriber hit that subscribe button and also share this on the web either fellow photographers if you found it helpful share it in forums facebook groups all over the place blogs wherever you want hey it's Craig back to here again and you made it to the end of the video if you found these tips helpful give me a thumbs up for this video also share it on the web just look below this video click on share you can share it on blogs you can share it on facebook groups photography forums wherever you'd like also if you're not already a subscriber hit that subscribe button and make sure you hit that bell notification and you'll get important updates when I release new video tutorials all right thanks again for watching the thumbs up if you found it helpful share it like it subscribe anyway I'll see you in the next video


This is Covering the Spread, part of the FanDuel Podcast Network. We have nine game slates in both the NBA and the NHL for tonight's national TV games. NHL trade deadline just around the corner, so it is a fantastic time to bring on top Vecchio and pick his brain on NBA and NHL for tonight at FanDuel Sportsbook. This is Covering the Spread right here on the FanDuel Podcast Network and FanDuel Research. My name is Jim Sonnis. I am a managing editor of digital media for FanDuel Research. Joined here as mentioned by Tom Vecchio. Check him out on Twitter at Tom underscore Vecchio one. Find his work over on the Daily ISO or Daily NBA betting and DFS podcast on the FanDuel Research podcast feed. Tom, happy Tuesday. How's it going? I'm doing great. Yeah. Super big slate for both NBA and NHL. It is absolutely crunch time for both of these sports. This is not the time to mess around for anything. So changing random rotations in NBA or NHL. Time to trust the main guys. Stick with that and we should be in a good spot. And it means a good product in front of us as well, which is always delightful too. Probably a bit less volatile in the prop market as well. So everyone wins and we'll get to watch some fun sporting events across tonight. We'll talk to Tom to break down his favorite bets across the NBA and the NHL in just one second. But first, a reminder to make sure you're subscribed to covering the spread. Wherever you get your podcast, just search for a covering the spread wherever you get your podcast. If you like what you're hearing, let's say five star rating on Apple podcasts or Spotify. You can also find this show on the FanDuel YouTube page and on FanDuel TV plus. Get buckets with your first bet on FanDuel America's number one sports book because right now new customers get $150 in bonus bets with any winning $5 bet. That's 150 bucks if your bet wins bet on all your favorite NBA players and teams with quick bets, live same game parlites, exclusive props and more. Just visit the FanDuel app and shoot your shot. FanDuel official sportsbook partner of the NBA must be 21 plus and president select states. First online real money wager only $10 first deposit required. Bonus issued as non withdrawal bonus bets that expire seven days after receipt. See terms at sportsbook.fanduel.com. FanDuel is offering online sports wagering in Kansas under an agreement with Kansas Star Castino LLC gambling problem. Call 1-800-Gambler or visit FanDuel.com slash RG Colorado Iowa Michigan New Jersey Ohio Pennsylvania Illinois Kentucky Tennessee Virginia and Vermont. Call 1-800 next step or text next step to 533-42 in Arizona 1-88-789-7777 or visit ccpg.org slash chat in Connecticut 1-809 with an Indiana 1-800-522-4700. Visit ksgamblinghealth.com in Kansas 1-877-770 stop in Louisiana. Visit MD gambling health Oregon Maryland 1-800-gambler.net in West Virginia 1-800-522-4700 in Wyoming. Hope is here. Visit gamblinghelplinema.org or call you<PHONE_NUMBER> for 247 support in Massachusetts or call 1-877-70 or text open Y in New York. Tom, let's start things off in the NBA. Couple of TNT games for tonight. We got the Celtics at the Cavs. That one should be a delight. And then the Suns of the Nuggets. Two really fun games. Which best stand out to you in those games right now at FanDuel Sportsbook? Let's start with the Celtics and the Cavs. And let's there's actually two reasons why I'm targeting Jason Tatum revounds plus assists tonight. It's at 13 and a half. We have Jalen Brown and Kristaps Porzingis. Both listed as questionable for the Celtics. So simply and Tatum is already a high usage player to begin with. So seeing him do a little bit extra here or there is not going to be a surprise. So if Porzingis is out, it should be out for it starting. But because the Cavs have Evan Mobley and Jared Allen, two great rebounders, Tatum has always shown like he has the onuses on him to do a little bit more. So an opportunity thing will be increased for Tatum, but also given the fact that these are two very, very good defensive teams. And not to mention, as I said, the Cavs are very good at rebounding. So to see this trend towards the under and see a lot of missed shots because the tough defense and therefore we see more rebounds because of the defense, Tatum should just naturally be in a spot because of the defensive matchup to just have more rebounds overall. So it's kind of a dual approach where Porzingis is out, someone has to step up and do more rebounds. And then also the game environment with these two tough defense, it shouldn't actually tend itself more towards rebounding missed shots.  All right. So Jason Tatum rebounds plus assist at Fandall Sportsbook. The over is minus 122. That number is at 13 and a half right now. For Jason Tatum, minus 122. That sounds like it's moved a bit since you looked at it earlier on. Is that still a value to you right now? Yeah, definitely not 14 and a half and not past 135. Okay. So still a value right now, but keep close tabs on that one as the evening progresses. Other TNT game for tonight is the Suns and the Nuggets right now at Fandall Sportsbook. Nuggets favorite by nine and a half in this one. What are you seeing in this one, Tom? Devon Booker is out for the Suns and that lends Bradley Beal to be in a good spot. Over 18 and a half points minus 128. This is clearly a usage thing. His field goals, his three-point attempts, his overall usage just increase obviously when Booker is off the court. His first two games back. First game back does a whole lot of nothing in the grand scheme of things just because they were fully healthy. Booker gets hurt. All of a sudden he goes for 31 points. So we have to be trusting the Nuggets to stick with their main guys. As much as they do have a good rotation of players, it's about Durant and Beal tonight. If they want to have a shot at taking down a very good Nuggets team. So Durant's number is just a touch too high for me. Beal at 18 and a half saying a minus 128. Over at Fandall Research, we have projections of him going for close to 21. I like Beal tonight over 18 and a half. I will also say there's a secondary play for the three-point props for Royce O'Neill. It's not posted. I haven't seen it anywhere. But Royce O'Neill has hit at least three threes in four straight games. And he's always been a great 3 and D guy. So now with Booker off the court, he should continue taking those threes. I just don't know where the market is. Okay. So we'll see where the market comes in on Royce O'Neill for the made threes category at Fandall Sportsbook. It is not posted as if he had as Tom mentioned. But it sounds like he's heating a bit outside, getting more users than though Devon Booker. But the one that Tom does like right now is Bradley Beal over 18 and a half points minus 128. And Tom, the good company, got at the plug for the projections over at Fandall Research as well. So those are two games, Tom. We have seven other games across the NBA for tonight. Which are the player props stand out to you with where things stand right now? Let's go to the Raptors. They are at home, 9 point underdogs versus the Pelicans as solid as the Pelicans are overall as a team. They actually struggle a little bit, allowing three pointers, 24th in a league, just over 13 threes per game from their opponents. Scotty Barnes is likely done for the year for the Raptors. They're high usage players. So the three point market for Gary Trent over two and a half threes is sitting at plus 100. It was plus 102 right when I started the daily. So I think this is fine at plus 100. He takes a high volume of three point shots. That's mainly what he does while RJ Barrett and Manuel quickly should be the primary shooters for the Raptors. Gary Trent still plays a very solid role. He's been shooting threes, whether it was in Portland. It doesn't matter where he is and he's been known to do this. So, you know, as much as I said, we should be trusting like the main guys for teams. This is an opportunity thing because Scotty Barnes is out of the lineup and two and a half for a player that's routinely taking seven, eight, nine threes per game is very viable. And the main players component is fluid based on who's available. And with the Raptors not having that being at full strength right now, Trent may not be like a main character yet on that roster, but he becomes more of a focal point in that situation. Correct. And yeah, the Raptors are the best team in the league, of course not. They're probably not going to make the play in at all. But at two and a half at even money, I will take it for a player that can routinely push towards 16 or so points, the majority that coming from threes. All right, that's for the Pelicans Raptors. Gary Trent over two and a half made threes, even money right now, if you're into a sportsbook, any other props you're targeting for tonight, Tom? Yeah, only one. And that would be careering for the Mavericks over 37 and a half, PRA minus 111 or was just a little while ago. Raptors are on a excuse me, not the Raptors. Mavericks are on a two game losing streak, Pacers on a two game losing streak, surprise, surprise, high overrun during this game. It's 37 and a half. Luke is listed as questionable. And I said it's 38 and a half now. Okay, so Luke is listed as questionable. He has not missed any games recently. So that's just one thing. But if he gets ruled out that that number is not going to stay there. That's number one. Number two, when we look back at Kyrie Irving's game logs, this side of the all star break, he's taking 18, 22, 24, 20, 23 and 20 field goal attempts. So he's pushing to 29 or 30 points with Luca in the lineup. And he's getting close to a PRA line by points alone. So when we're dealing with a PASER game to 46 overrunder and the potential for Luca to miss, I want to jump in on this number now before it moves. Not to mention the fact that the maps just simply need to win this game. Right. So right now that number 38 and a half at minus 104. So we have seen some movement towards the over here with this Irving PRA bet. 38 and a half is a full notch above where it was before. Now, maybe that could be the odds of Don Chit sitting could be increasing potentially something like that. But where does this number have to settle in before you decide to pass? If we assume that that Luca stays questionable for the time being, I wouldn't play it at 39. Okay. And that's what it comes down to. When you see 29, 29, 30, 29 and 28 points just in this stretch of games with Luca in, that's awesome. And he always can add in the assist, dish in the ball around. But at 39, just based on the variability of how the Mavericks have been struggling, that is where it gets into question for me. Okay. So keep close tabs on this Kyrie Irving market. Be picky with it. Should it move even more over 38 and a half is minus 104 right now. Fandals sports books of Tom does like that for now, but check back on that later. Tom is liking Jason Tatum rebounds plus assist over 13 and a half minus 122. Bradley Beale over 18 and a points minus 128. Gary Trent over two and a half made threes even money. And then Kyrie Irving for 38 and a half PRA that is minus 104. Let's talk some NHL, Tom. Oh, did I miss one? No, no. Okay. I'm sure I thought I missed one for a second. But anyway, let's talk some NHL. And the trade deadline is rapidly approaching. That's coming up this week. And we know in the NBA, that leads to chaos. And for the NHL, obviously, it's not quite as big of an issue. And we talked about the trade deadline with you earlier on. You said it might be a lot of role players who are on the move. Role players won't shift markets as dramatically as the star player, but they can still impact the viability of a team when it comes to the Stanley Cup playoffs where every edge does matter. So any futures you want to look at right now before we get to the trade deadline this week? Yeah. So if you bring up the either the Stanley Cup odds or the Western Conference odds, I think how we approach a team like Vancouver is really interesting. And we have seen actually just last night, we saw some players actually sit out for some teams from Seattle, Alexander, Wenberg to be specific. So if you look at either the West or the Stanley Cup odds, if you scroll to the top just to show where Vancouver is relative, I can't get them on the screen. Vancouver is kind of like this second tier team realistically, right? How many points do you think Vancouver has? Or where do you think? Okay, so Vancouver right now has the most points in the Western Conference, right? And they have the third most points overall in the league, which is a bit of a surprise to see them fifth to win the West. So Vancouver has gone through all these ups and downs where they start off extremely hot and then they go like two and eight over the next 10 and then they're super hot and then they're super cold and then they're kind of in the middle right now. So my point being with Vancouver is if other teams around them like Edmonton, like Colorado make more moves, specifically Edmonton potentially getting Jake Gensel from Pittsburgh or the ABS picking up another center, Vancouver's odds are not going to get better, they're going to get worse. But they still lead the conference. So if that number drops to closer to 10 to 1 for Vancouver, that's where I'll have interest in them winning the West. As I said, they've been a roller coaster this year, super hot, super cold. But if they get to the playoffs and they hit a super hot streak just based on it being hockey and the variability, that actually presents a lot of value at 10 to 1. They're also not on the same side of the bracket as Colorado, Dallas and Winnipeg, and they would only have to face one of them if they make it to the conference finals. So the teams ahead of them are going to cannibalize each other just because they have to get to the conference finals in Vancouver. If they run hot, basically, they have an easier path than the odds would suggest. Are there any major holes in Vancouver they could patch up heading in this trade deadline or they're just kind of like a good depth team? They made a great move like a month ago, getting Elias Lindholm from Calgary, and they're just running cold right now. That's all they have a super solid team. Thatcher Demko could win the Vesna if it weren't for Conor Heljevuk from the Jets. They have great defense. They have all the pieces.  It's just like they go two and eight, and then they're seven and three in their next 10 and it's just all over the place. But because it's hockey, that variability does, I think, present an opportunity. Which version of Vancouver do you think is more legitimate? The cold version we've seen recently, because they've had the hot streaks as well, where do they actually settle in from a true team strength? Because obviously, they're not sacrificed in those points. They get to keep the points they earned on the hot streaks regardless. Those are baked in no matter what, but what do you think the true team strength of them is when it all boils down? Leading the conference, being the best team in the conference. I don't think that's what it is. I would take, as I've talked about Dallas plenty of times, I would take Dallas and Colorado ahead of them. They would probably be tied for third alongside Edmonton. So they are a good team. Do they have that eliteness? Do they have the experience to win in the playoffs? Maybe not. But again, if they run hot, anything can happen in the playoffs. And again, as you mentioned, the bracket plays well for them with Dallas and Winnipeg being the opposing sides. Even though you like them more, it's not teams they would face until pretty far down the line. So keep tabs on the Canucks. See how things play out as we get to the deadline on Friday. If their odds do lengthen at that point, maybe that could be a point to buy into them specifically to win the Western Conference. Currently, a 6-2-1, a Fandall Sportsbook with some potential for better odds later on. Let's shift focus now and talk about the slate for tonight. Nine games in the NHL, Tom. Let's start with the traditional markets. Where are you seeing value when it comes to spreads, money lines, totals? So I have one pick now and one lean, which we based on game. So let's go to Winnipeg, who we just spoke about. They're taking on Seattle. Seattle's on the second of a back-to-back. As I mentioned, for Seattle, they held out Alexander Wenberg last night because he's almost certainly going to be traded. There's also speculation that they could be trading Jordan Eberle, one of their other top forwards. So I like Winnipeg to win in regulation at minus 120. The money line is where it should be. Obviously, Winnipeg is very good elite defense. That's why we see a 5.5 over-under. But if they already held out Wenberg last night and they choose to hold out Eberle, their team who's just a middle-of-the-road team to begin with is just going to be that much weaker against a team that is just factually better. So at minus 120, 20 in regulation is very fair for the Jets. If we get news that they're going to absolutely hold out these players again, that number's not going to stay there. I wouldn't be surprised to see the line move to minus 200 overall in the regular money line. And therefore, the three-way money line would also be impacted. So minus 120 on the Jets right now. That's for the 60-minute money line, for the traditional money line, for Winnipeg minus 178. But as Tom mentioned, should we get news on Seattle later on? That number could shift if they do decide to sit some players once again. You mentioned there was a potential lean that you could be looking towards elsewhere. What was that one? That's with Pittsburgh. And the money line is absolutely fair for where they are at home, minus 235. Blue Jacks on the second night, but back to back. As I said, this is not the time to mess around. Pittsburgh are fighting for every single point that they can get right now. They're really not in a great spot for the playoffs. But this is not a matchup they should be losing. So I don't have interest in the money line. I don't have interest in the puck line. I don't have interest in the three-way money line. I have interest if this game starts off super slow and it's tied or the Blue Jackets maybe jump out to a lead. It's one-nothing. Penguin's live money line at about minus 150. That's where I have interest. So the penguins are a better team. They should win this game. So if we can get a live line at 00 heading into the second and things are changing, whatever it might be, minus 150 or better. Now, let's say hypothetically, they get in a hole because that's the other situation that can lead to dramatic switches in the money line. Do you know Faith and Pittsburgh's offense to make up a deficit should they fall behind early on in this game? Well, I'm talking about penguins and their offense struggling overall. They have an awesome defense and their top five in the league for a few as it goes along. Their offense is not there also with missing Jake Ensel, who's injured even though he still might be traded, is not great. If I'm watching the game and I see that they're actually getting a ton of chances, but they're not scoring, that is where I'll have interest in them. If they're actually just playing terribly, I wouldn't have interest in them. But if it's tied at minus 150, that's a different story. Okay. So the Pittsburgh money line right now is minus 235. But keep an eye if you're able to watch that blue jacket scheme. Keep tabs on things. You have Pittsburgh's offense of doing it. If you do get a better money line later on, if it's a nothing, nothing game, something like that, then maybe that could be the time to buy into Pittsburgh. Let's talk some player props. Tom, what you seeing there across the NHL for tonight? Let's stay in that same game. Trusting the same guys, Sidney Crosby. He's minus 105 for a goal. No, thank you. Crosby though, over three and a half shots at minus 102 is the first spot. Again, super simple. They have to win this game, because if they don't win these games this week, they actually should be selling at the deadline, which is a tough thing to do with Crosby. So Crosby over three and a half shots at sitting at minus 102. The points market is not posted on the Fandals Sports Book. If you look across the industry, Crosby over one and a half points, plus 154. That is a spot that I love. But the blue jackets are not a good defensive team. They just aren't. And they've made some changes to their lineup. Do they look a little bit better on offense? Sure. I've written about them and Kuro Marchenko and Diego Archenikov over these past few weeks, because they're actually looking somewhat capable on offense. Their defense is still terrible. So Crosby and the Penguins needing to win this game means that Crosby is going to be double shifted on power plays, whatever it might be, over one and a half points if you can get that market, that plus 154 across the industry. Sidney Crosby is still chugging, trying to will this team towards the playoffs. He's having an awesome seed and that's part of the disappointment is he's having a great year and they are not going to waste that. Right. So they have to win these games or they need to sell. Yeah. So Crosby over three and a half shots, minus 102 at the points market does go up at Fandals Sports Book. Tom Luggs over one and a half, plus 150 somewhere in that range, potentially could be a good market to buy into Crosby there as well. What other player props are you eyeing elsewhere, Tom? You got two more. One would be the late game with Dallas at San Jose, four 10 road favorites Dallas's. And now we saw the Aves last week, road favorites versus Chicago. They're also roughly there about 300 minus 300. If we go to the any time goal market for Dallas, it is dramatically different than what we saw with the Aves last week. McKinnon and Ranton were minus 120, minus 110. So we have a team that is a massive, massive favorite. Yet their first goal source at plus 155. So we actually drop a little bit further down to Mac Duchain at plus 195 for a goal. Duchain is having a fantastic season for the stars. He's doing it all on a one year contract, proving it high volume shooter hasn't scored in the recent set of games. The money line would indicate how bad San Jose is goals against shot attempts against high danger chance against you name it. So I will take a player on the second forward line, first power play who has this high volume, they're expected to win. And he's also due for some positive regression when when we're seeing three, four shots on goal and he's not scoring. So I want to like, what's the word? I want to like, compare this to the Aves last week where it's like, yeah, we're not betting minus 120 for a goal, but we actually have a similar situation where we can get, I'm gonna say an awesome number of plus 25 when the money line is essentially the same. That's again for Matt Duchain in the stars versus sharks game. Anytime goal square for Duchain at plus 195 in a game where it's a team we trust in Dallas. We talked a lot about them throughout this entire year, a team we don't trust in the sharks in a good match up here where we expect Dallas to pour in some points and Duchain to be a big part of that. So plus 195 for a goal for him. What's the other prop you're liking for tonight? That would be the Islanders with Brock Nelson over two and a half shots. It's only minus 120. I'm talking about the Islanders where they went through this coaching change. They've actually been playing significantly better compared to where they were earlier in the season. The Blues, second item of a back to back. The Blues over the last two weeks, they're running the sixth most total shot attempts per 60 minutes in five to five situations. It went up to three and a half, Tom. I got bad news. Three and a half. It's plus 112 over three and a half. Let me check out the to get two plus shots or the to get three plus shots for Nelson minus 235. What happened? It was it was a two and a half minus 120. Well, how did this happen? What is how are we going to do this on the fly? What is I mean, can you check for? I mean, Horvath and Barzel, what would be for four plus for Horvath and Barzel? Horvath is plus 132 to get four plus and Barzel is plus 136. Nelson's plus 112. What in the world happened to this market? That's a good question. I mean, these are all fair numbers and the Nelson one stood stood out to me. Sure. I guess it's good that it stood out, you know, clearly other others agreed. And unfortunately for us, they agreed too soon. I think it might just be a stay away now. Yeah. But I mean, if across the industry, if you can find it at two and a half, that would be the spot to go. As I said, Blue Jackets second, I would back to back the rowing the six most total shot attempts for 60 minutes over the last two weeks. Nelson has been playing and again, the Islanders overall have been playing super solid. So I would look to Brock Nelson if you can find him at two and a half. Yeah. But other than that, I guess it's a I guess we missed the boat here. For Horvath and Barzel for four plus shots, how generous would that need to be to entice you? Are we talking like plus 150 to be like a fair number there where you'd actually be willing to fire? How far do we need to go before you're actually willing to look at that? They're nearly identical, right? They play on the same line. Horvath has 33 shots in the last 10 games. Barzel is 34. First forward line, first power play, they're both the same. I mean, if it's a literal coin flip, I would just take Barzela plus 136 instead of plus 132. And yeah, if some other book has them reversed, I would just shoot the opposite. Okay. So hold off for now. See if you can get a better number on Barzela Horvath at some point and maybe Nelson lagging behind elsewhere. See if you can take advantage of that at some point. But the ones that Tom is eyeing for tonight, Winnipeg to win a regulation at minus 120, like Sydney Crosby were three and a half shots minus 102, Crosby potentially were one and a half points plus 154. Somewhere in that range, you can find that he would like that. And then that to Shane for a goal plus 195. That is Tom Vecchio. Make sure you check him out on Twitter at Tom underscore Vecchio one find his NBA player props every day on the daily ISO on the fan dual research podcast feed. Tom, thank you as always swinging by the light to talk to you. Good luck tonight. We'll talk to you again soon. Thanks for having me. All right, you can find Tom on Twitter at Tom underscore Vecchio one. I am on Twitter at Jim Saunders. You can find me on threads at Jim dot Saunders and check out fan dual research on Twitter at fan dual research. Want to thank you all for tuning in for today. Good luck to you with your bets across Tuesday. We'll talk to you once again tomorrow talking F one in Saudi Arabia and my favorite and they'll be futures for the 2024 season. This has been covering the spread right here on the fan dual podcast network.


Good morning everybody, we're here for the three-fourths marathon, here in Worthing on a gorgeous sunny day, nice bit of breeze, see you all here very soon, go save the queen! So this is Paul Sargent, you might remember Paul Sargent from a few weeks ago and we filmed the South End Pier marathon, finished it in 248. What are you going for today Paul? Just over three I think to be realistic. How are you going to cope with the heat today, what do you do? Probably dance myself on a bit of water and just try and catch a shade where I can. Watch him win the race in nonchalant style. Worthing Harriers representing today, got Matt doing the half, Andrew and James doing the fourth, Dan's doing the fourth, Phil's doing the half, Phil's doing the half. Look who he is! Already seen him, already seen him! Okay this is Paul and Josh.  It's a thousand meters of a cent for God's sake. Why did you choose this? I watched your video and thought I could do this. Oh I see, it's my fault, I see. So what are you going for guys? Finish it, finish it. Listen, if it's your first marathon or trail marathon first time, finishing is absolutely the thing you should do. Don't worry about time, just get it done. Welcome to Phil's My Run. It's a Sunday morning, we are here for the Three Forts Challenge 2018. Richard's going for a ridiculously fast time, even though we've got transvocadia next week. I'm just going to chill out and enjoy the sunshine. So this is Cardiac Hill which is about a mile, just under a mile into the Three Forts Challenge. There's no way I'm running up this steep hill this early in the race. So I'm just going to enjoy the views. So the reason that this is called the Three Forts Challenge is because during the race we pass three Iron Age Forts. And the first one is just here. This is Sisbury Ring. And the reason it's called Three Forts Challenge and not Three Forts Marathon is because technically it's a little bit further than a marathon. We're going into the Three Forts Challenge and that's Coombs Farm down there and the quarry in the distance there. And we're climbing up that hill up to Devil's Dyke. Another aid station at 11km in. So this is Beading Hill and this is then about seven miles into the Three Forts Challenge. If you're doing the South Downsway 100, this is 61 miles in. And it's a long climb now up to Devil's Dyke. How many marathons have you done, Dave? Five. And why did you choose this one? Because it looked brilliant. I was walking South Downsway about two years ago and decided it looked like a one to do. What's your name? I'm Pete. I'm a landfill joggers. How many marathons, Pete? This is number 11. Oh, wow. Good stuff. Third after Three Forts. You've done this three times? Yeah, that's the best I guess. Keep coming back for more then? Yeah. As is always the case in pretty much every race I do, Paul Sargent's in the lead, everyone. Well done, Paul. Currently second in the Three Forts Challenge. So this is the aid station at the turnaround point at Devil's Dyke. Devil's Dyke is the second of our Iron Age forts on the Three Forts Challenge. But this is not the halfway point because we've got another little bit to go before that. Okay, we're at just about the halfway point now. 2012 minutes. So, it's looking like a four and a half hour marathon finish. What do I think of you? Cheers. So this is the youth hostel at the top of the Beading Hill. This is one of the best taps on the South Downsway. Do you ever have a problem with water? Get yourself here. Don't you hang. Can't beat it. I know where we go again. Thank you.  That way is worthy, that way is brighter. So we've climbed 650 metres of ascent and we've just climbed through a little village called Annington and we're just now heading up on the South Downsway up to the pigsties at the top of the hill. Beautiful day, beautiful views. Can't beat it. Two hours 34 minutes. 26 and a half kilometres. Oh, sorry, buddy. We're 30 kilometres in, two hours 57 minutes and we're just climbing up to Chanktonbury now our third hill fort. We're at 21 miles at the highest point of the Three Forts Challenge at the third fort. This is Chanktonbury Iron Age Hill Fort, Chanktonbury Ring and look at this view. Stunning view out across Worthing. Water for Sharon. Thanks, guys. Six miles to go. It is absolutely beautiful. Really hot, really difficult to run in. Got absolutely stunning. Okay, so four miles to go now up a very steep hill and then straight on to Sisbury Ring a little climb around Sisbury Ring down the hill all the way home. Sounds easy, doesn't it? 38 kilometres. Three miles to go. It's hurting now. Three hours 51 minutes. Final aid station. Two miles to go. So we've just got to climb up the side of Sisbury and round and then all the way down to the field that we started in. I hope that wasn't the juice. Thank you very much to all these volunteers, by the way. If they weren't here, we couldn't do this. And away we go. Thanks very much. Take care, guys. Harris does it again. This is Mike Airy who organizes the Three Forts Marathon in Har. Three Forts Challenge, should I say. How's it gone today? Excellent day, but perhaps a bit too hot for the marathon round. No, I wouldn't have thought so. I imagine Paul Sargent won it, didn't he? Yeah, Paul Sargent, Virgin Hill runners, the previous winner. What time do you do it in? So, 326. Richard, who we all know runs perfectly well in the heat. What time did you do? 346. Sid, tell me why you're here today. Because we all video. Because I only live in Worthing, so I thought go for it. Nice old marathon. And you chose Three Forts? Yeah. I've done distances, but a long time ago. Are you pleased you did this one? Not London, or? Not the countryside. First day of volunteers. Thank you, guys. How was that for you, Deborah? Interesting. Does heat not affect you that badly, then? No. Interesting. And that's it from the Three Forts Challenge for another year. The 2018 has been a very hot one. Don't forget to subscribe to the Film My Run YouTube channel. And we'll see you for another video. Another marathon, another day. Take care. Bye-bye.