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Real-World Workflow: Portrait Retouching with Layers, Masks, and Adjustments

Capítulo 8

Estimated reading time: 6 minutes

This chapter is a start-to-finish portrait retouching checklist built around one idea: keep every change reversible. You’ll work in small, labeled steps, using separate layers for each task, and relying on masks and low-opacity brushing so you can always dial results back.

Workflow Checklist (Start-to-Finish)

0) Prep: Save, duplicate, and label

Save a working copy (e.g., portrait_edit_v01.psd) so you can experiment freely.
In the Layers panel, duplicate your base layer: Ctrl/Cmd + J. Rename it 01 - Base Copy.
Create a simple naming pattern so you can track the order: 02 - Crop, 03 - Global Tone, 04 - Dodge, etc.

1) Crop and straighten (composition first)

Select the Crop tool and adjust framing before you retouch. Straighten the horizon/eyes if needed (use the straighten option inside the Crop tool).
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Commit the crop, then rename the topmost visible layer or add a note layer name like 02 - Crop/Straighten (your crop is part of the document state, but labeling helps you remember the sequence).

2) Global tone correction (get the “base exposure” right)

Do global tone corrections before local retouching. If the overall brightness/contrast is off, you’ll overdo dodge/burn and skin cleanup to compensate.

Add a global tonal adjustment (Curves or Levels). Rename it 03 - Global Tone.
Adjust gently: aim for natural skin brightness and a full range of tones without crushing shadows or blowing highlights.
Quick check: toggle the adjustment layer visibility on/off to confirm you improved the image rather than just making it “different.”

Goal	What to watch for
Even, natural exposure	Forehead/cheeks not clipped; shadows still have detail
Healthy contrast	No harsh “HDR” look; pores/texture still believable

3) Local corrections: dodge & burn with Curves + masks

Dodge and burn is controlled brightening/darkening to smooth uneven lighting and guide attention. The beginner-friendly approach is to use two Curves adjustment layers—one for dodge (brighten) and one for burn (darken)—and paint their masks in gradually.

3A) Create the Dodge layer (brighten)

Add a Curves adjustment layer. Lift the curve slightly to brighten midtones. Rename it 04 - Dodge (Curves).
Invert its mask to hide the effect (so you paint it in only where needed).
Select a soft round brush at low opacity (start around 5–15%). Paint on the mask with white to brighten targeted areas.

3B) Create the Burn layer (darken)

Add another Curves adjustment layer. Pull the curve slightly down to darken midtones. Rename it 05 - Burn (Curves).
Invert its mask.
Paint with the same low-opacity brush to darken targeted areas.

Where to dodge/burn (practical targets)

Dodge (subtle brighten): under-eye shadows (not the eyebag edge), center of forehead (if needed), top of cheekbones, bridge of nose (very lightly), catchlights area around the iris (not the whites), and small shadow patches on skin.
Burn (subtle darken): overly bright hotspots on forehead/cheeks, edges of the face to reduce distraction, under the jawline (if it helps shape), and overly bright patches on the nose tip.

Restraint rule: If you can clearly see your brushwork, you’re pushing too far. The best dodge/burn is felt more than seen.

Quality checks for dodge/burn

Toggle 04 - Dodge and 05 - Burn on/off individually. Each should look minor alone; together they should look like improved lighting.
If skin starts looking “plastic,” reduce the Curves layer opacity (try 50–80%) rather than repainting everything.

4) Subtle skin cleanup on a separate empty layer (non-destructive)

Skin cleanup is for temporary distractions (blemishes, stray hairs, small spots), not for removing natural texture. Keep it on an empty layer so you can revise or mask it later.

Create a new empty layer above your base and tone layers. Rename it 06 - Skin Cleanup.
Select Spot Healing Brush or Healing Brush. In the options bar, enable Sample All Layers (or equivalent sampling mode) so the tool reads from below but writes to your empty layer.
Zoom in to 100% (or slightly higher). Work slowly: click small blemishes; use short strokes for longer marks.
For the Healing Brush: Alt/Option-click to sample a clean nearby area, then paint over the distraction.

Restraint rule: Leave moles/freckles and natural creases unless the subject specifically wants them removed. Focus on temporary issues.

5) Teeth and eye enhancement with masked adjustments

Enhancements should be subtle and localized. The goal is “healthy and clear,” not glowing whites or neon irises.

5A) Teeth: reduce yellow and slightly lift brightness

Add an adjustment layer for teeth (commonly Hue/Saturation or Curves). Rename it 07 - Teeth.
Invert the mask so the adjustment is hidden.
With a soft brush at low opacity, paint the mask over the teeth only. Avoid gums and lips.
Keep it realistic: reduce yellow slightly; brighten gently. If teeth look gray, you over-desaturated.

5B) Eyes: brighten whites carefully and add iris clarity

Add a Curves adjustment layer to lift brightness slightly. Rename it 08 - Eye Whites. Invert the mask and paint only the sclera (the whites), avoiding veins and the waterline.
Add another adjustment layer for iris enhancement (often Curves for a mild lift or Hue/Saturation for a tiny saturation boost). Rename it 09 - Iris Pop. Invert the mask and paint only the iris.
If the eyes start to look unnatural, lower layer opacity instead of repainting.

Area	Common beginner mistake	Fix
Teeth	Over-whitening to pure white	Lower adjustment opacity; keep some warmth
Eye whites	Brightening the entire eye area	Mask only the sclera; avoid eyelids/waterline
Iris	Over-saturation	Use small saturation changes; reduce opacity

6) Color grading with a final adjustment layer (unify the look)

Color grading is the “glue” that makes the edit feel cohesive. Keep it as a final adjustment layer so you can change the mood without affecting your retouching work.

Add a final color adjustment layer (for example, Color Balance, Selective Color, or a gentle Curves tweak). Rename it 10 - Color Grade.
Make small moves: aim for natural skin tones and a consistent overall feel.
If the grade affects skin too much, paint on the mask to reduce the effect on the face while keeping it in the background/clothing.

7) Final review: before/after using visibility and snapshots

Before/after checks keep you honest and help you spot over-editing.

Layer visibility check: Click the eye icons to toggle groups/steps (tone, dodge/burn, cleanup, eyes/teeth, grade). Look for any single step that feels too strong.
Top-down check: Turn off all retouch layers, then turn them on one by one in order. This reveals which step introduced an unwanted shift.
Snapshots/History states: Create a snapshot at key milestones (after global tone, after dodge/burn, after cleanup, final). Jump between snapshots to compare direction and intensity.
Zoom checks: Review at 100% for tool artifacts, then zoom out to fit-on-screen to judge overall realism.

Suggested layer stack order (top to bottom) 10 - Color Grade 09 - Iris Pop 08 - Eye Whites 07 - Teeth 06 - Skin Cleanup 05 - Burn (Curves) 04 - Dodge (Curves) 03 - Global Tone 01 - Base Copy Background

Now answer the exercise about the content:

When doing portrait dodge and burn non-destructively, what is the recommended beginner workflow to apply the brightening and darkening?

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The workflow uses two separate Curves adjustment layers for dodge and burn. You invert each mask to hide the effect, then paint in only where needed with a soft brush at low opacity to keep edits reversible and subtle.