Photoshop Skin Smoothing That Leaves Texture


This tutorial will show you how to do a fairly simple Photoshop skin smooth but this technique does not leave the skin looking fake and plastic-like as seen a lot in these kind of tutorials.

The image used for this tutorial can be downloaded here

1. The Image

When you have downloaded the image open it up in Photoshop, you are going to be using the surface blur filter and I believe that this wasn’t available in older versions so hopefully you’ll have a recent copy. As always when you have loaded the image your first step is to hit Ctrl-J (Cmd-J Max) this duplicates the background layer and gives you a fresh layer to work on. This is good practice for virtually all Photoshop work as you always have a copy of the original image unmodified. Usually you would clear up any major defects with the clone tool or healing brush but there is nothing to do with this one so just skip that step.



2. Surface Blur

For this tutorial we are going to use surface blur. If you have done tutorials like this before you will know that Gaussian blur is widely used. Surface blur is better in this case and gives us better control over what we are going to do. Make sure the top layer is selected and then hit fliter/blur/surface blur and the settings dialog box comes up. The settings you use will vary from image to image, it’s a matter of playing with the sliders until they produce the required amount of blur, for this image use the settings as shown below.

surfaceblur 3. Adding a Layer Mask

Although surface blur tries to be selective in what it blurs it is still not accurate enough for what we need so we have to control what parts of the image are blurred by using a layer mask. Go to Layer/Layer Mask/Hide All to create a mask that hides all of our blurred layer. We are now going to paint back in the part of the layer that we need, hit ‘B’ to go to your brush, hit ‘D’ to select default colours (white foregound,) select a soft edged brush and using the [ ] keys to change the size paint on to the layer mask to reveal the blur. Make sure your brush opacity is set to 100%. At any point you can hover your mouse over the mask’s icon in the layer pallet and ALT+click and you will get a display of the actual mask as shown below. ALT+click again to get rid of it. Paint over her skin, avoiding eyes, lips, hair etc. If you make a mistake simply hit ‘X’ to switch the paint colour to black and this will effectively erase your mistakes when you paint with it. Hit ‘X’ again to revert back to white.



4. Adding Texture Back

Once you are satisfied with your mask hover your mouse over the mask icon and hit CTRL-Click. This makes a selection of just the mask, but you need to transfer this selection to the background layer so click on the bottom layer in the layer pallet. Click CTRL-J to make a new layer from the selection and then click on filter/other/high pass. Move the slider all the way to the left and then feed the effect in gradually until a slight glow appears, I found this to be at about 3.8, click ok to apply the filter.


5. Finishing Touches

Grab the layer that you have just created and drag it to the top of the pile so it’s the top layer, change the layer blending mode to Soft Light. Now play about with the opacity of the top layer until you get the desired effect. I thought 62% looked about right. And that’s it, a nice skin make over that looks natural too.


Portrait Perfection – 2nd February 2013


Learn to shoot stunning portraits of friends and family.  © J. Batley

A day in a fully working commerical photographic studio with expert tuition and plenty of hands-on learning and experience. The tutorials and workshops will be lead by Steve Dutton with assistance from Jason Batley.

Steve started working in photography in 1987 as a freelance assistant in Leeds and Manchester. He
worked for several studios shooting advertising and brochures and had a spell as a black & white
printer. Became studio assistant at Altered Images, Manchester and then photographer / assistant at Farrow Photographers. Steve set up Steve Dutton Photography in 1992 producing images mainly for advertising and brochure. Over the years Steve has been commissioned to shoot a wide variety of projects working on all formats from 35mm to 10×8. Clients have included BBC, Aston Martin, VW, Sony, Morrison’s, CO-OP, National Trust, Cost cutter and many others.

Since the advent of digital photography Steve’s work as moved towards people photography. Steve is one of the most published glamour photographers in the UK. His work is syndicated worldwide.

Steve is currently working on a number of commercial projects here in the UK. Including video and stills for music promos, Ipad and mobile phone applications. Steve also makes regular trips abroad shooting glamour for publication and is a major contributor of video and still for web based projects.

Do your portraits look like this:


A portrait is not simply a photograph of a person, as is the case here.

Dull and lifeless portraits are the result of not following just five simple rules that professional photographers use in order to make their work stand out from the crowd.

Now you can unlock those secrets and take stunning portraits simply by attending this one day course.


Taking amazing portraits does not require spending hundreds or thousands of pounds on lenses and other equipment. We will show you how to get stunning results with an entry level DSLR and your kit lens. All that you need to create great images is the right knowledge of what and what not to do.


The course includes an overview of using studio equipment.


Don’t forget to bring your camera kit as you will need it!!




Untitled-1The training day will start at 10:30am prompt and we will finish at around 4:30pm.  The location is at Savile Bridge Studios, Dewsbury. It’s basically right opposite Asda car park on Savile Road. Do not park in Asda as there is a two hour limit, parking is best on Mill Street East. This is the door you need to enter through:


The price for the full day is £45 and to Reserve your place please email


Image © J. Batley