How To Move Raw Files From Lightroom To Photoshop

Step 1: Make Your Initial Image Adjustments In Lightroom

To keep us on track with the topic of this tutorial, I won't be covering Lightroom or Photoshop in any great detail here. Instead, I'll be skimming over certain things rather quickly (things that are not really important to the topic at hand) so we can focus our attention on how to move raw files between Lightroom and Photoshop.

As I mentioned, a good Lightroom/Photoshop workflow begins in Lightroom where we make our initial, global adjustments to the image. Here, we see an image that I've been working on in Lightroom's Develop module. This is a photo that I shot while on a cruise in Alaska (if you squint, you can see another cruise ship off in the distance):

A raw file open in Lightroom's Develop module.

If we look in Lightroom's Basic panel in the column along the right, we see that I've already made some initial improvements to the white balance, exposure, contrast, color saturation, and more:

The initial, global image enhancements.

What's important to note here is that this is a raw file, meaning it was captured by my camera in the raw format. We know it's a raw file because, if we look in the bar above the Filmstrip along the bottom of Lightroom, we see that the file has a .dng extension at the end of its name. DNG stands for "Digital Negative" and it's Adobe's own version of the raw file format. Each camera manufacturer also has its own version of the raw format with its own three-letter extension (Canon uses .crw and .cr2, Nikon uses .nef, and so on). What's important here isn't the specific extension but that it is in fact a raw file, not a JPEG (.jpg), TIFF (.tif) or PSD (.psd) file. We'll be covering those in the next tutorial:

The three letter extension tells us which type of file we're working with.

Step 2: Move The Image Over To Photoshop

Let's say I've done all I can with my photo in Lightroom, and now I'd like to add some text to the image. Lightroom doesn't have any features for adding text, but Photoshop does, so I'll need to move the raw file from Lightroom over to Photoshop.

You may think that you would first need to save the image somehow in Lightroom and then manually open it in Photoshop, but Lightroom and Photoshop actually work very well together as a team. To move a raw file over to Photoshop, all we need to do is go up to the Photo menu (in Lightroom) in the Menu Bar along the top of the screen, choose Edit In, and then choose Edit in Adobe Photoshop (your specific version of Photoshop will be listed, which in my case here is Photoshop CC 2015). You can also just press the keyboard shortcut, Ctrl+E (Win) / Command+E(Mac). Either way works:

Going to Photo > Edit In > Edit in Adobe Photoshop.

This will open Photoshop if it wasn't open already, and then the image itself will open in Photoshop:

The same image has been moved from Lightroom over to Photoshop.

What Happened To Camera Raw?

If you've worked with Photoshop and raw files in the past, you may be wondering what just happened here. How was Photoshop able to open a raw file directly?

Normally when we try to open a raw file in Photoshop, the image first opens in the Adobe Camera Raw plugin. That's because Photoshop, on its own, can't work with raw files. It's a pixel editor, not a raw image editor. It needs another program or plugin, like Camera Raw (pictured below), to first convert the raw file into pixels before Photoshop can even open it:

The Adobe Camera Raw plugin normally appears when we try to open a raw file into Photoshop.

And yet, when I passed my raw file from Lightroom over to Photoshop, the Camera Raw plugin did not appear. Instead, the image seemed to open directly into Photoshop. How was that possible when Photoshop can't open raw files?

It's possible because Lightroom and Camera Raw use the exact same raw processing engine under the hood. What happens when we pass a raw file from Lightroom over to Photoshop is that Camera Raw secretly steps in behind the scenes, looks at the editing instructions we made in Lightroom, and then uses those same instructions to convert the image from a raw file into pixels. In other words, the raw file didn't really open directly into Photoshop. Camera Raw stepped in behind the scenes and converted it into a pixel-based image for us using the edits we made in Lightroom.

Step 3: Edit The Image In Photoshop

With my image now open in Photoshop, I can add my text. I'll quickly grab my Type Tool from the Toolbar along the left of the screen:

Selecting the Type Tool in Photoshop.

I've already chosen my font (Tahoma Bold) in the Options Bar and set my type color to white, so I'll click inside the document with the Type Tool and add my text. Since I shot this photo in Alaska, I'll type the word "ALASKA" (because I'm creative like that). To accept the text when I'm done, I'll press Ctrl+Enter (Win) / Command+Return (Mac) on my keyboard:

Adding some text to the image in Photoshop.

To resize and reposition the text, I'll go up to the Edit menu at the top of the screen and choose Free Transform:

Going to Edit > Free Transform.

This places the Free Transform box and handles around the text. I'll press and hold my Shift key to lock in the aspect ratio of the text as I click and drag the corner handles to resize it. Then, I'll click and drag inside the Free Transform box to move the text into place. To accept it, I'll press Enter (Win) / Return (Mac) on my keyboard. Again, I'm going through this part rather quickly so we can focus more on how to move an image between Lightroom and Photoshop, and this is just one example of when you would need to do that. You can learn all about the Free Transform command in our Free Transform Essential Skills tutorial:

Resizing and moving the text with Free Transform in Photoshop.

Step 4: Save And Close The Image

Here's what my image now looks like in Photoshop with the text added:

The image after adding the text.

Let's say that I'm happy with the way it looks for now and I want to save what I've done. This next part is very important because I also want to make sure that Lightroom knows what I've done with the image. After all, both programs are working as a team.

To save your work after passing an image from Lightroom over to Photoshop, go up to the File menu at the top of the screen and choose Save. And this is the important part; make sure you choose "Save" and not "Save As". The reason is that in order for Lightroom to be able to add the edited version of the image to its catalog (its database), the edited version needs to be saved in the same folder as the original image. If you save it anywhere else, it won't work. If we choose "Save As", we run the risk of saving the file to the wrong location and messing things up. By choosing "Save", the file will automatically be saved back to the same location as the original:

Going to File > Save.

Once you've saved your work, you can close the image in Photoshop by going up to the File menu and choosing Close:

Going to File > Close.

Step 5: Return To Lightroom

With the image closed, return back to Lightroom where you'll find your image now updated with the edits you made in Photoshop:

The Photoshop edits are now visible in Lightroom.

However, while it looks like the same image, if we look down in my Filmstrip along the bottom of Lightroom, we see that I now actually have not one but two versions of the same image. Why are there two versions? When we pass a raw file from Lightroom over to Photoshop, Lightroom doesn't actually pass the original image. Instead, it makes a copy of the image and passes the copy over to Photoshop. Again, that's because Photoshop can't work with raw files directly so it needs a separate, pixel-based version to work on.

I'll increase the size of my Filmstrip so we can get a better look at the thumbnails. Notice that only one of them (the one that's currently selected on the left) shows the text I added in Photoshop. This is the copy that Lightroom sent over to Photoshop and was then sent back to Lightroom. The other version (on the right) does not show the Photoshop text because it's the original version. It shows the adjustments I made in Lightroom but nothing more:

Lightroom's catalog now includes both the original image and the copy edited in Photoshop.

Another way we can tell that the version on the left is the Photoshopped version is that, if we look at the file's name, we see two important changes. First, the image is no longer a raw file. If you remember, the original image had a ".dng" extension. This new version was saved automatically as a TIFF file, indicated by the new .tif extension at the end. Second, the name of the file has been altered, with "-Edit" automatically added to the end of the name:

The copy was automatically saved as a TIFF file with "-Edit" appended to the name.

There's one more way we can tell that this is not the original image. If we look in my Basic panel, we see that all of the controls for exposure, contrast, color, etc., have been reset to zero. The original adjustments I made in the raw file were baked into the copy of the image when Lightroom passed it over to Photoshop. We can still make further adjustments in Lightroom if we need to, but we no longer have the same amount of flexibility that we had when we were working with the original raw image. That's why it's always best to make your Lightroom adjustments first before passing the file off to Photoshop:

The Basic panel no longer shows the original raw file adjustments.

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Making Further Edits In Photoshop

What if we need to make additional edits to the image in Photoshop? For example, let's say I want to blend my text in with the image using a layer mask. I can't do that in Lightroom so I'll need to re-open the image in Photoshop.

As we've learned, the copy with my Photoshop edits is now a TIFF file, not a raw file, but regardless of which type of file it is, we still pass it over to Photoshop the same way. Simply go up to the Photo menu in Lightroom, choose Edit In, and then once again choose Edit in Adobe Photoshop. Or, press Ctrl+E (Win) / Command+E (Mac) on your keyboard:

Going again to Photo > Edit In > Edit in Adobe Photoshop.

However, this is where things are a little bit different from before. When we passed the raw file over to Photoshop, Lightroom automatically created a copy of the image and sent that copy to Photoshop. That's because Photoshop can't work with raw files directly. But this time, we're passing Photoshop a file type that it can work with. In this case, it's a TIFF file. Yet that doesn't mean Lightroom is just going to hand it over, no questions asked. Instead, Lightroom first wants to know what it is exactly that we want to send to Photoshop, and there's a few different options:

With non-raw files, Lightroom asks what it should send to Photoshop.

The first option, Edit a Copy with Lightroom Adjustments, is not what we want, at least not in this situation. This option will make yet another copy of the image, which we don't need, and it will include any additional changes that we've made in Lightroom since the last time we worked on the image in Photoshop. I haven't made any additional Lightroom changes, so there's nothing here to include.

But the main reason why this is not a good option when re-editing an image in Photoshop is that it has the unfortunate side effect of flattening the image and discarding your layers. In my case, my Type layer would be merged with the image itself, leaving my text completely uneditable. The Edit a Copy with Lightroom Adjustments option is useful in other situations, as we'll see in the next tutorial when we look at working with JPEG files in Lightroom. It's just not a good choice here.

The second option, Edit a Copy, is at least a better choice, if not the best, because it won't flatten your image, which means you'll keep your Photoshop layers. However, it will still make another copy of the image that we really don't need.

The best option for re-editing images in Photoshop is the third one, Edit Original. It won't make any unnecessary copies, letting you re-edit the same file, and it won't flatten your image, which means any layers you added previously in Photoshop will still be there. One important note, though, is that neither the Edit a Copy option nor the Edit Original option will pass along any additional changes you've made in Lightroom since the last time you worked on the image in Photoshop. This can cause a bit of confusion when the image appears in Photoshop since it will look like your most recent adjustments (if any) are missing. However, it's only temporary. As soon as you save your work in Photoshop and return to Lightroom, your Lightroom adjustments will again be visible, along with any changes you made in Photoshop.

I'll select Edit Original, then I'll click the Edit button:

Choosing "Edit Original", then clicking the Edit button.

This re-opens the TIFF file in Photoshop:

The previously-edited image re-opens in Photoshop.

If we look up in the tab along the top of the document in Photoshop to view the name of the file, we see that, sure enough, it's the same file as before:

The name of the file matches the one in Lightroom.

And if we look in the Layers panel, we see that my Type layer from before is still there. The file is exactly as I left it:

The Layers panel showing my previous layers still intact.

To blend my text in with the image, I'll first make sure my Type layer is selected. Then I'll add a layer mask to it by clicking on the Add Layer Mask icon at the bottom of the Layers panel. Again, I'm going through these steps fairly quickly since blending text with an image isn't the focus of this tutorial:

Adding a layer mask to the Type layer.

Now that I've added a layer mask, I'll grab the Gradient Tool from the Toolbar:

Selecting the Gradient Tool.

With the Gradient Tool in hand, I'll right-click (Win) / Control-click (Mac) inside the document to open Photoshop'sGradient Picker, then I'll make sure I have the Black to White gradient selected by double-clicking its thumbnail, which selects the gradient and closes out of the Gradient Picker:

Choosing the Black to White gradient from the Gradient Picker.

To blend the text in with the image, I'll click near the bottom of the text and drag upward towards the center, pressing and holding my Shift key as I drag to limit the angle in which I can move, which makes it easier to drag straight up vertically:

Dragging a black to white gradient on the layer mask from the bottom towards the center of the text.

I'll release my mouse button to complete the gradient. Since I've drawn the gradient on the layer mask, not on the layer itself, we don't see the actual gradient in the document. Instead, the bottom of the letters now blend in with the mountains behind them:

The effect after drawing the gradient on the layer mask.

Finally, to further help blend the text in with the image, I'll change the Type layer's blend mode in the upper left of the Layers panel from Normal to Soft Light:

Changing the Type layer's blend mode to Soft Light.

Here's what the final result looks like:

The final effect in Photoshop.

Now that I'm done in Photoshop, I'll save my work just as I did before by going up to the File menu and choosing Save:

Going again to File > Save.

Then, to close the image in Photoshop, I'll go back up to the File menu and choose Close:

Going to File > Close.

With the image saved and closed in Photoshop, I'll return to Lightroom where we see the file now updated to reflect my most recent Photoshop edits:

Lightroom's catalog is once again updated with the changes made in Photoshop.

copied from:- http://www.photoshopessentials.com/

How To Use Face-Aware Liquify In Photoshop CC

Here's an image I've opened on my screen. I downloaded it from Adobe Stock, but you can easily follow along with any portrait photo:

The original image.

Applying Liquify As A Smart Filter

If we look in my Layers panel, we see the image sitting on the Background layer:

The Layers panel showing the photo on the Background layer.

In a moment, I'm going to apply the Liquify filter to my image. But if we apply a filter directly to a normal layer in Photoshop, the filter will be applied as a static filter, which means we'll be making permanent changes to the image. A better way to work is to keep the filter settings fully editable, and we can do that simply by applying the filter not to a normal layer but to a Smart Object.

To convert the layer into a Smart Object, click on the small menu icon in the top right corner of the Layers panel:

Clicking the Layers panel menu icon.

Then choose Convert to Smart Object from the menu that appears:

Selecting "Convert to Smart Object" from the list.

Nothing will seem to have happened to the image, but if we look again in the Layers panel, we now see a Smart Object icon in the lower right of the preview thumbnail. This icon tells us that the layer has in fact been converted to a Smart Object:

The new Smart Object icon.

Now that we've converted the layer into a Smart Object, any filter we apply to it will automatically be converted into a non-destructive Smart Filter, which means that the effect will remain fully editable even after the filter is applied. To apply the Liquify filter, go up to the Filter menu in the Menu Bar along the top of the screen and choose Liquify:

Going to Filter > Liquify.

This opens the Liquify filter's dialog box, which is made up of the main image area in the center, a Toolbar along the left and a whole bunch of options in the Properties panel along the right. We won't be covering everything there is to know about the Liquify filter here. Instead, we'll focus specifically on the new Face-Aware Liquify features:

The Liquify filter dialog box in Photoshop CC.

The Face-Aware Liquify Sliders

As I mentioned earlier, there are two new additions to the Liquify filter in Photoshop CC 2015.5; a new Face Toollocated in the Toolbar, and a new set of sliders for controlling different areas of a person's face. We'll start with the sliders which are found in the new Face-Aware Liquify section of the Properties panel on the right:

The new Face-Aware Liquify section.

At the moment (at least for me), the section is closed. To twirl it open, click on the triangle to the left of its name:

Twirling open the Face-Aware Liquify section.

When the Face-Aware Liquify section opens, we find four main categories, each targeted to a different area of the face. Starting from the top, we have the Eyes, followed by the Nose, then the Mouth, and then the overall Face Shape:

The Eyes, Nose, Mouth, and Face Shape categories.

Eyes

Let's start with the eyes. I'll twirl the Eyes category open by clicking on the triangle to the left of its name. You can click the same triangle again later on if you need to close a category to save space on your screen. Here we find a series of sliders, each controlling a different property of the eyes. Again from the top, we have Eye Size, Eye Height, Eye Width,Eye Tilt, and Eye Distance. By default, the sliders are all set to a value of 0 in the center, which means they're currently having no effect on the image:

The five sliders for the eyes (Size, Height, Width, Tilt, and Distance).

All of the sliders in the Face-Aware Liquify section, not just for the eyes but also for the nose, mouth, and face shape, share the same range of values. We can drag them toward the right to a maximum value of 100, or we can drag them toward the left to a maximum value of -100. Dragging a slider back to the center will reset it to 0. Of course, each slider controls a different aspect of the face, so let's see what each one does.

Eye Size

The Eye Size slider increases or decreases the overall size of the eyes. If we drag the slider to the right, we make the eyes larger:

Dragging the Eye Size slider to the right.

And if we drag the same slider toward the left, we make the eyes smaller:

Dragging the Eye Size slider to the left.

Here's a comparison showing the effect that each setting has on the image. I'll use a similar comparison for each of the sliders as we go along. The image in the center shows the slider in its default center position (with a value of 0, where it has no effect). The version on the left shows the result of the slider when dragged all the way to the left (to its maximum value of -100). The image on the right shows the effect with the slider dragged all the way to... you guessed it, the right(to its maximum value of +100). So, left image = slider left; center image = slider center; right image = slider right.

Of course, you don't need to drag the sliders all the way to their maximum values. Lower values will give you more subtle results. It's just easier for us to see the effect at the maximum settings, so that's what I'll use:

Eye Size = -100 (left); Eye Size = 0 (center); Eye Size = +100 (right).

Eye Height

The Eye Height slider expands or contracts the eyes vertically. Drag the slider to the right to expand their height, or to the left to contract it. Again, here's a comparison of the effect, with the left image showing the result of the slider dragged all the way to the left at -100, the center image showing the slider in the center position at 0, and the right image showing what happens with the slider dragged all the way to the right at +100:

Eye Height = -100 (left); Eye Height = 0 (center); Eye Height = +100 (right).

Eye Width

The Eye Width slider expands or contracts the eyes horizontally. Dragging to the right expands their width, while dragging to the left contracts it. You'll notice as we go along that some of the sliders give us more subtle results than others, even at their max settings:

Eye Width = -100 (left); Eye Width = 0 (center); Eye Width = +100 (right).

Eye Tilt

The Eye Tilt slider adjusts the angle of the eyes. Dragging to the right tilts the eyes down and inward, while dragging to the left tilts them in the opposite direction, making them look more "droopy":

Eye Tilt = -100 (left); Eye Tilt = 0 (center); Eye Tilt = +100 (right).

Eye Distance

The Eye Distance slider adjusts the amount of space between the eyes. Drag to the right to push the eyes farther apart, or to the left to bring them closer together:

Eye Distance = -100 (left); Eye Distance = 0 (center); Eye Distance = +100 (right).

Nose

Next up, we have the Nose category with just two sliders, Nose Height and Nose Width:

The two sliders for adjusting the nose (Height and Width).

Nose Height

Both of these sliders are pretty straightforward. The Nose Height slider adjusts the length of the nose. Drag the slider to the right to shorten it, or to the left to make it longer:

Nose Height = -100 (left); Nose Height = 0 (center); Nose Height = +100 (right).

Nose Width

The Nose Width slider expands or contracts the width of the nose. Dragging to the right makes the nose thinner, while dragging to the left makes it thicker:

Nose Width = -100 (left); Nose Width = 0 (center); Nose Width = +100 (right).

Mouth

Next, I'll twirl open the Mouth category, where we find sliders for adjusting the Smile (more on that in a moment), theUpper Lip, Lower Lip, the Mouth Height, and the Mouth Width:

The five sliders for the mouth (Smile, Upper Lip, Lower Lip, Mouth Width, Mouth Height).

Smile

One of the more interesting sliders in the Face-Aware Liquify section is Smile, which increases or decreases the curve of the person's mouth. To increase it, bringing out more of a smile, drag the slider to the right. To decrease the curve and add more of a frown, drag to the left:

Smile = -100 (left); Smile = 0 (center); Smile = +100 (right).

Upper Lip

Use the Upper Lip slider to adjust the thickness of the upper lip. Dragging to the right makes it thicker, while dragging to the left makes it thinner:

Upper Lip = -100 (left); Upper Lip = 0 (center); Upper Lip = +100 (right).

Lower Lip

The Lower Lip slider does the same thing but for the lower lip, and it works in the opposite direction. Dragging to the right will make the lower lip thinner. To make it thicker, drag to the left:

Lower Lip = -100 (left); Lower Lip = 0 (center); Lower Lip = +100 (right).

Mouth Width

The Mouth Width slider expands or contracts the mouth horizontally, making it appear wider (dragging to the right) or more narrow (dragging to the left):

Mouth Width = -100 (left); Mouth Width = 0 (center); Mouth Width = +100 (right).

Mouth Height

The Mouth Height slider will expand the mouth vertically by dragging to the right, and contract it vertically by dragging to the left. Keep an eye on this one, though, as dragging too far to the right can sometimes stretch the lips too far and cause weird patterns or artifacts:

Mouth Height = -100 (left); Mouth Height = 0 (center); Mouth Height = +100 (right).

Face Shape

The last (but by no means the least) of the four Face-Aware Liquify categories is Face Shape, with sliders for adjusting the Forehead, the Chin Height, the Jawline, and the Face Width. Of all the sliders in the Face-Aware Liquify section, the Face Shape sliders give us some of the most dramatic results:

The four sliders for the face shape (Forehead, Chin Height, Jawline, and Face Width).

Forehead

The Forehead slider raises or lowers the forehead. Drag to the right to bring out more of the forehead (and raise the person's IQ), or drag to the left to lower it but give them a more impressive hairline:

Forehead = -100 (left); Forehead = 0 (center); Forehead = +100 (right).

Chin Height

The Chin Height slider raises (drag to the right) or lowers (drag to the left) the chin:

Chin Height = -100 (left); Chin Height = 0 (center); Chin Height = +100 (right).

Jawline

Use the Jawline slider to expand or contract the jawline. Dragging to the right makes it wider; dragging to the left makes it more narrow:

Jawline = -100 (left); Jawline = 0 (center); Jawline = +100 (right).

Face Width

And finally, the Face Width slider expands or contracts the overall width of the face. Drag to the right to widen the face, or to the left to squish it inward:

Face Width = -100 (left); Face Width = 0 (center); Face Width = +100 (right).

Before And After

The main purpose of the Face-Aware Liquify sliders is to correct unwanted distortions in an image that are causing someone to look different from how they appear in real life. But the sliders can just as easily be used to make a person look like someone else entirely!

Here once again is my original image on the left. On the right is the same person (or at least, it was the same person) after having some fun with the sliders:

A before (left) and after (right) comparison.

Resetting The Sliders

To quickly reset all of the sliders back to 0, click the Reset button. This will instantly restore the face to its original state:

Clicking the Reset button.

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The Face Tool

The other new Face-Aware Liquify feature is the Face Tool which is found in the Toolbar along the left of the dialog box. You can also select the Face Tool by pressing the letter A on your keyboard:

Selecting the Face Tool.

When we select the Face Tool, Photoshop draws a thin outline on either side of the face it detected. The outline appears even when there's only one person in the photo, but as we'll see later on, it's really more helpful when working on photos of multiple people, since the outlines tell us which faces Photoshop was able to detect (and which ones it missed):

Photoshop outlines the targeted face, even when it's the only face.

The reason we learned about the sliders before looking at the Face Tool is that the Face Tool really just gives us another way to adjust the sliders. The difference is, rather than dragging the sliders themselves, the Face Tool lets us click and drag directly on the image.

If I hover the Face Tool over one of the eyes, for example, different handles appear. There's a round one above and below the eye, another round one on the side, a diamond-shaped one in the upper corner, and a dotted curved line along the outer edge. Similar handles would appear if I hovered over the other eye:

Handles appear around the eye when hovering over it with the Face Tool.

Each handle is linked to one of the sliders, and dragging a handle has the same effect as dragging the slider. The round handles above and below the eye are linked to the Eye Height slider. Dragging either one adjusts the height of the eyes (the eyes will be adjusted together regardless of which eye you choose), and you'll see the Eye Height slider in the Properties panel moving along with you as you drag. To make it easier to see what you're doing, the handles fade away as soon as you start dragging, which is why they're not visible in the screenshot:

Dragging the Eye Height handle moves the Eye Height slider.

The round handle on the side is linked to the Eye Width slider. The diamond-shaped handle in the upper corner controls the Eye Size slider. And if we click and drag on the curved dotted line along the outer edge, we move the Eye Tilt slider. If you have Tool Tips enabled in Photoshop's Preferences, you can hover your cursor over each handle and the name of its matching slider will appear. The only slider that does not have a handle associated with it is Eye Distance.

Here, I'm clicking and dragging downward on the Eye Tilt handle (the curved dotted line), and not only am I changing the angle of the eyes, but we can see that the Eye Tilt slider has moved along with me. If you accidentally click and drag the wrong handle, simply press Ctrl+Z (Win) / Command+Z (Mac) on your keyboard to undo it:

Dragging the Eye Tilt handle moves the Eye Tilt slider.

Similar handles will appear when we hover the Face Tool over the nose. The handle on the bottom is linked to the Nose Height slider, while the handles on either side control the Nose Width slider:

The Nose Width (left and right) and Nose Height (bottom) handles.

Hovering the Face Tool over the mouth displays handles for adjusting the various Mouth properties. Drag either of the round handles on the sides to adjust the Mouth Width. The curved dotted lines along the left and right edges control the angle of the Smile. Raise or lower the Upper Lip by dragging the curved line directly above it, or the Lower Lip by dragging the curved line below it. The Mouth Height slider does not have a matching handle, so for that one, you'll need to drag the slider itself:

The various Mouth property handles.

Finally, when we hover the Face Tool closer to an edge of the face, we see various handles for adjusting the Face Shape properties. The handle at the top raises or lowers the Forehead, while the handle at the bottom raises or lowers the Chin Height. The two handles on either side expand or contract the Face Width, and the handles in the lower corners adjust the Jawline:

The Face Shape handles.

Here, I'm dragging the Face Width handle on the right to widen the face, and we see the Face Width slider in the Properties panel moving as well:

Another example of how the handles and sliders are linked together.

More Face Tool Adjustments

The real benefit of the Face Tool is that, along with being able to adjust the sliders by dragging directly on the image, it also opens up additional areas that we can adjust; areas that are not accessible with the sliders. But this is also where things can get weird pretty quickly.

For example, if we hover the Face Tool directly over an eye, notice that the cursor changes into a four-point directional arrow:

Hovering over certain areas turns the Face Tool cursor into a directional arrow.

Whenever we see this directional arrow, it means we can click on the area and drag it around freely in any direction. In this case, it means we can move the eye around. But unlike the sliders which adjust both eyes at once, the Face Tool actually lets us drag both eyes separately from each other, in any direction:

Dragging one eye up and the other eye down, just because we can.

The same directional cursor appears when we hover the Face Tool over the nose, which means we can click and drag the nose in any direction. Here, I've dragged it down and to the right:

Dragging the nose with the Face Tool. Lookin' good.

You'll also see the directional cursor when you hover over the left and right cheek, the mouth and the chin, each of which can be freely reshaped:

The cheeks, mouth and chin can be moved just like the eyes and nose.

When used for subtle adjustments, the Face Tool can work wonders. But it can also get out of hand pretty quickly, as we see in this before (left) and after (right) comparison:

How to impress absolutely no one with Face-Aware Liquify.

There's a few things you can do if things start to go wrong. To undo your last step, press Ctrl+Z (Win) / Command+Z(Mac) on your keyboard. To undo multiple steps one at a time, press Ctrl+Alt+Z (Win) / Command+Alt+Z (Mac) repeatedly. Or, as we learned earlier, you can instantly revert the face back to its original state by clicking the Resetbutton above the sliders in the Properties panel:

Clicking the Reset button.

Applying Your Settings

When you're happy with the results, click OK to commit your settings and close out of the Liquify filter:

Clicking the OK button.

Editing Your Settings

Way back at the beginning of the tutorial, before we even applied the Liquify filter, we first converted our image into a Smart Object. We did that so we could apply Liquify as an editable Smart Filter. Now that we've applied our settings and closed out of the Liquify dialog box, if we look in the Layers panel, we see Liquify listed as a Smart Filter below the image.

If we need to make further changes, all we need to do is double-click directly on the filter's name:

Double-clicking on the Liquify Smart Filter in the Layers panel.

This re-opens the Liquify filter with all of your current settings, allowing you to easily make whatever changes you need:

Editing the Face-Aware Liquify settings thanks to the power of Smart Filters.

Working With Group Shots

At this point, we've covered everything we need to know about using the new Face-Aware Liquify feature in Photoshop. We've learned how to adjust the eyes, nose, mouth and overall face shape using the various sliders in the Properties panel. We've also learned how to adjust the same sliders by clicking and dragging directly on the image with the Face Tool, and how we can use the Face Tool to freely move and reshape other areas as well.

Up until now, we've been using an image of just one person, but Face-Aware Liquify also works with photos of two or more people. Here's a group photo that I've downloaded from Adobe Stock:

Face-Aware Liquify works just as well with group shots.

As soon as we open a photo like this one in the Liquify filter, Photoshop analyzes it looking for faces. It then draws those thin outlines that we saw earlier around each face that it detects (you'll need to have the Face Tool selected to see the outlines). Note that if someone's head is turned too much to the side, or they're on some sort of weird angle, Photoshop may not be able to detect their face, in which case you won't see the outlines around it. With this image, though, it had no problem with anyone:

Photoshop draws outlines around each face it detects in the photo.

To switch between faces, use the Select Face drop-down menu above the sliders (directly to the left of the Reset button). Select Face is only available when more than one face is detected:

The Select Face option.

Photoshop lists the faces from left to right, so the person on the far left of the photo would be Face #1. The person directly to their right would be Face #2, and so on. In my case, there's five people in the photo, so I'm seeing five faces to choose from in the list:

Five people in the photo, five faces in the list.

Or, an even faster way to select the face you need is to simply click on it with the Face Tool. To select the woman in the lower center of the photo, for example, all I would need to do is make sure I have the Face Tool selected, and then click on her face:

Clicking on the woman in the center with the Face Tool.

Since she's the third person from the left, the Select Face option automatically switches to Face #3. I could now make whatever changes I need without affecting anyone else's face in the image:

Selecting the woman in the center by clicking on her with the Face Tool.

Finally, we already know that we can instantly revert a face back to its original state by clicking the Reset button above the sliders. But if you've made changes to multiple faces and need to quickly undo all of them at once, click the Allbutton instead:

Click Reset to undo changes to a single face, or All to reset all faces at once.

copied from:- http://www.photoshopessentials.com/