Edit Like a Pro: Photoshop for Photographers | JP Danko | Skillshare

Edit Like a Pro: Photoshop for Photographers

JP Danko, Commercial Photographer

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11 Lessons (2h 24m)
    • 1. Trailer

      1:30
    • 2. Introduction

      10:29
    • 3. Overview Of Photo Editing Techniques

      9:45
    • 4. Setting Up Your Workspace

      11:55
    • 5. Editing In Layers

      15:02
    • 6. Photo Adjustment Techniques

      14:48
    • 7. Photo Adjustment Techniques

      13:44
    • 8. Correction Tools - Cloning Healing Patching and Moving

      15:40
    • 9. Removing Problem Areas

      16:14
    • 10. Resolution, Cropping and Saving

      16:58
    • 11. Bonus Techniques!

      18:01
18 students are watching this class

About This Class

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OVER TWO HOURS OF DETAILED PHOTOSHOP INSTRUCTION!

Photoshop is the undisputed heavy-weight champ of image editing software for photographers around the world. In fact, as a tool of modern photography, many photographers value Photoshop just as much as their camera!

There is no doubt that Photoshop is a tremendously powerful tool, but without guidance it can also be tremendously complicated. Learning Photoshop is not as simple as jumping right in - there is no magic "fix photo" button. Instead, you have to start on the right foot and develop an effective workflow to truly release the full potential of Photoshop.

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Photoshop is also a very versatile tool, used for tons of tasks that have nothing to do with actual photographs or photography.  In this class we are going to skip all of that and purely concentrate on the critical skills needed by photographers, photography enthusiasts, and other creative industry professionals to edit photographs with Photoshop.

You will learn everything you need to know to start editing your photography like the pros.

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What You'll Learn

This Photoshop course is specifically tailored for photographers, but you don't have to be a pro. Photography enthusiasts and other creative professionals can also learn how to effectively edit photos.  

I'm going to share the key tools, techniques, and workflow that you need to improve your own photography with Photoshop. You’ll learn Photoshop color correction techniques, Photoshop photo editing techniques, as well as other tips and tricks that create more beautiful, polished photographs.

This class is not a brief summary of editing pictures for Photoshop beginners. It’s an in-depth examination of the workflow of professional photography—from start to finish. We will go through the step-by-step process of editing two complete photographs in Photoshop, including all of the core tools and techniques used by professional photographers.

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By the end of these Photoshop lessons, you will have the knowledge needed to effectively incorporate Photoshop into your photography workflow, and the confidence necessary to further explore some of the more advanced features of Photoshop on your own.

  • Setting up Your Workspace. Overview of the Photoshop user interface with an emphasis on setting up an efficient workspace for photography post production.
  • Editing in Layers. Unlocking the power of editing in layers in a non-destructive workflow.
  • Photo Adjustment Tools and Filters. A detailed guide to the most popular and most useful adjustment tools and filters for photography edits.
  • Photo Adjustment Techniques. A step-by-step photo editing example that uses each of the core adjustment tools and filters needed to effectively adjust photographs in Photoshop.
  • Correction Tools - Healing, Cloning Patching and Moving. A comprehensive introduction to the key tools needed to make corrections to problem areas, heal imperfections, clone out unwanted items, move and remove items from an image and content-aware fill.
  • Removing Problem Areas. A step-by-step photo editing example of removing unwanted problem areas from a photograph using all of the key selection, healing, cloning and moving tools.
  • Resolution, Cropping and Saving. Understanding photo resolution, cropping images and properly saving edited photographs for the web and print.
  • NEW - Bonus Tricks!  A roundup of my favorite Photoshop tricks that I use everyday.  Making skies pop, fixing motion blur, touching up natural light photos and facial retouching with the adjustment brush, getting killer contrast...

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What You'll Do

You will put the concepts that you're learning to use right away to edit your own photos in Photoshop, which you can then share with your classmates for feedback as you go.

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Transcripts

2. Introduction: - Hello, - everyone. - I am JP Denko and welcome to skill share. - And at it, - like a pro introduction to photo shop four photographers. - I am really excited to get into Photoshopped and start working. - But before we do that, - we're just gonna go through a little bit of housekeeping tasks beforehand. - So first of all, - I'm gonna give you a little bit of a synopsis of what's included in this class. - Um, - there there are 10 video lessons, - and I'm just gonna give you a quick summary of what each lesson is in a little bit of - what's included. - So lesson one is the introduction, - which we're doing now, - listen to we are going to go through an overview of photo editing techniques. - So I'm gonna show you a few sample photos and, - um, - give you cinnamon. - Some ideas of how Photoshopped can be used to improve those, - um, - lesson three. - Setting up your workspace. - We are going to talk about the photo shop user interface, - and there's a few critical settings in there that we're gonna make sure we have set before - we get started. - Really? - Working in photo shop. - Lesson four Editing in layers, - layers are a critical part of working in photo shop in a nondestructive workflow. - So I'm gonna show you, - um, - the different layer types how to use them, - Um, - and how they fit into your workflow lesson. - Five photo adjustment tools and filters. - So, - less than five, - we're gonna go through kind of the basic photo editing techniques, - color contrast, - white balance, - that sort of thing. - I'm gonna show you all the tools that are used, - and then lesson six photo adjustment techniques. - We're gonna go through an example that goes through all of those, - um, - photo adjustment tools. - Ah, - lesson seven. - Correction tools. - This is kind of the fun stuff When people think about, - ah Photoshopped Magic, - they are thinking about the correction tools, - which would be things like content aware fill cloning, - healing, - patching, - moving things around, - Um, - those sort of things. - And then lesson eight, - we're going to follow up the correction tools lesson by going through a example where we're - going to remove some problem areas from a photo. - I'm gonna go through that step by step so everybody can follow alone. - Lesson nine, - resolution, - cropping and savings. - So, - you know, - we're working with, - um, - raw images, - usually out of camera. - They're very large files. - We're going to talk about file resolution, - um, - proper ways to save your photos, - Um, - and also how to say, - for Web and also email use versus saving for print because it's quite different. - And then, - finally, - I've added an extra lesson here called bonus tricks. - So in that video, - I'm going to take you through kind of some of my favorite techniques that I use in photos - up all the time. - And, - ah, - originally I didn't have this in there, - but I think it's it's a lot of fun. - And I think you guys will get a better appreciation for what the next steps are in photo - shop if I show you a couple of the, - ah, - the little tricks that I use all the time. - So a lot of the students that are enrolled in this class are coming from different - backgrounds, - so we might have ah, - photographers who are using Photoshopped Elements or light room right now, - and they are looking to expand their knowledge, - move up to photo shop to bring their photos up to the to the next level. - Um, - or we could have creative professionals, - people that are used to working in photo shop are familiar with adobes interface and how it - works but might not be quite used. - Teoh Editing photos and Photoshopped Um, - and also we have, - you know, - hobbyists and people that are just really into photography. - And they kind of know that photo shop is Thea, - um, - default photo editing software for you know, - it's really the industry standard, - and they're looking Teoh toe learn a bit more about photo shop and how that can apply to - their photography and make their photography better. - So I think the overall goal for everybody at the end of the class is just to have a solid - working knowledge of photo shop and how Photoshopped applies to photography. - And there should be a nice firm foundation that will allow you to build on in the future as - you explore some of the more advanced features in Photoshop, - either on your own or with a intermediate or advanced skill share course, - um, - in the future. - So at the end of this class, - we do have a class project that you are asked to submit, - and that is to edit one or more of your own photos with Photoshopped so we'll go a little - bit more into detail in that in lesson to, - But it should be a photo that has some problems, - something that needs to be fixed up. - And we've also got a little bit of a photo editing contest. - So I'm going to go through the class submissions and pick a few of my favorites. - And the winners will get Ah, - Skype session with me and, - ah, - I'll critique your work and go through your portfolio and maybe give you some suggestions - of how you can move forward as a photographer. - Ah, - to help achieve your goals in this class, - each video lesson is accompanied with ah set of projects steps and ah, - the project steps basically outline what you should have learned and what you should be - able to apply as a result of Ah, - that video lesson. - And with that, - I'm also going to include a set of what I call next steps. - So that would be topics that are related to the video lesson. - But, - um, - maybe more advanced features that you might want to explore on your own to wrap up the - introduction. - I'm just going to share a few thoughts on photo shop and how Photoshopped usually fits into - a photographer's workflow. - So most for most photographers use some other application, - such as Adobe Late Room, - to manage their photography library and light room. - Is is awesome for viewing photos and also for doing basic edits. - But it's not so great when you get into some more complicated editing, - like moving things or deleting things from photos. - Um, - but what's really cool is the camera raw module in Photoshopped that we're going to go - through in this class is exactly the same as the develop module in light room. - So if you're using light room now, - if you like light room, - you can do a lot of your edits in light room in the develop module. - And it's exactly the same as if you were to do those edits in photo shop in camera Raw. - Um, - so, - like I said, - Light room is great for bulk editing. - Photo shop is really where you come to finish those photos off, - So if you've got a photo that you're going to deliver to a client, - you're not going to deliver. - You know, - 1000 photos from the shoot you're going to deliver, - you know maybe a dozen or so of your picks, - your top photos. - And that's the photos that you would be editing in photo shop. - Um, - you'll notice that I'm using photo shop CC Creative cloud and I am a creative cloud - subscriber. - So I always have the latest version. - But if you don't have photo shop CC, - don't worry. - Um, - create camera raw is kind of the main module that we're going to be using. - And that was introduced way back in CS two. - I think so. - You know, - I'm not really a big supporter of just updating software just because there's something new - . - So if you have an older version of Photoshopped, - by all means, - use that. - And, - um, - some things have been updated along the way. - So if you do have trouble, - um, - keeping track of what I'm doing in the class in Photo shop CC, - you know, - feel free to send me an email and ask, - and I could probably help you out. - There are some tools that air new that you might not be able to access, - but for the most part, - you know, - if you have an older version of Photoshopped, - by all means, - use that If you want the newest version, - you can subscribe to Creative Cloud for photographers and get Ah Photoshopped and late Room - . - Um, - you also noticed that I am using the PC version of photo shop eso all you Mac users? - Don't worry, - it's exactly the same. - Only the keyboard shortcuts are a little bit different. - So just for future reference, - if I say control control, - I'm. - If you're on a Mac, - that's command. - If I say halt, - if you're on a Mac, - it's option. - And if I say enter, - if you're on a Mac, - it's returned. - Other than that, - everything should be, - ah, - pretty much exactly the same between versions. - So once again, - welcome to the class. - Um, - your project steps for lesson one are just to get photo shop installed and running on your - computer. - And also to think about, - um, - how you're going to fit Photoshopped into your photography workflow. - Are you going to use Photoshop as a standalone application? - Or maybe you're going to use it photo shop along with Adobe Light room or some other way of - managing your overall photography library. - So give that some thought and I will see you back in lesson to an overview of photo editing - techniques, - chairs 3. Overview Of Photo Editing Techniques: - Hello, - everyone. - I am JP Denko and welcome back. - This is a lesson to overview of photo editing techniques. - So in this video lesson, - what I'm going to do is basically to show you a series of before and after photos. - The reason being when you're first starting out in photo shop. - Sometimes it's a little bit hard to really know what's possible in Photoshopped. - Um, - you know, - the term Photoshopped is is so ubiquitous that a lot of times we don't really stop to think - about what was actually done to a specific image and what was it you know, - involved to achieve that look, - So I'm going to show you a mix of commercial and kind of general family lifestyle work. - Um, - the goal is really to give you a working understanding of what a typical level of photo - shopping or Photoshopped editing would be involved in A in a professional photography - workflow. - Okay, - so let's get started. - This would be, - um, - kind of a typical natural light beach shot. - Um, - there's also a small soft box. - Ah, - with off camera flash involved here for feel light. - But, - you know, - this is a fairly typical shot at the beach. - So this is the before photo and this is the after photo, - so you'll notice that the after photo is a lot more depth to it. - The white balance has been adjusted, - the exposure has been adjusted, - the contrast has been increased. - And also see that palm tree on the right That's kind of sticking in from the side of the - photo. - Um, - we went in there and got rid of that because it's is distracting next image. - So this is ah, - woman in, - ah, - house coming down the steps. - This is a natural light photo with a reflector, - and you can see that the white balance is a little bit off. - The highlights are pretty hot, - and, - um, - it needs a little bit more contrast. - So in the after photo, - we've adjusted the white balance. - So we have a true white and we've also up. - The contrast made the blacks a whole lot darker. - So those blacks really pop in that photo. - Um, - and you know that that's about it. - But the white balance in that photo is the key thing, - so you can see the before the white balance is way off, - not even close. - And in the after we've got the correct white balance there. - So you got ta little boy little girl playing around in the leaves in the fall. - Naturally. - Photo again. - This was taken on kind of an overcast fall day kind of late in the afternoon. - So the light is not very bright, - It's very flattened, - bland. - And if we go to the after, - you'll see that we've really increased the ah, - the vibrance of that photo. - So the colors really pop. - It looks like a sunny afternoon. - Not that kind of boring gray, - bland fall afternoon there. - So woman in a masquerade mask. - So again, - natural light photo this was Ah, - we're just walking out the door to go for Halloween, - actually, - and ah, - basically snapped this picture. - It's taken with an F 1.4 lens wide open. - Um, - you can actually see some streaks of rain in the background there because it was raining, - you know, - before photo is an auto white balance. - So I can tell right away that the white balance is off. - Doesn't look too bad. - So we go to the after photo, - and basically what we've done is increase the contrast. - Um, - but we've done a lot of work in the eyes and the lips as well. - So there's quite a bit of sharpening going on there to really bring your focus into her - eyes. - And, - ah, - also in the background we've we've even don't the color so you can see in the before it's - kind of brownish reddish on one side. - That's the color of the bricks from my house and on the left. - Um, - you've got some green and blues there in which is the sky and the grass. - It's of trees. - So in the after photo, - we've even those out. - So it's got the same brownish color on both sides. - This photo is of a little boy rock climbing, - and this was taken, - um, - natural light kind of mid afternoon. - So the lighting isn't that great. - The the sun is to the left. - Um, - you can see the light on the rocks in the shadows. - So if you go to the finish photo, - I've cropped that in, - and I've also added kind of like a faux son flair to the left, - there to accentuate kind of the direction of the light in the original photo. - It's kind of boring. - There's not a lot of interest there, - but in the Finnish photo, - it looks quite a bit more dramatic, - a little bit more exciting. - So this photo was part of, - ah, - time lapse sequence, - and it's, - ah, - again, - a natural light photo. - It was taken kind of later in the afternoon. - Early evening, - um, - down the beach and you can see it's pretty flat and boring light and in the background of - got some distractions there, - there there's those two posts that are sticking up that are really distracting. - And then behind that as well. - There's Ah, - there's like a homemade boat launch there that I had to get rid of. - So in the after photo, - you can see the you know, - the colors. - They're just that much nicer. - There's a whole lot more contrast and vibrance. - They're just overall just a way more interesting photo and all that junk in the background - is gone as well. - This is one of my favorite pictures. - This is me and my kids. - This is just a really cool space, - but there's a whole lot of white there and ah, - window light. - So if you go to the after photo, - we've brought the highlights down to bring some depth back into the photo so everything in - the background isn't just blown out. - We've also brought the black levels up. - So things that are supposed to be black or black and ah, - increase the vibrance in contrast, - and her clothing So that, - um, - the subject stand out from the background a lot more than they than they did in the - original photo. - This is Ah, - photo from a commercial gig. - Um, - this is a professional model. - She's a fitness model and you can see to the left there, - there's, - ah, - one of my lights. - This is what this this image looks like coming out of camera. - She's basically lit from both sides with a little bit of fill in front. - And then in the Finnish photo, - you can see we've increased the contrast. - Ah, - the whites are a little bit whiter. - The blacks are a little bit blacker, - have got rid of all the background. - So we've made the background 100% black and ah, - there's ah, - a few little blemish removal XYZ and touch ups done there as well. - So ah, - another image from a commercial gig. - This is ah, - competitive beach volleyball player. - This is the photo of a camera, - and this is a shot that was taken pretty close to dawn. - So it's just after sunrise here, - and she's also lit with studio strobes on either side. - And if we go to the after photo, - you'll see we've really increase the contrast. - Um, - corrected the white balance. - But the main thing that was done in this photo is we got rid of all the distracting trees - and junk from the background. - That's one thing that we tend to do a lot in. - Photoshop is to clean up backgrounds so that you can focus better on your subject and - you'll know. - So notice. - Also, - because this is going Teoh my stock portfolio. - I've got rid of all the logos on the on the volleyball, - so last image here is an underwater shot. - I do a lot of underwater photography, - and it's kind of one of the hardest things to adjust in Photoshopped. - So that's the before image as it came out of camera, - and that's the finish photo. - You can see the before photo, - and this is very typical for any underwater photography is that's very bland and obviously - very blue. - So when you go into Photoshop. - It takes quite a bit of work. - Teoh too. - Bring in that contrast. - Correct The color and ah, - really make it look like a photo that's worth viewing. - Okay, - so I hope those examples gave you Ah, - good idea of the type of photo shop editing that we're going to cover in the ah in the rest - of the course. - So your job now the project step for Lesson two is to identify several pictures from your - own photography collection that you could use for the class project. - So look for images that could use at least some or all of the editing techniques discussed - if you go through your collection and you don't find anything that you think would be - suitable, - Um, - I'm also going to place a bunch of these photos in the additional resources so you can - download the original raw files and ah, - and work along with those with the exact same files that I'm going to use. - You can follow my examples step by step, - and I will see you in less and three setting up your workspace 4. Setting Up Your Workspace: - everybody. - I am JP Denko, - and this is Lesson three, - setting up your workspace So you've got Photoshopped freshly installed on your computer. - This is the default user interface that we get. - The first thing that we're going to do is set are working color space options for photo - shop? - So to do that, - we go to edit color settings, - and that brings up the color space dialog box. - So there's there's benefits and drawbacks to each color space. - Basically, - SRG B is the default that your photos will look good pretty much anywhere. - Adobe RGB and Pro photo RGB arm or for a professional workflow where your work is going to - be output to professional printer. - So the biggest factor to consider when you're choosing a color space to work in is how it's - going to be. - Output photos Look the best on a screen or on a consumer level print in S RGB. - You get the best colors, - the best reproduction. - If you're out putting to a professional application or you're shooting for professionals - who are used to color management, - then you should probably think about going to one of the more expanded color spaces, - such as Adobe RGB or pro photo. - Um, - for example, - my stock agencies that I submit to don't accept s RGB photos. - So this photo is edited in S RGB and saved as SRG B J Peg. - This image is an adobe rgb JPEG, - and you can see the difference between the two. - Finally, - we'll go to pro photo RGB and you can see the colors there are completely messed up, - and that's kind of typical what you'll see if you try to view of Pro Photo image on screen - . - Now, - that's not so much of a problem when you're working in photo shop, - but it becomes a problem if you have J. - Peg saved with a pro photo color space and then you want to just grab that and put it on a - website or something like that, - you have to convert the color space to s RGB, - and it becomes a bit of a pain. - So let's go back to photo shop and I'll show you how I set up my color space options. - So we're back to the Color Settings dialog box and under the working space on going to - change the default RGB from S RGB two pro photo RGB. - The reason being is that I'm a professional photographer and I want to work in the best - color space that's available, - and that is pro photo RGB. - Also, - I use light room and light rooms, - native color spaces, - pro photo RGB. - So when I'm switching back and forth between Light Room and Photoshopped, - I'm always working in the same color space. - So if we come down to color management policies you can see under RGB, - it's set to preserve embedded profiles, - and I'm going to leave it just like that. - Reason is, - if I imported file, - that is an SRG V profile or an Adobe RGB profile. - I don't really want Photoshopped to convert that to a pro photo file because there's not a - whole lot of advantage in converting from a lesser color space to a better color space. - Another tip that you might want to consider is setting your cameras Ah, - color profile. - So most cameras can be set to either S RGB as a default or adobe RGB as an option. - And if you're really serious about working in a professional photography workflow, - you should really consider changing your cameras color profile to Adobe RGB instead of S - RGB. - The last thing to do in the color settings dialog is to tell photo shop what to do if there - is a profile mismatch in my own photography workflow, - I don't really worry about that. - I m pretty careful about managing my color profiles, - and I don't really often run into profile mismatch. - But if that's something that you think might be a problem in your own photography workflow - , - also you have to do is check thes dialogue boxes here and tell Photoshopped, - ask when it's opening a file. - That way, - if there is any mismatch in the color profiles, - Photoshopped will warn you. - It'll bring up a dialog box, - and then you can decide whether you want to convert it then or continue working in the - embedded profile. - The next thing to do to customize our photo shop user interface is to look at our tools and - also our tool palettes. - So over here on the left, - we have the default, - um, - tool palette, - and I usually leave that how it is. - And then over here on the right, - we have the default tool palettes, - that photo shop displays when it's first installed, - and if you go appear to the top, - right? - You can see it set to essentials. - I'm going to change that to photography because that brings up the history graham palette, - which I use all the time. - We have the adjustment tool palette there and also the layers palette. - So now I've got the photography tool panels set up, - and I'm going to add one more. - So I'm gonna go to window and then history, - and that brings up the history tool palette. - And I'm going to dock that over here on the right, - and I'm going to do one more thing to customize that history tool palette go over here to - edit, - and then preferences and performance, - Which brings up this performance dialogue box. - And you can see here under history states that the default is 20 and I find what I'm doing - a complicated at it like, - ah, - cloning brush or something like that. - That I'll go. - I'll run through more than 20 history states. - And if I want to undo what I just was working on, - I can't go back far enough to fully undo it. - So instead of 20 history states, - I'm gonna change that to about 100 which I find for my workflow is sufficient to go back - and undo whatever I was working on. - One other thing that you should be aware of is that if you're using a dual monitor, - you can, - um, - undock these tool palettes and move them around. - So if you're using a dual monitor system, - um, - a lot of times that it's a lot nicer to see. - If you just take that tool palette, - undock it and then you can resize them. - Make it nice and big and go and move that over to your to your second monitor. - That way you can have all of your tool palettes on one monitor and a nice, - clean, - open work space on your on your main monitor. - Now, - if you're adding menus and moving these around, - um, - don't worry about screwing them up. - So if I just turn these off, - something happens to your menus. - Also, - you have to do is come over here to photography and set reset photography, - and it sets it back to the default photography pallets. - Now, - once you start clicking through, - um, - the menus in photo shop, - you'll notice that a lot of the commands that you can click on with your mouse. - Also have a keyboard shortcut, - and that's something that becomes really important with a more advanced workflow, - because you can type in a keyboard shortcut really quickly with one hand. - Well, - with your other hand, - you still have that on your mouse, - and your cursor is still in your workspace, - so it really makes your workflow much more efficient. - The last thing we're gonna look at in the photo shop user interface is how to actually find - an open files. - So if we go over here to file and open, - that brings up my computers, - operating systems, - default file browser and you can see in this folder I've got a whole mix of files types. - There are adobe digital negatives D and G's. - There are Photoshopped Files, - PS D's. - There are tiffs there J pegs, - and you can see that the default file browser can't actually view any of these photos - except for the tiffs in the J pegs. - So it's really hard to find which file you're actually opening if you can't view a preview - of it, - so a better way to do this is to use either bridge or mini bridge, - so instead of using file open, - go up to your to file and then choose Browse Enbridge or browse in mini bridge. - So first, - I'm gonna choose Browse Enbridge so that brings up Adobe Bridge and you can see over on the - left. - Here you have your folder structure and on the right you have preview of all the files that - are in that particular file folder. - And if I click on one, - it brings up a preview and you've got the metadata from that particular file over here on - the right as well. - You can also change the size of the thumbnails. - You make a bigger, - smaller, - however, - you want to view your your photos Enbridge. - Then when you find the photo you want, - you just ah, - click it and it will open that up right in photo shop. - And if you want to do the same thing in mini bridge depending on which one you have, - choose browse in mini bridge. - So that brings up mini bridge at the bottom Here, - the same idea as full bridge, - where on the left you browse to the folder with the files that you want to look at and on - the right. - You can see the thumbnails. - Now you can also pick up this palette like all pallets and Photoshopped, - and move it or resize it, - and that just makes it a little bit easier to see the photos that you're viewing. - You can change the size of the thumbnails. - And again, - when you find the photo that you want to edit, - you just click it and open that right into Photoshopped. - Now, - one thing that's going to be very important for the rest of the course is to be able to - open our photos directly into camera raw. - We're going to use camera raw for the bulk of our basic photo adjustments, - so we need to be able to open both raw files and other file types like J pegs or tiffs - directly into camera. - So right now I'm in Mini Bridge. - If I click a raw file, - such is Ah, - DMG, - which is a digital negative or a raw file that will open up Kamerad directly, - and I can edit that photo in camera raw. - If I do the same thing on J Peg or a tiff, - it will just open right in photo shop. - So to make a J peg er tiff open in camera raw instead of just clicking it well, - we're going to right click, - which will bring up a dialog box you choose open with and then camera raw, - so that will open your tiff or JPEG file right into camera raw as well. - Now, - of course, - if you're using light room to manager photography library, - it makes it that much easier to view your photos and to jump back and forth between light - room and Photoshopped. - So if you're in light room, - also do. - Is you right? - Click on your image and then edit in Photoshopped. - Or, - if you want to just go straight from your image control E. - And that brings up the edit in Photoshop Dialog box. - The Edit and Photoshopped Dialogue Box and Light room gives you three options at it. - A copy with your light room adjustments. - Edit a copy or edit the original. - Usually, - if I have applied adjustments in the develop module in light room, - I jump over with edit a copy with light room adjustments. - If I have already done some photo shop edits than I jump over with, - edit the original OK, - so I think we've got quite a bit to think about their You should be off to a good start - forgetting photo shop set up. - The next lesson is less and four editing in layers. - And I will see you back then. - Cheers. 5. Editing In Layers: - Hey, - everybody, - I am JP Danko. - Welcome back. - This is a lesson four editing in layers. - So to get started on going toe, - open an example photo into photo shop. - And if we remember back to lesson three setting up your workspace, - we're going to use either bridge or mini bridge as a file, - browser or light room to open your photos and bring those over to photo shop. - So I've got Mini Bridge open here, - and I'm going to open my original file, - which is a JPEG image here on the left. - And so if you remember, - we right click that and then opened with camera raw. - Now, - I'm not actually going to do any edits in camera raw. - I'm going to just jump right into photo shop. - So I'm just gonna click open image, - which will bring up that photo into Photoshopped. - And you can see on the right here that I don't have any layers. - So this is the layers palette, - and I just have one layer background. - And before we get started, - let's do a quick review of the layers palette. - So I'm gonna grab the layers palette and move it over here so we can take a closer look. - So in the layer palette, - you'll see a stack of all the layers that you have in your Photoshopped file, - and you also have some layer tools down here at the bottom. - This is the Creator layer mask tool. - This creates a new Phil or adjustment layer. - You can create a new layer group or create a new layer, - but personally, - I find it the easiest to use the keyboard shortcuts for layers, - so you might want to review your keyboard shortcuts. - Another way that you can work with layers is to use the layers, - um, - menu here, - so lair and then all the ah key lair options are available there now. - The reason why we want to work with layers is so that were never editing our original photo - . - And if I was to work on the background layer, - if I stood make adjustments to the background layer, - I'd be editing my actual photo, - and I don't want to do that, - ever. - So the first thing I do in ah when I open a new photo and photo shopped that I'm going to - start editing is to create a new layer as my base layer that's not the background there, - so I'm gonna make a new layer via copy, - which is controlled J. - So now I have a new base layer that I'm going to start applying at its too. - You'll notice that you can name each layer, - and it's a good practice to get into instead of leaving these as layer one or layer to toe - actually named, - um, - the work step that you're working on. - So I'm going to call this base at it in photo shopped. - There are three main types of layers that you might use in your editing workflow. - The first is a layer that is a copy of another layer, - which is what we just did with the background. - That's exactly like how it sounds. - You're creating an exact copy of another layer. - Next is a new, - transparent layer. - So if we go down here and we click the new layer, - um, - icon, - that will create a new, - transparent layer. - Now that layer is completely empty. - There's no information there another way that you can create a new transparent layers to go - up here. - Toe layer new and layer, - which will bring up the new layer dialog box or you can use control shift end, - which will do the same thing for photography. - We don't use transparent layers very often unless you're working with selections. - So I'm going to make a quick selection and just show you how you can easily, - um, - import your selection to a new layer that also has transparent information. - I'm going to use the rectangular selection tool here and just do a simple rectangular, - um, - selection. - And then I'm going to get an air here. - And I'll explain why in a second. - So if I go right, - click new layer via copy or it could also do control J. - Now what photo shop is saying is that it could not meet make a new layer because there's no - information in that selection. - If you remember, - we created these three transparent layers which have no information in them. - And right now Layer three is selected as my current layer, - which has no information in it. - So I'll click OK to get rid of that error, - and I'm gonna go back down here to base at it as my working layer. - Now, - when I create a new layer via copy, - it will sample from the base layer and include that information in the new layer. - So layer via copy or control J. - And if I turn off the visibility of these other layers, - you can see the information that was copied over to that new layer. - Now I don't need these other three transparent layers, - so I'm going to delete them. - So if I select a layer, - I can just delete it. - Or I can select multiple layers by holding down shift and clicking. - Or cancel ECT multiple layers one at a time by holding down control and clicking. - Once I have the layers I wanted delete selected right click, - and I can choose delete layers, - or you can just, - ah, - hit the delete key on your keyboard. - The final layer type is called adjustment layers. - Adjustment layers on lee hold adjustment information. - So if I were to make a copy of a layer and then adjust that layer, - I could do the same thing by just creating an adjustment layer. - But the benefit of using an adjustment layer is it doesn't copy all of those pixels from - the other layer. - It on Lee includes adjustment information so your file size ends up a lot smaller if you - are working on a photo that has a lot of layers in it. - So if I go over here to image adjustments, - most of the adjustments that you see here can be applied via an adjustment layer. - The other way you can create a new adjustment layer is to use the adjustment layer tool - right here, - and that brings up all of the adjustments that you can apply with a new adjustment layer. - Now again, - I don't use adjustment layers very often because I apply all of my base adjustments in - camera raw. - So by the time I get into photo shop, - all of these adjustments have already been made. - But for the sake of this example, - I'm going to create a new adjustment layer so going to click on the adjustment layer icon - there and I'm going to choose hue saturation. - And as you can see, - that creates a new hue saturation adjustment layer. - And it also brings up the hue saturation dialog box and just for fun on going to bring the - saturation down to minus 100 which will turn this selection into a black and white, - and I'm going to create one more adjustment layer. - But before I do that, - I have to remember to change back to the working layer that I want to make the adjustment - on. - I can't make a new adjustment layer of an adjustment layer. - I have to go back to my my selection layer here. - And while I'm at it, - I'm going to change the name of this layer to selection. - I'm going to click on the new selection layer tool, - and then I'm going to choose a new brightness contrast that brings up the brightness - contrast dialogue box. - And I'm going to increase the contrast here quite a bit because I, - like nice contrast black and whites. - If I turn my base at it, - layer visibility on, - you'll see that those adjustment layers have been applied to all of these layers. - If you don't want your adjustment layers to be applied to all the layers in the stack, - you can pin them just to the layer below it. - To do that, - I'm gonna hold down Ault and click the line in between. - What that does is it clips the adjustment layer on Lee to the selection layer below it. - I'm going to do the same thing with the hue saturation layer. - So now you can see both of those adjustment layers have only been applied to the layer - called selection. - One of the very powerful tools of working in layers is to be able to change the A pass ity - of each layer, - so you're not always working at 100% of that layer being visible. - To do that, - we come up here to the top where we see opacity. - If we click that, - it brings up the A pass ity slider, - and we can adjust that from 100% which makes it 100% visible down 20% which makes that - layer 0% visible. - When I'm working with my photo editing tools over on the left here, - such as the healing brush or the patch tool with the clone stamp, - I want to make sure that I'm always working on a new layer. - So when I'm cloning something, - I'm on a cloning layer. - If I'm using the healing, - brush him on a healing brush layer, - so I'm going to click, - create a new blank layer control shift end and going to call it edits what's mover at its - layer to the top of the stack and unclip it from the selection layer. - Hold down Ault over on the line and click. - Now our new transparent layer edits will be applied to all of the layers below it. - Let's do some or editing. - I'm going to get rid of the top of that and look shook with the patch tool. - So if I come over here and I select the patch tool, - make a selection. - When I try to make the selection and move it, - it's going to give me an error. - The reason is the edit layer is a transparent layer. - There's no information in that layer. - We have to come up here to the top and make sure that sample all layers is enabled. - What that does is it enables the edits layer to sample all the layers that are below it. - So now when I make that selection and move it, - it's sampling from the layers below. - Next, - I'm going to show you how to apply layer masks. - Lair masks are very useful when you only want to edit a certain part of a photo. - So to start, - I'm just going to turn this edit layer off because we don't need it. - I'm going to click on my selection layer, - and I'm going to come down here and click the lair mass button that creates a new layer - mask, - which is transparent. - So 100% of the layer that I'm working on shows through that allows me to paint some or all - of this layer out using Delaire mask. - To do that, - I come over here and I make sure that my foreground and background colors air set to black - and white. - I make sure that my foreground color is set to black because I'm going to paint onto a - white layer mask. - I choose the brush tool for this example in going to just use 50% opacity, - and then I can brush summer all of that layer out now. - Sometimes you might make a mistake and have the layer selected and not the layer mask. - If that happens and you brush on here, - you're just going to brush black onto your photo, - which is not what you want to do. - So controls Ed undo and click on the layer mask, - and then we can go back and continue our edits. - We can also do the opposite So I'm going to delete this layer mask, - click on it, - right click, - delete layer mask. - And now I'm going to create a layer mask that is 100% opaque. - So I hold down Ault and click the create new layer mask. - Because this layer mask is 100% opaque, - it hides the layer that I'm working on completely now to paint that layer back in. - I come over here and make sure that my foreground and background or black and white, - I choose white as my foreground color. - Same thing. - Paintbrush. - Right now my a pass, - it is 50%. - Make sure that my layer mask is selected, - and now I can paint that layer back into my photo. - The last thing we need to learn for working with layers in Photoshop is what to do if - you're trying to apply a filter or a tool, - but it won't allow you to sample all layers, - so if you're working on a new transparent layer, - I will create a new one. - Move that to the top of the stack, - and as an example, - I'm going to apply a sharpening filter so filter sharpen smart sharpen, - and that gives me an air because there's no actual information in this layer. - And the smart sharpen filter can't sample the layers below it and take the information from - the base layer and my selection layer. - So what we need to do is to create a new merged layer. - So we're going to merge all the layers that we have visible into one new layer and then - apply our filter to that layer. - Now, - you have to be careful when you're doing this because once you merge your visible layers - and you start working on that new merged layer, - you can't go backwards to before you merge those layers. - So let's do that. - Now. - I'm going to make sure that all the layers I want to merge into my new layer are visible. - So I don't want to merge this layer one layer, - but I want to merge my hue saturation adjustment layer my brightness contrast adjustment - layer my, - um selection layer that I'm working on and also my base at it layer. - To do that, - the keyboard shortcut is control shift all e. - But you have to be on a layer that's visible right now. - So I'm gonna click my top layer and then control shift Ault E. - And that creates a new merged layer of all my visible layers. - Now, - if you didn't want to use the keyboard shortcut, - you can also do this manually. - You select the all the layers that you want to merge, - right click duplicate layers and then right click again on those same layers and merge - layers, - so that does the same thing. - It creates a merged layer of all of your layers that you're working on, - and now we can go ahead and apply that filter to this new merged layer. - Now, - like I said, - you have to be careful with merging your working layers because if you wanted to go back - and change something that you did saying here hue, - saturation layer, - you can see if you make these layers below the merge layer visible. - They don't show up because they've already been merged into that new layer. - So we can't go back into any of these original layers and change anything. - They're already locked in that new merged layer. - All right, - that should give you a solid foundation for working with layers in Photoshop. - Apply these to your class project to your own photos, - and I will see you back in less than five photo adjustment tools and filters, - chairs 6. Photo Adjustment Techniques: - Hey, - everybody, - I am JP Denko. - Welcome back. - This is less than five photo adjustment tools and filters. - So by now, - you should have a pretty good idea of the sort of photo editing that we do in Photoshop. - You should have a good background in color management and how to bring your photos into - photo shop from either mini bridge, - bridge or light room. - And you should have a solid foundation on working in layers within Photoshopped. - So now it's time to get into some basic photo adjustments, - but we're not actually going to do most of that in photo shop. - We're gonna do most of our basic adjustments in camera raw. - And if you'll remember, - camera raw, - um is almost exactly the same as the light room develop module. - So if you're working in light room, - just stick in light room and used the develop module in light room. - It's exactly the same. - Is working in camera raw, - but because this is a photo shop course, - we're gonna work in camera raw, - so I'm going to open a raw file into camera raw using mini bridge. - So remember, - if I double click on this, - it'll just open directly into camera raw or I can right click and shoes open with camera. - Now, - that should only be necessary if you're working on a J peg or tiff. - But, - you know, - just to remind you that that option is there, - um, - that's what I'm using to open this photo. - We've got our image open in camera raw, - and the first thing I'm going to do is resize this window because I like to work full - screen. - Now, - this photo I've already edited in camera and you can see the edits that I have applied over - here on the right. - So that is one of the really awesome things about camera raw is that when you open a file - that you've already adjusted in camera rot, - your adjustments are already there. - But you can change them or you can redo it. - And none of that affects your original raw file. - It's all in a new file that's over laid on top of your original file. - Now we should make a distinction with JPEG files because we have to be a little bit more - careful with J pic files. - Now let's look at a J pic file. - This is a JPEG file that I've opened in raw and actually kind of had to search to find one - , - because I rarely ever take J pegs. - So this is just, - ah, - kind of a random family shot, - but you can see if I apply some raw adjustments here. - Um, - and then I want to save these. - If I were to click open image, - it would apply my raw adjustments, - open it in photo shop, - and I could continue to edit. - But I would have to make sure that when I exit Photoshopped that I saved this as a - photoshopped file. - Um, - or another name. - Otherwise, - those adjustments get applied to the original J pic file, - which I definitely don't want the same. - If I were to click done, - um, - the camera raw adjustments would be applied to my original J peg file, - which I do not want. - So another option would be to come over here to save image and choose to save it as a - digital negative. - Now, - even though this is a J peg, - we can still save it as a digital negative. - And then if we were to do that when we reopen that digital negative, - the adjustments that we've done in camera are still there, - and we can redo them or we can change them. - Now let's go through some of the key tools that are available in camera. - First of all, - we have a preview window here. - We can resize the size of the photo that's in that window by choosing a percentage, - or what are you do most of the time is I use control minus to zoom out and control plus to - zoom in. - And if you want the hand to hold down the space bar, - and that allows you to pan around in your photo on the right, - we have our photo adjustment tools. - Now, - when camera raw opens, - it opens with the basic tools showing here. - Each of these little icons at the top here is a different set of adjustment tools. - So before we start with the basic adjustments, - the first thing that I do is apply a lens filter lens correction because a lens correction - can actually have a pretty big difference on the tonality in the photo. - And I like to apply that before I start working on the exposure and the white balance of - such. - So this image has already has a lens profile. - Correction applied, - and you can see the difference that it makes without it, - and with it, - so back to the basic tools. - Now, - Adobe basically recommends that you go through your basic adjustments from top to bottom. - So you start with the white balance and you work your way down through clarity, - vibrance and saturation. - So white balance is so that you can get your photo whites toe look white. - If you shoot on a cloudy day, - they'll have a blue tent. - Um, - if you shoot with incandescent lights, - they'll have ah, - in orange tint. - The white balance slider allows you to correct for that and make sure that your whites are - white. - Another way that you can adjust. - The white balance is to use the white balance tool appear on the left. - So if I choose that what you do is, - you find an area in your photo that's more or less neutral. - Gray and click that and photo shop will make the white balance adjustments so that that - neutral gray is adjusted and your white should look white in this particular photo. - I wanted them to look a little bit warm, - so I warmed up the white balance a little bit. - Next, - we have the tin slider used the tent slider to find tune. - Your white balance is especially helpful if you have, - um, - really off white balance. - And it needs a lot of correction. - Um, - in this case, - I'm just I just need a little bit on the magenta side, - and I'm gonna leave it at that. - Next we have the exposure slider. - So the exposure slider controls sort of the middle portion of the hissed a gram here. - And it's your first stop to fine tune the exposure of your photo so you can see that this - particular photo when I took it, - it was a little bit, - um, - overexposed. - So that's how it came out of camera. - And I've just brought that exposure slider down to minus 0.85 As we work our way through - the adjustment tools in camera, - I should just point out that there is no right or wrong way to adjust your photo. - It all comes down to your personal taste. - The only thing that you have to be a little bit particular boat is the order in which you - do those adjustments. - So continuing on, - we're gonna look at the contrast Slider, - This slider I really like because I like a nice contrast E photos so you can see if I bring - it down. - It's kind of bland and washed out. - If I bring it up, - it adds more contrast. - Next we have the highlight slider, - the highlight slider effects, - the far right hand side of your history, - Ram. - Just the extreme highlights. - And in this photo, - you can see that the highlights in the history Graham are going off the side of the history - Ram, - which means that we have some clipped highlights so we can use the highlight slider to try - and recover those. - And you can see the highlights that we have clipped are just in the sun here. - Now, - in this photo, - um, - okay, - having those clipped. - But in most photo's, - you don't want to have any clipped highlights, - and you can use the highlight slider to recover those. - One other tip with the highlight slider is that if you hold down Ault while you click on - the highlight slider, - it will show you a mask of the highlights in your photo. - And you can use that to judge how far you need to take the slider before your highlights - aren't clipped anymore. - So you can see if I bring this down to the left right about there. - Most of the highlights are no longer clipped. - Next we have the shadows, - slider, - the shadows, - slider effects, - the bottom middle part of the history. - Graham right in here. - And it is awesome for pulling a detail in dark shadow areas of your photo. - So if you have a very dark photo with, - ah, - lot of dark, - shadowy spots or an under exposed photo, - the shadows sliders great for pulling out detail in there. - Then there's the black slider, - the black slider Onley effects the very bottom of the history. - Graham just right here on the very darkest tones in the photo. - And I absolutely love the black slider because I like very contrast e photos. - I want my blacks to be black, - and if we click Ault on your keyboard and click on the black slider, - it will bring up the mask that shows exactly where the blacks air clipping in my photo so - you can see if I bring it all the way down. - I'm clipping quite a bit, - but in around this range of Onley clipping the trees kind of the top right corner There. - Finally, - we have clarity, - vibrance and saturation. - Now, - the first time that people will discover these tools, - they tend to go a little crazy with, - um because they can really make your photo look pretty awesome. - But you have to be a little bit careful. - Some photos love, - clarity and vibrance some. - It just doesn't work. - If it's Ah, - nice portrait photo of a woman, - for example. - You really don't want a lot of clarity. - If it's something that has a lot of texture, - then clarity is awesome again, - it's up to you where you want to go with this, - depending on your own artistic vision. - Um, - personally, - I do like some clarity. - Not too much. - Um, - you can see what the clarity slider does There. - Usually I'm coming around the plus 10 maybe 15 range photos. - I have a lot of textural go higher, - but like I said, - you have to be a little bit, - um, - careful with it. - And finally we have vibrance and saturation. - So these two sliders you can use to adjust your colors depending on how punchy and vibrant - you want your colors to look in your photo. - So if I bring the vibrance up, - it adds, - um, - just a lot more depth to the colors. - But if you're too high, - they can look a little weird and the same if you go the other way. - I usually like a little bit of vibrance, - depending on how colorful the photo is to begin with. - So I'm gonna go boat plus ah, - 10 or 15 on this one, - and then Saturation does a similar effect of vibrance, - except it affects the actual color saturation. - Um, - you have to be careful with saturation because it can really make your photo look candy, - floss and weird. - But if you want really colorful, - vibrant photos, - use the vibrant slider first, - and then if you still need more, - then go to the saturation slider. - And that's about all there is to making basic photo adjustments in Photoshopped camera raw - or in light rooms develop module. - I'm going to go through a couple of these other men use just to show you what's in there - and in case you wanna work on them on your own, - the tone curve brings up a ah curve tool here, - where you can make actual curve adjustments, - which is sort of similar to the old way, - how we used to adjust photos with curves and Photoshopped. - But to tell you the truth, - I don't really touch this unless I have a very difficult photo. - We have sharpening in camera raw, - which is great. - So if you have a photo that's a little bit, - um, - blurry or just needs a little bit more punch, - use ah, - sharpening writing camera raw. - Next, - we have the hue, - saturation and luminous tools. - So if you want to adjust just individual colors in your image, - this is where you would come. - So that's about it. - I'm going to click open image to apply my camera raw adjustments and open this photo into - Photoshopped. - Finally, - to wrap up this lesson, - I'm going to show you where you can find a lot of the same adjustment tools in Photoshopped - that are in camera raw. - So if you go to image adjustments, - most of these adjustment tools are very similar to the ones that you find in camera raw. - The difference is that how you work on them in camera raw with the sliders is much more - intuitive and much easier than trying to work on them in photo shop so you can do it here. - But I highly recommend that Just do it in camera rise, - way easier and way faster. - There are a couple other filters in Photoshop that aren't available in camera raw that I - really like, - um, - for finishing off my photos. - So if we go to our background layer, - remember that we never work on our background layer duplicate that go to filter. - And the 1st 1 I'm going to show you is smart. - Sharpen smart sharpen really does a nice a nice job at sharpening up your images. - You can also use on sharp mask, - which is sort of the older version. - But smart sharpen is is really a nice tool. - So that just brings up a dialog box. - Do you want your radius to be, - um, - one or two usually And then all you do is select the amount of sharpening that you want to - apply. - Now you have to be careful not to over sharpen. - So usually I would take this up to, - you know, - somewhere where it looks like I want it, - and then back it off a little bit click OK to apply that. - The other filter that I use on a regular basis we go to filter is called liquefy. - Now, - this is not something that is, - Ah, - basic technique. - You use liquefy to sort of modify people's body shape. - But that's something that you might want to play with on your own rattle, - right? - So hopefully you're pretty excited. - Now you've got all of the basic photo adjustment techniques at your disposal. - It's time to start put most of work. - So in the next lesson lesson six photo adjustment techniques. - We are going to work through all of the photo adjustments we just discussed in one of my - own photos, - and I will take you through that step by step from start to finish. - All right, - so I can't wait to see their cheers. 7. Photo Adjustment Techniques: - Hey, - what's up, - everybody? - I am JP Denko, - and this is lesson six photo adjustment techniques. - So in this lesson, - we are going to put all of our camera raw adjustment techniques that we learned in less - than five toe work. - Um, - we're gonna work on this as our sample photo. - So I just opened this photo in camera raw right from bridge. - And this is Thedetroitbureau a tive. - The raw file that came out of my camera haven't done a single thing to this photo. - Now, - hopefully you can think back way back to lesson to where we went through a bunch of sample - photos and we talked about, - um, - work that needed to be done to them. - So hopefully looking at this photo, - you can identify right away that there's quite a bit of adjustments that need to be done. - First of all, - this is obviously shot, - um, - a little bit hot, - so it's a little bit overexposed now, - just a technical thing. - If you are shooting with your camera and you, - of course, - you always try to get to your exposure as close as you can in camera. - But if you're in doubt, - shoot Just a touch on the hot side, - just a little bit overexposed, - because that gives you a lot more leeway to adjust the photo in raw. - If you under exposed, - you have to bring up your shadows, - which adds a lot more noise. - And if we can avoid that, - we will. - So let's get started first. - I'm going to go over to the lens correction palette here, - and I'm going to enable lens profile corrections. - Now, - this should bring up your lens and your profile for your lens automatically. - If you're using any sort of standard camera lens, - Raw will have that profile in its memory. - So I'm using a Nikon. - This was shot on Ah 17 to 55 DX lens, - and it's already applied those adjustments so before and after just a slight adjustment. - But it's important that we start with correcting that lens profile. - Next, - we're gonna go back to our basic adjustment. - Ah, - tool palette here, - and usually we start with white balance. - Now this This photo was taken early in the morning, - actually just after dawn, - and I think the white balance actually looks pretty good. - If I used the, - um, - white balance tool here and I find some gray in this photo. - Maybe, - um, - in the clouds up here, - Um, - it doesn't really change the white balance all that much. - But this photo was taken on the beach, - and I kind of wanted to look warm and sunny and not quite as cool as it does right now. - So I'm just going to manually adjust the white balance until it gets into arrange. - That I think looks more of a warm, - sunny beach shot. - So I think that looks good there. - Now, - don't forget, - because we are editing in camera raw. - We can always come back and change our settings at any time. - And usually by the time I go through the rest of my edits, - I will come back to the settings that I sat right at the beginning because they'll change a - little bit as, - um as you work your way through next, - I'm going to just the exposure. - And like I said, - I could see that this photo was overexposed when I took it. - So I know I need to bring down the exposure into arrange. - That looks good. - Now I don't wanna lose too much detail in the shadow was when I bring the exposure down and - here have gone down almost two stops, - and I think that's probably too much. - So I'm gonna bring that back to bring it down by a about one stop. - So minus one. - Um, - now, - if 1/2 do, - I'm going to come back to this and readjust it, - but I think that's a good starting point. - Next, - we're gonna adjust the contrast. - This is one of my favorite sliders. - Um, - I think the contrast lighter could just give your image is just so much more punch in depth - And the new technology that they use before used to have to be kind of afraid of the - . - contrast lighter. - But now you can really crank it up, - and it it really, - um, - brings out the depth in your photos. - So I think it looks good there, - but I'm going to back that off just a little bit. - I usually go to where I think it looks really good and then back off a touch. - Now let's look at the highlights so I can see that there's probably some clipped highlights - in sun area here. - Um, - so if I click Ault and click the highlight slider, - it shows me exactly where the highlights are clipped. - So I'm gonna bring those down to until none of those highlights in the clouds in the sky - are clipped any longer and you can see in the actual photo. - It's really hard to tell if they're clipped or not. - But by using the clipping mask, - click the highlight slider, - it shows us exactly where the clip highlights are next. - Shadows. - I think the shadows in this photo are pretty good because it was overexposed. - But if I want to bring the shadows down a little bit, - actually, - I can. - But I'm gonna keep those pretty much in in the middle here and then whites again. - There's quite a bit of white and ah, - bright highlights in the sky here. - So I think that bringing the whites down a little bit might give some more depth and - interest into the sky, - and you can see it darkening the clouds There. - The problem with bringing the white slider way way down is that it tends to make the whites - look gray, - and I don't want that, - so I'm gonna just bring the whites down a little bit. - Next, - the black slider again, - one of my favorite tools here. - Um, - I like dark, - punchy blacks. - I want my black to be 100% black, - so I'm going to click Ault and click the black slider and then bring that down until I see - some 100% black showing up in my in my actual subject so I can see there's there's black - showing up in the trees on the right there, - but I'm not too worried about clipping those. - I'm more concerned about the blacks in her shorts there, - so I just want those to be on the edge of turning 100% black so you can see there. - We've got our blacks adjusted. - Now, - if I want to bring some shadows out of those blacks in the trees, - I can go back to the shadows slider and maybe bring that up a touch so that will bring some - detailed back into the trees in the background there. - But if we go back to the black slider Olten click, - it kept that blacks level inner in her shorts there, - which is what I want. - I want that nice contrast Look now on to the clarity, - vibrance and saturation sliders, - this type of photo can use a lot of clarity. - Um, - pictures of athletes, - photos with a lot of texture. - Skies and clouds tend to look really great with clarity. - So I'm going to add some clarity here, - and you can see I can really crank the clarity up. - And, - you know, - that actually looks pretty good on the model. - Not so great in the sand in the background. - So I'm gonna bring that down a little bit. - Um, - I'm gonna leave it about their I don't want to go too much with it. - So, - like I said usually bring a tool up. - And then to where I think it looks good and then bring it down vibrance again. - This type of photo could use a little bit of vibrance to, - um, - to really boost the colors. - So I'm gonna bring that vibrance up. - Um, - not too much. - You don't want toe make it look too weird, - but somewhere in the 2030 range for a photo like this, - I think looks pretty good saturation. - Um, - if I really wanted to, - I could bring the saturation up. - But normally, - once you've adjusted the vibrance you don't need to add extra saturation is just a little - bit of overkill, - so we'll leave the saturation. - Um, - I believe the saturation at zero. - Okay, - so I've got my basic adjustments done. - Now, - I'm going to go back and tweak those a little bit because I think it's into, - um, - the ballpark of what I think looks good, - but it can use a little tweak. - So, - first of all, - the color temperature now I'm looking at it looks a little bit too warm, - so I'm gonna bring the temperature back down. - Just a touch. - Um, - To bring some more blues into this photo, - make it look a little bit more natural. - I don't want to go to blue because I still want that beach look, - but I would like, - you know, - some of the blues and the sky looks good. - I'm gonna leave that. - Leave that there and the same with the exposure. - Let's Ah, - let's try bringing that exposure down a bit. - No, - I think it looked good where it was. - Try bringing the contrast up a little bit more. - See what that does. - Doesn't look too bad, - but, - you know, - I'm pretty close to where I like it. - Right there. - The highlights. - I'm going to check to see where my highlight clipping is again. - It's not too bad. - Adjusting the highlight slider doesn't seem to make a real huge difference in this photo. - So I'm just gonna leave that where it is the shadows. - I might bring those up just a little bit to bring some more detail into the dark shadows in - the background there. - So just, - ah, - bring those up a little bit. - The whites, - I'm gonna leave them where they are. - I don't want them to go gray. - The blacks. - I might bring this down a little bit more because, - um, - again, - I like that black contrast he look. - And, - um, - I can I can make just the deep, - dark shadows, - um, - 100% black and then back to clarity. - I think I might add just a touch. - More clarity there. - So there you go. - That's ah, - pretty much it. - That's all our basic photo adjustments done in camera raw. - So just before we bring this into Photoshopped, - I'm going to show you a couple more tools in camera raw that you might want to try out on - your own that are extremely useful. - So if we go up here to the left. - There is a spot removal tool, - and we can use that to get rid of, - um either sensor dust or small spots in the photo. - Then there is a red eye removal tool. - So if you have read I in your photo, - you just click on it with the red eye removal tool, - and it pretty much gets rid of it. - There's a couple adjustments sliders over here. - On the right, - there is theater, - just mint brush tool. - This tool is super useful because you can apply all of those, - um, - photo adjustments that you just did globally and you can apply them with a brush, - meaning you can brush them on. - So here I can see her back is a little bit, - um, - overexposed. - So I'm gonna bring the exposure of that down. - Just a touch, - and you can you can brush that on, - and then we have a Grady int filter here. - Grady, - ants are amazing for skies. - So in this photo, - I'm going to pull ingredient from the top, - and I'm gonna bring the exposure of that down just a little bit. - And that brings a lot of nice detail into the sky. - And I'm going to do the same thing from the bottom because of those studio lights. - Um, - the bottom of the photo there is really over exposed. - So I'm gonna even that out by bringing that, - Grady and down. - The last thing I'm going to show you in camera raw is that you can actually crop right in - camera raw. - So if we go to the crop tool here, - hold that down and choose, - um, - aspect ratio that you want to use. - I'm going to choose to three because that's the aspect ratio that this photo was taken in. - And then you draw a crop window and you can also rotate your photo. - Um, - so you can get your horizon nice and straight. - But the great thing about cropping and camera raw is see all these pixels around the - outside edge. - Don't disappear once you crop. - Whereas if you were to crop that in photo shop and then save it, - all those pixels air gone. - But if you crop in camera raw, - all those pixels are still there. - And you can go back into your photo and change your crop later if you'd like. - But for the sake of this tutorial, - I'm not gonna crop it in, - Rob. - We're gonna work on it a little bit more later. - So I'm just gonna leave this as is. - Okay, - So now all I have to do is click open image and my camera Raw adjustments will be saved and - it will open in Photoshopped. - Or if I just click done, - my camera raw adjustments will be saved and ah, - the file will just close so I can open in a photo shop. - Open image. - Now, - once again, - all of the adjustments that we just did in camera raw. - You can do the exactly the same thing in light room. - Develop module. - So again, - if you're using light room, - just stay in the develop module, - do your adjustments there and then come over to photo shop in the next stage. - Alright, - guys, - So have some fun playing around with your own photos. - Do some of those adjustments, - see what you can do with your own pictures. - And I'm really excited to see them in the class projects when they're submitted. - And, - ah, - the next lesson is less and seven correction tools. - Cloning, - healing, - patching and moving. - So we're gonna learn how to get some get rid of some of the junk that's in this photo. - All right, - we'll see you then. - Cheers. 8. Correction Tools - Cloning Healing Patching and Moving: - everyone. - I am JP Denko and welcome back. - This is less and seven moving right along correction tools, - cloning, - healing, - patching and moving. - So I know this is the stuff that you guys were all really excited to learn. - So let's jump right in here. - I've got a photo that opened in Photoshopped. - First thing we're gonna do is duplicate our background layer. - So control J and let's rename that base layer. - Okay, - So thinking back to a lesson, - too. - We used this as one of our examples actually before, - before and after. - So this phone has already been edited in camera raw or in the light room develop module. - And now we are into photo shop, - and we're going to get into, - um, - fixing up parts of the photo that we want to get rid of, - things that are distracting. - So some things in this photo that I can see that air distracting right now are these tree - branches that are coming in from the side here because we can't see the rest of the tree. - They look really weird just hanging there on their own. - Um, - and I could say the same thing about this little fringe of the palm leave their thes ones - I'm okay with Because I can see where they're attached to the tree and they make sense. - But things that are just sticking in from the sides that you know, - shouldn't really be there are just distracting. - So we're gonna get rid of those. - Then I can see this really dark, - not spot on the on the palm tree here. - And to me, - that's really distracting. - It's like dead nuts, - right in the middle of the photo and my eyes really drawn to it instead of to the model and - a couple other things is down here on the sand, - you can see there's some little bits of seaweed. - Um, - that air kind of strewn about here. - And, - you know, - I want this to be an idyllic beach photo that people don't want to see little bits of - seaweed on the sand. - So I'm gonna get rid of those. - It's now to get started. - I'm going to create a new blank lair. - So that's control shift N. - And I'm gonna call this one touch ups. - So the main tools that we're going to use for our corrections are over here on the left. - We have the clone stamp tool, - and if you click that and hold it down, - it brings up the clone stamp or the pattern stamp. - The clone stamp is the one that we're going to use on a regular basis. - And then, - just above that, - here we have the the healing tool. - So if we click that hold it down and over on the right, - you can have the spot healing brush the healing brush. - The patch tool, - which, - um, - is probably my favorite and content aware move. - Let's start with the's spot healing brush. - That's probably the easiest one to use. - Um, - at first. - So we click on the healing brush tool, - bring her mouse over and activate the spot healing brush tool. - Now it's a brush so you can choose the brush size right click. - And ah, - what you want to do is pick a brush that's just slightly bigger than the spot that you want - to get rid of. - There are a couple other options when you picked the spot healing brush. - If you come up here to the top, - you can see that right now it's checked on content, - aware, - so that's what I want. - I want content. - Aware usually does the best job of filling in spots, - but you could also try proximity match if content aware isn't behaving right. - And we also want to make sure that sample all layers is on otherwise were in a blank layer - . - And if it doesn't sample all layers, - then it can't actually do its work. - Let's zoom in there and try to get rid of some of the seaweed with Thea with a spot dealing - with the spot healing brush. - So remember control plus dooms us in. - And if we hold down the space bar, - we can pan around. - So that seems like a good piece of seaweed. - Let's try that. - All we do is click on it and look at that pretty much gone now that one that we just did - there. - I don't know if you can see that, - but I can still see the circle, - um, - of where the spot healing brush was applied's. - Can you see that? - So let's try that again and maybe get a better result. - So let's go over here to our history palette, - and we're going to click back to when we created our new touch ups layer and that gets rid - of the ah, - the healing brush is that we just applied. - So I'm going to open the brush dialog box again, - right? - Click and see on the hardness. - Here we have 100%. - So the edges air very, - um, - defined there. - I'm gonna bring that down here to somewhere around 20%. - So I have ah, - much softer brush edge. - But that also means that I need a larger brush to cover the same area. - So let's try that and see what happens. - So as you can see, - that does a much better job of blending that, - um, - the healing brush into the background layer. - Now the spot healing brush is great for small dust spots, - small imperfections that we want to get rid of. - Um, - it's really good for blemishes on Portrait's, - but most of the time we want a little bit more control than that. - So let's go back over to our healing brush tool there, - click on that and bring her most to the right and just pick the regular healing brush. - So with the healing brush, - if we come up to the top, - we can see some of these other tool options are a little bit different. - Um, - in particular, - we don't have the option for content aware. - Um, - so, - unfortunately, - right now, - content Aware isn't available with the, - um, - regular healing brush. - And the other thing that we can see is it's set to sample the current layer. - We want to make sure that's all layers. - So let's zoom in and see what we can do with the healing brush. - So control plus and then, - ah, - space bar to pan. - And I think I'm going to try to get rid of this piece of seaweed right here. - So first, - let's check what airbrush settings are right click, - and I'm going to bring the hardness down to about 20%. - So I don't have a hard edge. - Look enter, - and I think that's probably good. - Now, - with the healing brush, - we have to define a sample area first. - So we click Ault, - and then we pick the area that we want Photoshopped a sample that it's going to cover up - the area that we're going to select. - So I'm gonna pick an area that's is similar, - looking as possible to the area that I want to get rid of. - So gonna click here and then I'm gonna bring that over and you can see it shows me a - preview of what it's gonna look like. - I'm gonna bring that over this area right here. - Now, - I think that actually did a really good job. - But you can see the patterns here are a little bit similar, - and that is something that you definitely need to be careful of. - When you are deleting things from a photo, - you don't want to repeat patterns because then it looks out obvious that you've gotten rid - of something from that part. - But if I zoom out, - I think that will be pretty much a seamless edit that you won't be able to see. - Um, - in the full screen. - Now, - the healing brush and the spot healing brush tend to work well in areas of your photo that - you have a lot of, - ah, - background around the area that you want to touch up where they don't work. - That well is when you have a defined edge. - So I'm going to show you what happens if I try to get rid of this, - not appear with Thea with the healing process. - So I'm gonna select my, - um my sample area over here and then bring that over to cover up. - That not, - and what ends up happening is it's sort of samples from, - um, - both sides of the edge. - It doesn't know that there's a clean line there that you want to maintain that. - So let's look at a couple other tools. - Let's try and get rid of these two knots in the tree here with content aware fill. - So to use, - content aware fill. - I need to make a selection. - So I'm going to use the lasso tool, - and I'm going to draw a rough selection, - Um, - around the area that I want to get rid of now, - the content aware fill tool is somewhat similar to the healing brush in that it needs a - edge to Phil's, - um, - your sample in with and it also doesn't work on, - um, - blank layers. - So I'm gonna click this and make the base layer my working layer. - Normally, - I would merge all these and start with a new layer, - but just for the example, - I'm gonna work on my base layer here. - So I go up to edit and then fill, - and in this selection here, - it sometimes foreground color. - We select content aware, - um, - blending modes normal opacity 100% click OK and Photoshopped will sample from everything - around that and fill in that the sample that you made. - So let's to delete De select that control D Let's zoom out and take a look. - That looks pretty awesome. - Next, - let's get rid of these ugly palm tree branches up here. - The tool for that is the patch tool. - The patch tool works great for getting rid of large areas. - We're gonna set our layer back to the touch ups layer, - and I'm going to go over to the healing brush and then scroll down to patch tool to apply - the patch to we draw a selection around the area of the photo that we want to get rid of, - similar to what we did with the content aware fill. - And then, - um, - release that. - And then we pick an area of our photo that has a similar, - um, - look to the area that we want to get rid of. - So if I pick the water, - it would try and put the water in there. - But if I pick the sky kind of right beside it, - it's going to try and, - um, - match that and put that part of the sky in there. - So let's see what it does and to de select control D And again, - that did a pretty amazing job. - Now the patch tool might not always behave that well. - If it doesn't, - you can come up here. - And right now it's set to content aware you can set that to normal. - One is not necessarily better than the other. - They're just behave a little bit different. - And for the adaptation, - you can choose strict, - very strict through two very loose. - So what that does is just changes how content aware interprets its surroundings. - And again, - sometimes strict and very strict works great, - sometimes loose and very loose works great. - Um, - you really have to sort of just experiment with it and find the setting that works the best - to get rid of the part of your photo that you're working on. - The last tool in the healing brush menu is the content aware move tool. - Now, - this isn't a tool that I use very often, - but it is kind of neat. - So what you do is you make a selection over something that you want to move, - and it's very similar to the patch tool, - except instead of filling it with, - um, - a part of another part of the photo to delete it. - It's going to try and move these parts of the photo around, - so I'll show you what that what happens when we try that. - So there you go. - You can see that the content aware move tool took the selection from here. - It moved it over here, - and it tried to take the part of the photo that this was being dropped onto and move that - into the spot where that selection came from. - Now, - obviously, - this isn't the greatest example, - but that's a good example of what the content aware move tool is meant to do. - So let's undo that. - Controls that and d Select Control D and I have one more tool to show you here and is the - clone stamp tool. - The clone stamp tool works best as, - ah, - finishing tool. - So if you've done a healing brush or if you've done a patch tool and you've tried to clean - something up, - but it doesn't quite get rid of it perfectly, - that's when you come in with the clone stamp to touch up the edges and sort of make that - into a more seamless transition. - So I'll show you what that looks like. - So I'm going to do a a really big um patch. - And I'm kind of doing this on purpose as an example, - because I know it's not gonna match in here that well, - so I'm going to see if we can get rid of this whole like, - top of the tree there, - move that patch over here and then control de to de select. - Now you can see that there's some mess around the edges there that we need to clean up. - And if we weren't able Teoh Pat repair that to other parts of the photo. - That's where the clone stamp comes in. - So I'm gonna zoom in control plus and pick the clone stamp. - Now, - the secret of working with the clone stamp is to use a fairly low a pass ity, - so I'm going to start with about 25% and we want to make sure that it's set to sample all - layers because we're working on a transparent layer Now with the clone stamp, - you click Ault and that chooses your sample area and you want similar to the healing brush - . - You want to choose a sample area that's very similar to the area that you're going to paint - over. - And it takes a little bit of skill to get used to the clone stamp because you have to be - very careful to sample from a lot of different spots and, - you know, - kind of build up your credit. - And if it's not going, - Ah, - quick, - quick, - quick enough. - You can increase the capacity the A pass ity ah becomes important for, - um, - areas of your photo. - That air arm or detailed where you're cloning from areas that aren't quite, - is clean, - But basically what the clone stamp does is it just takes that area the photo and pace it - onto the other area. - The photo as you brush it in. - Now, - if we come over to the right to our history palate, - um, - you remember back in less than three when we changed our history instances from 20 to 100. - This is why because, - as you can see as applying all those clone stamps, - I have a whole ton of them in the the history. - So if I want to undo all that clone stamp. - I have to go back way back to the beginning where I started it. - So let's get rid of that clone stamp. - And also where I butchered the palm tree there. - So there you have it, - guys. - Those are the correction tools in Photoshopped. - Cloning, - healing, - patching and moving. - So I hope you're all excited to get working on your own photos and getting rid of all kinds - of distracting stuff, - and I will see you back in less and eight, - removing problem areas where we will continue with our project photo that we started in - less than six cheers. 9. Removing Problem Areas: - Hi, - everybody. - I am JP Denko and welcome back. - This is Lesson eight removing problem areas. - So I'm going to continue with my project photo here, - and I've got this opened in Photoshop and I'm going to start by once again duplicating my - background layer control J No, - looking at this photo, - I can see there's quite a few distractions in the background there that I want to get rid - of and some of them are pretty big, - So I'm going to start with content aware fill. - So to do that, - I'm going to duplicate another layer that is going to be my content aware. - Fill adjustment where? - So control J and rename this. - So let's start by trying to get rid of this big soft box here. - So I'm going to select the lasso tool and make a selection around the soft box. - Just ah, - rough selection. - It doesn't have to be exact. - And once I've got that done, - I'm going to go up here to edit and Phil content aware, - um, - capacity 100%. - Okay. - And I don't see what it does, - so that looks pretty awesome, - except for this little problem appear in the corner. - So de select that control D. - Let's zoom in their control plus and then pan over. - So as well is that problem in the corner there, - I can sort of see the outline of where that soft box used to be. - So I'm going to use Thekla own stamp to clean that up. - So first on a creative nuclear control shift and and I'm going to call this cloning, - go to my clone stamp and select the A passive 0 50 percents. - Good. - It's on sample, - all layers. - So let's do a little bit of cloning to get rid of that over here and again with the clone - stamp. - Um, - you have to be careful to clone from areas, - uh, - adjacent to the part that you're trying to get rid of and not accidentally, - um, - clone something that you already tried to get rid of back into it. - So I'm just kind of roughly cloning around the edge here, - trying toe. - Sort of get rid of that pattern where I could see the outline of the soft box. - All right, - that looks good. - Let's zoom out. - Next. - I'm going to try and get rid of these trees over here. - Now. - I could use the patch tool for that. - But the problem is that I don't have a lot of open horizon where I can move that over two. - So I'm going to try the content aware fill for that as well. - So I'm gonna go back to my content aware layer and zoom in, - and I'm gonna make a selection with the lasso tool and draw around this section of trees - here, - and I want my selection to be just a little bit bigger than the section of trees that I'm - trying to get rid of. - Okay, - so edit and Phil content aware past 100% normal. - Okay, - let's see what we get. - Wow, - I actually wasn't expecting it to work that well. - That looks fantastic. - You know, - this is like about the third time I've edited this photo and that worked just amazing. - So same thing as we did before. - Let's go control de to de select that. - And I can see a little bit of mess around the edges there, - So let's get rid of that. - I'm going to use the clone stamp again. - Go back up to my cloning layer and Ault to select the parts of the background that I'm - going to clone, - and then we try and keep this. - Um, - that's not good. - Try to keep this. - Ah, - random. - Now you see what I just did there? - I went close to the edge, - and it cloned the edge into the part that I'm trying to clean up. - So have to be careful very careful with what your actual selection is and what your, - um, - What? - You're putting on top. - So keep cloning that just to clean up those edges. - That looks really, - really good. - I'm really impressed with that, - actually. - Okay, - let's zoom out. - Control minus and I've got my full photo there. - Next, - I'm going to get rid of these two little bushes right there. - So let's zoom in on that. - And make sure I am on my adjustment layer my cloning layer. - I can use that layer with the patch tool as well. - So you choose the patch tool, - content, - aware adaptation, - medium sample, - all layers. - And the reason why I can use the pastoral here is because I've got enough space right here - beside it that I can, - um, - move the patch to, - But I think if I did both, - I might not have enough room, - so and just do one at a time. - Trade that. - And then let's do it again on this little bush here, - Control De de selects. - Looks pretty good. - Needs a little bit of clean up on the edges again. - So clone stamp and I'm on my cloning layer and halt. - Make my, - um, - my reference and Ault again and you can see with the clone Sam's basically just make the - edges a little bit more random, - and it totally cleans up that selection where you just got rid of something. - So let's zoom out. - Control minus the next thing to work on is going to be thes um, - trees right in here. - And I know that this is going to be a little bit difficult because our arms right in the - middle and I don't have a nice, - clean background all around it. - So I'm going to, - um, - merge all my visible layers here, - which is control shift Ault e. - And I've got a new, - uh, - layer here. - So I'm gonna call this tree now, - going to duplicate this layer going to control J. - And I'm gonna call my copy arms because what I'm going to do is I'm going to try and get - rid of this tree, - and then I'm going to use a layer mask to paint her arms and probably part of this ball - back in. - So let's go down to the tree layer. - And because content aware fill works so well with the other trees, - let's try it for this. - So last so And zoom in. - Let's make a selection around these trees and see what happens we're going to get into - trouble is where I've also made a selection of her arms because photo shops not going to - know what to do with that area. - The photo and also this part with the ball is gonna be a problem. - But let's try it and see what happens so that it fill content aware, - okay? - And you can see for some reason that it grab part of her head and added it content aware - part there. - So that's okay. - You're just gonna keep going with this. - So, - control D, - I'm gonna try this part down here as well. - So make my selection and then at it, - um, - fill content aware. - Okay, - That didn't work out too great, - cause it grabbed the sand so let's undo that. - Controls that control de Select. - Let's try the patch tool instead. - So make my selection around here, - and then they're gonna patch from over on this side. - So that worked out much better. - I'm gonna use the patch tool again up here by the ball and see if I get rid of this mess - and just sample a part of the sky. - That's Ah, - that's similar. - Not bad. - It's gonna I'm gonna have to do it again. - But try getting rid of this mess here and again. - I just find, - ah, - area the photo that similar and see what it inserts there. - Okay, - that's gonna work pretty good. - And I just got to get rid of a bit of this ball here. - So try that one more time. - Maybe something over here instead. - Okay, - A little bit more of it. - I need to get rid off. - Okay. - I think that's gonna work well, - so de select now. - You remember I created a layer named arms. - So if I turn that later on, - you can see that the tree and all the information there was copied over to the arms layer. - So I'm going to create a layer mask, - and then I'm basically just gonna paint her arms and that part of the ball back in. - So I want to create a new layer mask on my arms layer. - So in a click, - come down here and click layer mask. - And now I want to paint out this part of the tree here. - So I'm gonna go over here and click black and paintbrush. - Capacity is, - um, - bring it up a little bit to 75% a little bit bigger brush. - And then as I paint this, - um, - I'll be I'm painting this out with my layer mask increased the capacity. - I'm just gonna bring the capacity down when I get closer to the edges. - So let's zoom in a little bit and bring the hardness up. - I don't want quite as round on edge here, - So I'm just going to continue with this until I've, - um, - painted most of this tree out of here and trying not to delete any of her arm. - But as you can see with the layer mass, - Utkan pretty much get rid of, - um, - a lot of that stuff. - And if you make a mistake, - if you, - you know, - paint over her arm. - You can just switch your color. - So right now I'm on black and planning on a white layer mask. - If I switch my color toe white, - then I could paint this back in. - So getting in here, - I gotta zoom in a little bit and make my breast size a bit smaller and go back to black - brush and continued just painting that tree out of there. - No. - If I was doing this for a client, - I'd be a little bit more careful with it than I am now, - But it actually looks pretty good. - The edge there want to feather that a little bit more to bring the hardness down, - and then same with up here and let's zoom out and see how that looks, - So that that looks pretty good. - So still got a little bit of weirdness around the ball here, - Um, - I'm going to make a new merge layer because I've got a lot of adjustment layers where I've - been doing edits and I want to make sure that I'm I'm capturing all those. - So I'm going to go control shift Ault e. - And I'm gonna call this, - um final and I can do a little bit of clone stamp just around the ball there, - so halts. - Touch that up. - And if a zoom in on the ball, - you know there's some logos and text on there, - I probably get rid of that. - And if I come over here to my model, - she's got a couple sort of odd sun flares on her hair there. - So I'm gonna use the healing brush to get rid of those. - Um, - let's try the spot healing Bar Sierra does. - I think it will work pretty good on those. - So I just need a small brush and that one's gone. - And that one's got should get rid of that, - too. - So let's zoom out. - That looks good. - The last thing I'm going to do is apply a sharpening filter. - So let's ah, - duplicate this layer Control J. - And I'm going to call this one sharpen and it goes filter, - sharpen, - smart, - sharpen. - And if I pan to a part of the image there that I want to make sure I have good sharpening - on so her face, - all we do is adjuster sliders here to a spot that it looks good and then back off a little - bit. - So I think it looks pretty good there and just back off a touch and click, - OK? - And finally, - you might be wondering what I'm going to do with this light stand over here on this side. - There's actually a very, - very easy way to get rid of that. - Well, - I'm going to do is crop it out. - So I clicked the crop tool, - pick my aspect ratio. - I'm gonna do so, - um, - to three. - And switch that around to landscape. - Go down to the bottom of the photo. - Just so the leg right there isn't in the photo. - Bring that up to the side and maybe up. - Just a touch. - Check my horizon. - Make sure that straight. - That looks pretty good. - So how cool is that? - Here we have our finished 100% photo shop edited photo. - Let's go back to our original photo just to see, - um, - the difference. - So that's the original photo as it came out of camera and our finished product. - And when you skip back and forth between them, - it's ah, - pretty big dramatic difference. - And I think, - you know, - it's it's It's almost a night and day. - The finished product is awesome. - The finished The original photo was, - you know was OK, - so get your class projects and get your photos edited. - And I really can't wait to see what you guys can come up with. - The next lesson is lesson nine resolution cropping and saving where we're just gonna go - over how to save these photos for print and for the web. - So I will see, - then cheers. 10. Resolution, Cropping and Saving: - I'm JP Denko and this is less and nine resolution, - cropping and saving. - So we're almost finished. - Just a few more things to cover. - So let's get started. - If we go over here to image and then image size or control I that brings up the image size - dialog box. - And if we look here, - we can see that this photo has an image size of 7360 pixels by 4912 pixels. - And if we multiply those together, - we get the actual mega pixel size of this photo. - 7360 multiplied by 4912 equals 36 million and change pixels divided by a 1,000,000 equals - 36.15 megapixels. - So the image resolution is just over 36 megapixels, - and I know that this was taken on a D 800 which has a native resolution of just over 36 - megapixels. - And when we talk about image size, - we always talk in terms of pixels as a unit of measure, - because if we talk about inches or centimeters as unit of measure, - those dimensions are tied to the resolution of the photo. - Whereas pixels are universal, - they're not tied to any particular resolution. - But if we come up two dimensions here and we click the down arrow, - we can change the dimensions that we're looking at. - So instead of pixels, - let's look at inches and see what happens. - So now that displays the size of our photo in inches at a resolution of 300. - So if you want to figure that out, - you could go back to our pixel dimensions. - And if we take 7360 as thebe pixel dimension on the long side on the width, - and divide that by a resolution here of 300 that will give us the inch size of 24.533 - inches. - So 7360 divided by 300 equals 24.533 inches, - and we could do the same for the height resolution be 4912 divided by 300 equals 16.373 - inches. - So what does that mean? - Well, - this becomes important when we're trying to match our image size to an output resolution - and different outputs require different resolutions. - For example, - if you're going to print your photos, - you need an output resolution of between 203 100 pixels per inch. - If you're out putting for screen, - you usually need a resolution of around 72 to 96 pixels per inch. - So you can see in this example that at a resolution of 300 pixels per inch, - the largest print that we could make would be 24 a half inches by just over 16 inches. - But if we change the resolution to 240 pixels per inch, - the dimensions changed to 36 a half inches to 20.5 inches, - so we could make a larger print. - Now, - if we change that to a screen resolution of 72 pixels per inch, - you can see the dimensions of the photo are 102 inches by 68 inches, - which is way bigger than any screen could ever possibly fit. - An important point to make here is that by changing the resolution of our photo, - we're not actually changing the size of the photo, - even though it says the dimensions are much different than from where we started because - the width and the height resolution are still the same. - So watch if I change this resolution to 10. - The image dimensions air enormous, - but the width and the height is still the same in pixels. - If I change this to 300 where we started, - the dimensions are, - you know, - much smaller 24 by 16 inches. - But again, - the pixel dimensions of the actual photo are still the same. - So that's why it's always important to think of a picture size in terms of pixels and not - in terms of inches or centimeters, - which are tied to a resolution. - Now let's Cropper photo. - We go over here to the left, - to the crop tool, - which is right here, - or you can just hit C on your keyboard and that will bring up the crop window. - So the crop window right now is around the outside of my photo, - and I can readjust the size of that. - If we go appear to the top, - we can see there some settings for the crop tool. - First, - you can see that the aspect ratio is set to the original ratio, - that the photo was taken in which is 23 So if you click the down arrow, - that brings up options for other aspect ratios. - So, - for example, - if I want us to leave it to a five by seven or four by five aspect ratio, - just click that and it brings up the four by five aspect ratio. - Now you've seen it's it's brought up the crop window in a portrait, - and I want to set that toe landscape. - So I just click the back and forth arrow here, - and that'll set that toe landscape. - There are a couple other crops settings that I'd like to point out. - This here sets a grid on top of your crop window. - So right now I've got a rule of thirds grid set on that which I like because it really - helps with composition. - But you could turn it off or you could set another grid, - whichever helps you cropping your own photos. - And then one that's really important is this check box right here, - right now that's checked in. - It says delete cropped pixels. - So if I was to hit, - enter and apply this crop, - all of these pixels, - all this information around the outside of my photo would be deleted, - and the only thing that would be rate maintained would be the crop window. - I do not want to do that. - I want to keep all this information around the outside so that if I ever want to come back - to this photo and re crop it and change the crop, - then I can do that. - In all that information is still there. - So uncheck this dilly cropped pixels. - Now Photoshopped will crop. - The photo will only see what's in the crop window, - but everything else around it is still there, - and I can come back to it at a later time and re crop it and resize it. - I'm going to go ahead and crop this photo. - If I click on the photo, - you can see I can move it around within the crop window. - And I could also drag and resize the crop window to fit the size of the photo that I need. - And I can rotate the crop window because, - as you can see, - this photo isn't quite straight, - so I can just rotate it a little bit to straighten it up within the crop window. - Reposition that check my rule of thirds to make sure that my subject is right in the middle - . - And then the last thing I check is to make sure that the edge of my crop window isn't - beyond the edge of the photo because I've rotated it. - If I was to crop it there, - you see this little bit of transparent would be part of my crop. - So I want to make sure that I'm on the actual photo, - so that looks pretty good. - They're gonna hit enter. - So there's our crop photo. - Before we leave the crop tool, - I'd like to point out to other settings that might be useful. - So if we come up here to where we set our aspect ratio, - if one of these aspect ratio doesn't work for you, - you can set a custom one, - you click ratio, - and then let's try 1.5 to 1. - You just type in your ratio here, - and the crop window resize is to that aspect ratio. - You can also specify specifically with by height by resolution. - So if you want to crop this photo to an exact resolution, - you can type it in here in pixels. - So if I want to do 1000 by 1000 pixels at 72 pixels per inch, - which would be for screen. - Then I just type that in here, - and the crop window brings up a one by one aspect ratio window. - But if I hit enter, - it's going to actually resize this photo to crop at 1000 pixels by 1000 pixels by 72 pixels - per inch instead of pixels. - We can also do this and inches. - So if I want to set this to, - say, - an eight by 10 type eight and then inches I n. - And then over here 10 and inches I end and I'm going to set it to a print resolution. - So 300 Now that brings up an eight by 10 crop window. - But again, - when I hit enter, - it's going to actually resize this photo to eight inches by 10 inches at 300 pixels per - inch. - So be very careful if you're actually changing the width by height by resolution, - because you are actually affecting your photo size. - Now that I'm done working on my photo, - I'm going to save my work. - So I come up here to file and then save as or on your keyboard, - you can click control shift s which brings up the file save as dialog box. - I'm going to set the file type to photo shop, - which is ah dot psd file. - And the reason why I want to save it as a Photoshopped file is because that will maintain - all of the layers and all the work that I've already done in photo shop. - It also maintains my embedded color profile properly, - and the Photoshopped file type is a lossless file type. - You can open it and save it as many times as you want, - and you never lose quality. - So to apply that, - I just browse to the file folder where I want to save my work, - put in the name and then click safe. - Now. - Saving your work as a Photoshopped file type is great for working on your photos in - Photoshopped or, - if you're going to be using any of adobes, - other applications. - Those applications will be able to work with Photoshopped files natively. - But if you want to display your photos on another display, - or use 1/3 party application, - or if you want to send your files to print a photo shop file is not the best file format - toe work in for those applications. - We usually are going to save her work as a JPEG. - Now, - let's save this photo as a J peg as well as the Photoshopped file that we've already saved - it in. - To do that, - we click control Shift s on her keyboard and that brings up thesafeside as dialog box. - Instead of a photoshopped file, - we're gonna scroll down to JPEG, - select that and we browse to where we want to save it. - We put in our file name and then you can see that the only option that it keeps is the - embedded color profile. - The layers and all the other work that we've done in photo shop are going to be gone once - we save this as a J peg. - So let's click Save, - and that brings up the J peg options dialog box. - The only setting that you need to worry about in here is the quality setting. - So right now you can see it set to maximum, - which is a quality of 12. - And if we come here over here on the right, - you can see that that preview is an 8.7 megabyte file size. - Now, - if I'm saving for my stock portfolio, - I'm not worried about the file size. - I just want the absolute best full quality J peg file that I can get, - so I leave that at maximum. - But if I'm just setting this for print or I just want a full resolution J pic saved on my - computer for future use, - I don't necessarily need it to be at maximum. - I can bring this down to eight or nine, - and that will produce a J peg that really to your eye. - You won't be able to tell any difference between a maximum, - but if we look at the file size, - it goes from 8.7 megabytes down to 1.4 megabytes. - So those files will look to your I exactly the same. - But you can save a lot of file space, - and it makes working with those files for transferring them around a lot easier as well. - So to finish saving, - we just click OK and the files saved as a full resolution, - JPEG saving full resolution JPEG files with the embedded color. - Working space is great for us because we're working in a professional workflow with - professional software. - But if you want to share your work on the Web, - or if you want to upload your photos to Social media, - they need to be optimized for Web use. - To do that, - we come up to file and then save for Web or all shift control s. - And that brings up thesafeside for Web dialog box. - First, - let's resize this view so that our photo fits in the view window. - So we click here and that fit in view and you can see right above that it's telling us that - this is a JPEG file. - And if we saved it with the default settings, - we're looking at a file size of about four megabytes. - That's not what we want for Web use. - We want really small file sizes as small as possible. - So if we go over here to the right thes air, - all our settings for saving R J pegs optimized for Web, - and one of the most important things here is that it's click to convert toe S RGB. - If you remember back to Lesson three, - we saw how the different color spaces are displayed by different screens and different - devices converting it to S RGB will ensure that the best colors possible are displayed - across all devices. - All screens. - Then, - if we come out down here to image size, - we can see that right now it's set to save at its original full resolution 100%. - That's not what we want for Web use for Web use. - We want to optimize the size to match the actual use that it's going to be used at. - So, - for example, - if I'm saving this for a website or a blawg, - I want a photo size that's about 600 pixels long on the long edge. - If I'm saving it for email, - 800 to 1000 pixels is usually good. - Ah, - for Facebook, - you're looking at about 900 pixels. - Or if you're saving this for a Web portfolio and you want a, - ah, - high quality image, - um, - you might want to think about saving it for a retina display resolution, - which would be 2000 and 48 pixels on the long edge. - So I'm going to change the image size to 1000 pixels, - which is a pretty good file size for most Web applications and instead of a quality of 80. - I'm going to bring that down just a little bit to 70 because I want to optimize the file - size. - And, - um, - there's not a big quality difference between a quality of 70 and 80 and come down here to - the left. - And let's resize that to fit in the view. - And just above that, - you can see that now it's previewing that to be a file size of 123 kilobytes instead of - four megabytes. - So once we save this and it's online, - you can download that file very quickly. - Instead of trying to force people to download a gigantic four megabyte file. - Now they're downloading a nice little 123 kilobyte file. - Now, - if we want to save these settings and use them again in the future, - we could go up here and click optimized menu save settings, - and then you put in your J peg settings name, - Click, - Save And then in the future, - you can bring up that preset and apply it to your photo without having to go through all - the all these other steps. - Or you can just come down here and click Save putting in the file name browse. - Do you want to save it and you're done? - That's it for less and nine resolution cropping and saving when you're saving your project - files for uploading to the skill share site, - please remember to optimize them for Web Web use like we just learned in this lesson. - And guess what, - guys? - That's also the end of the class, - so I really hope that you enjoy the class. - I hope that you've learned a whole lot of new techniques for your own photo shop workflow. - And I hope that you've got a great foundation now for incorporating Photoshopped into your - own photography. - And, - if anything wasn't quite clear. - Or if we, - you know, - if you have any questions, - leave those questions on the skill share site. - Somebody else from the class might be able to answer them, - or I will jump in there and answer questions as we go as well. - So thanks for watching. - And thanks for signing up. - Please keep in touch by following me as an instructor, - and I hope to see again in the future. - Cheers 11. Bonus Techniques!: - jp dangle here. - Now, - I know we've already wrapped up this course and you're supposed to be finished, - but I felt like I was kind of leaving you hang in there because there are a few really cool - tips and tricks that I use all the time that you know, - I wasn't going to include, - but I think you know, - you guys would get a riel kick out of these, - So I'm just gonna share a few with you right now. - The first thing that we're going to do is look at making skies awesome in Kamerad just by - using the Grady int filter. - So I've already done my basic adjustments over here on the right, - and I'm going to go up here to the Grady int filter. - So a lot of times in a photo like this, - you're exposing for your subject, - which leaves thes sky over exposed. - So let's grab the Grady in filter unless draw Grady and on from the top down and then come - over to the right here and let's drop the exposure. - And also, - let's bring up the saturation a little bit. - Let's bring up the clarity a whole lot and maybe let's bring the shadows down a little bit - , - too, - so that adds a whole lot of more punch into that sky. - Let's do the same thing from the bottom. - Let's do another filter. - So click new and then let's draw another one up from the bottom here and you can see just - the change of that makes in the in the water and in the sky. - So it's a really easy thing to do, - and it could make a very big, - cool, - dramatic difference to your ah, - to your finish photo. - So we've got this photo in photo shop, - and I'm gonna show you another cool trick here. - If we zoom in on your subject down in the bottom right there, - we'll see that she's just a little bit blurry because this was a long exposure and she was - trying to stand still for the whole time. - But obviously she can't stand perfectly still, - so there's some motion blur there. - So to fix that, - we're gonna go up here to filter and then sharpen and shake reduction, - and that brings up the shake reduction dialog box, - and all that we do is make sure that advanced has turned on. - We see we have this Ah, - blur estimation region down here. - We're gonna move that over the part of the photo that we most want Photoshopped to get rid - of the motion, - blur, - resize it and click. - OK. - And then in our finished photo, - we can see that photo shop has got rid of a lot of that motion blur. - And the whole image just looks a whole lot sharper and better. - Here's a natural light image. - So again, - we've already done our basic adjustments over here on the right. - But because it's natural light I can see in this face here it's just a little bit dark and - in particular, - his eyes air quite dark there. - So if I was using a fill flash, - the fill flash would fill in those dark shadows. - But because it's just natural light, - I need to brighten those up a little bit. - To do that, - I'm going to come up here to the adjustment brush, - so choose a brush size that is just slightly smaller than his face and a feather that is - not too big, - but we don't want any hard edges. - And then we're just gonna up the exposure. - Just a touch here. - So I'm gonna go maybe plus half a stop. - And then we brushed that onto his face here. - Now we can do even better than that. - We're going to zoom in, - and I'm going to apply that to just to his eyes as well. - So you can add a new brush and I'm gonna make it pretty small. - And then I'm going to add just a little bit more exposure to his eyes and that's it. - View fit on screen. - And again, - that's a pretty easy adjustment to do with the exposure brush. - And that is an adjustment that I do for practically every single natural light photo that I - edit. - Here's another photo that's very similar to our project photo. - So over here on the right, - we can see if we've already gone through our basic adjustments. - But I'm now I'm going to do a few more adjustments to this photo, - but Onley locally. - So we've applied these basic adjustments globally to the entire photo. - But with the adjustment brush, - we can work locally just on specific areas that we want a target. - So I'm going to decrease the size of this brush just a little bit, - and I'm gonna bring down the exposure here just a little bit as well. - You know, - you see here that most of the controls that we have for our global adjustments are also - available in the brush. - And that's a very powerful tool because you can target just specific areas of the photo. - So they're the The exposure was a little off. - It was a little too bright on her back there. - So now I've brought that exposure down locally, - and I can also do that to just skies or any other parts of the photo. - So I'm gonna add a new brush and then down here at the bottom in the sand, - that's a little bit too bright, - too. - So let's bring the exposure of that down. - Same thing with the sky in here. - I think that looks a little bit too bright. - So going to bring that down as well and just paint on my adjustments with the adjustment - brush, - and you can also, - you know, - do a whole lot more than that. - You can increase the saturation if you want toe, - so maybe really want a popper sky here, - so at a new one, - and I'm going to include increased the clarity in the sky, - the saturation And I'm even gonna pick a color. - I'm gonna make it bluer And we can brush that on to Ah, - just local areas of our photo for some pretty cool dramatic effects. - No, - you'll notice that I've kind of brushed over my subject a little bit with this, - but that's okay, - too, - because what we can do is now fine. - Tune this. - So I'm gonna choose the erase brush, - which ah, - Aiken delete parts of the brush that had just brushed on here so I can delete that brush - from my subject. - Now, - I'm just doing a rough job here to give you an example. - But you can see how powerful this is, - working with the adjustment brush in camera raw. - And you know you can do something similar in Photoshopped, - um, - itself. - But it's a lot harder because you have to use layers and layer masks and it takes a lot - more work. - And, - ah, - if you can do it in camera raw with the adjustment brush, - then make your adjustments here it's a lot easier. - So there you go. - There's a rough example of how you can use the adjustment brush to do some local - adjustments on your photos. - OK, - so through this whole class, - I've been telling you how the develop module in light room is exactly the same as camera - raw. - And the only difference is that how you some of the tools is slightly different. - They have different icons, - but what they do, - how they work is exactly the same. - So I'm gonna show you a few tricks for doing some basic facial retouching right in camera - raw. - But I'm going to use the develop module in light room, - just just for fun. - So I'm gonna zoom in here on her eyes, - control Plus, - and I'm going to go over here and grab an adjustment brush. - So this is exactly the same as the adjustment brush in camera. - Roz just has a different icon, - and I'm going to make her iris black, - so I'm gonna bring the exposure down a little bit. - Let's make it up. - Sorry. - That's the pupil. - Make the pupil black, - and then a new brush. - I'm going to make the middle of her iris just a little bit lighter than the outside, - so I'm gonna brush on here, - increase the exposure. - I'm gonna go a little bit more extreme than I normally would, - just to show you the before and after. - But so you can see, - have painted on the middle of her, - her iris there and have brightened that up a little bit. - And then on the outside, - I'm gonna dark in that Slaten slightly and add some sharpening and clarity, - some around the outside of her iris and also just around the inner circle of it as well. - Now, - you don't want to go too crazy with this technique. - Increase the clarity there. - And also some sharpness. - Crank that way up now for her. - Ah, - her eyelashes. - So another brush and I'm gonna bring the exposure down a little bit and increase the - clarity and gonna paint over her eyelashes. - One last thing gonna make the whites of her eyes a little bit later. - So another adjustment brush. - Bring the exposure up a touch, - make sure went out of playing any clarity. - And I'm gonna paint on the whites of her eyes just just to bring the exposure of the whites - of their eyes up just a little bit. - Get rate in there again. - I'm doing this a little bit more than that I normally would, - but, - um, - So you can see the big difference between this I and the other eye that we haven't touched - . - But, - ah, - show you how you can do some really cool basic facial retouching right inside of light room - , - develop module or with the photo shop camera Raw module. - So let's apply those and fit on screen so you can see the difference between her eye on her - left in her eye on her. - Right now, - we can also go a bit further than that. - We can ah, - adjust your skin tones as well. - So if I go control plus that's a little bit too close. - Zoom out a bit so you can see all these poor structure in such inner skin. - And sometimes facial Portrait's of women look good with their skin just a little bit soft. - So we're gonna just Ah, - we're gonna change that with another adjustment brush, - and I'm going to leave the exposure and everything all the same, - except I'm gonna bring the clarity way down to minus 100. - So let's apply that to her skin, - and all this does. - Is it kind of smooth? - Zod, - Her poor structure and her skin just a little bit in some of the areas in this photo there - already blurry cause of the Boca in the photo. - But, - um, - if you've got somebody that's got a little bit of rough skin or you just just need a little - bit of facial retouching using using the adjustment brush with the clarity down to minus - 100 or, - Ah, - somewhere in between there can instead of, - you know, - doing a full facial Retentions is a really great start. - Let's see how that looks. - Hey, - so there you go. - There's example how you conduce you some really easy facial retouching right inside of - camera raw or light rooms develop module. - I'm not quite done with this one yet. - I'm going to do the other I just to show you, - um, - how you go about doing that because it is a little bit tricky to make sure you do them the - same. - So first I'm going to click on the brush that I used for her pupil. - Now you can see over here on the left. - The settings are already set for that brush, - so I could just brush that on, - and the settings for her left and right eyes are exactly the same. - Next, - going to click on the ah Iris and it shows me that mask. - Okay, - that was the outside through the inner one first. - So again, - over here on the right, - the settings are already set for that. - So I can just brush this on and then the outside of virus brush that right on there and - inside, - it's the same brush. - And then we did the whites of their eyes. - So let's do that now. - You do have to be a little bit careful with doing eyes that you don't go too crazy with it - . - We kind of call it vampire eyes if you make them really extreme. - But, - ah, - the eyes are usually the first thing that you look at in a photo, - so it's important to touch them up. - Um, - and it's really easy to do this with the adjustment brush. - So let's do her, - um, - her eyelashes last make the brush a bit bigger. - There we go. - So it's fit that on screen and let's take a look at her before and after. - So we've done, - you know, - just some adjustments on her eyes with the adjustment brush and also her skin down here - with the adjustment brush. - So there's how it looked when we started and with a few simple adjustments in camera, - raw or light rooms developed module. - The last thing I'm going to show you is just a really cool technique to use when you really - want to increase the contrast in images. - So this is an underwater photo. - And if you remember from way back and less than two, - the original was very flat and had very little contrast. - And I've already done my basic camera Raw adjustments here, - and that's is much contrast as Aiken dragged into this photo. - So now going to use a dodge and burn trick here in photo shop. - So let's duplicate or background control J. - And I'm going to call this layer dodge and burn, - and then I'm going to go over here to the left and picked my burn tool. - So it's the little hand and then burn, - and I've got a very large brush size, - and I'm gonna come up here to the top and make sure that I've selected shadows. - An exposure 5% usually somewhere between three and less than 10% works good, - so Let's go with 5%. - You make sure that the protect tones is turned off, - and I'm just going to paint over this photo with the ah with the burn tool and you'll see - as a as I paint over it. - What it's doing is burning in the shadows. - So every time I paint on here, - it's burning in the shadows by ah minus five exposure. - So it's darkening the shadows every time I burned, - but only the shadows. - So the highlights in the mid tones don't change. - Only things that are already dark in the photo get darker. - And you just keep brushing that on until you get to a point where it looks like, - um, - you've got the sort of level of contrast that you want and if it's not, - ah, - it is not behaving properly than try changing the exposure. - So I'm gonna increase this a little bit just to go a bit faster here for the tutorial. - But you can see that just the dark spots in the photo get a little bit darker. - The light spots stay light and the mid tone state light. - So I'm adding contrast. - So once I've done all the dark spots in the photo I'm going to do Ah, - the opposite. - But we're gonna use the Dodge Tool. - So go over here toward Dodge and burn Tool and then choose Dodge. - And instead of the shadows, - I'm going to dodge the highlights. - Said the exposure somewhere low as well again. - So let's try 6%. - And we want a really large brush, - something that you Kenbrell sh over most of the parts of your photo. - So I'm going to do the same thing that I did with the burn tool. - Except now I'm lighting lightning, - the highlights, - and for photos like this again. - So we've decreased the darkness of the shadows. - And now we're lightening the highlights, - Um, - Onley in the highlight areas of the photo. - So that looks okay. - I'm gonna come over here to the right, - and so there's how we started. - And there's with our dodge and burn contrast tricks. - And if that if you go end up going a little bit too heavy with it, - you can just change the opacity of that layer and blend it into somewhere that you think - looks good. - So right there looks awesome about 66% so you can see 100%. - It's a little bit too much. - So we just back the apace city of that layer off a bit and right there before and after. - All right, - All right. - So there is a few extra tips and tricks for you guys. - I hope you like those. - Um, - once again, - you know, - thanks everybody for taking this class for enrolling. - And I'm really excited to see everybody's class photos. - So please get your, - ah, - your class projects done and upload those two skill share, - and I can't wait to take a look through. - All right. - Cheers, - guys.