Learn Adobe Photoshop for Photographers (Beginner to Expert)

1. Introduction: [MUSIC] Ciao. I'm Simone, and I'm a professional photo/videographer. If you know me, you're probably aware that I love to use Photoshop and Lightroom. I started modifying pictures at the age of 12. Even though the initial result were terrible, with time, loads of courses and endless time wasted experimenting, I was able to transform my passion into a full-time job. I'm now creating this course because probably like you, I was fascinated by the possibility of creating incredible composition, moving elements, getting the perfect colors and lighting, but I was often scared because, especially when using Photoshop, it seems just too complicated. Courses were too long and I felt overwhelmed. That is why I decided to cut all the unnecessary flaws and structure with short and easy to digest lessons that will teach you the main tools to bring your photos to the next level. You'll have access to all the images used in the class so you can follow step-by-step plus 13 exercises and their video solution. We'll start talking about the basics of Photoshop before moving into the masking tools and more advanced features. You'll learn how to remove background and unwanted objects from any image, change the colors of anything, create elements interaction, professionally edit portraits and bodies, add external elements and so much more. Are you ready to transform your good photos into crazy amazing photos? See you there. [MUSIC] 2. WorkSpace: Hi, I hope you are excited as I am to start these Photoshop class and learn some incredible possibilities that this software offer. Before starting to introduce it, I like to mention a few things. Photoshop is a software with an insane amount of functions and tools that can be used in the same situation as well. We will learn that it really depends what tools you're going to use in a photo based on loads of different factors. Keep in mind that it's impossible to teach the whole list of when you need to use this one, or when you need to use the other one. Because there's actually not a list and only with experience you learn which one could work best in a certain situation. But also despite having experience, sometimes you just need to try them out and see which tools offer the best result for that particular photo. Just to give you an example, to remove an object from a photo, there are around, I would say at least 10 different methods, which one to use, well, it really depends from the photo and there's not really a rule. If you can't decide which tools to use, don't worry, just try them all and with try and errors, you'll figure it out. I do the same thing the majority of the times as well. For the same principle, whenever we need to operate any kind of adjustment in a photo, there are always, always, always multiple ways to obtain the same exact result. During the course and the exercise afterwards, you might figure out different ways to do the same thing. Could be even faster than what I do and that's totally fine. Feel free to experiment with everything that you're going to learn because that's also the beauty of Photoshop. It really depends on the adjustments that we need to make, on the photo that we're retouching, or if you have any preference in the tools that we're going to use. Let's start by familiarizing with the workspace. The first thing that pops up when you open Photoshop is this screen right here. Then from here you can create a new file with custom settings or open a new image. Or here there are all the recent files that I've been editing in the past few days. Let's start by creating a new file. Then in this window, we have the possibility to customize for pixels, for centimeters, for millimeters, or for any unit metrics that we want. In this case, we can use this width of 1,000 pixels and this height of 2,000 pixels. Then we can choose the orientation whether the horizontally or vertically. Let's pick horizontally. Then here we can choose the resolution. If you need to print something, is better if you build staff with high resolution, for example, 300 pixels per inch, or if you need to do it for Instagram it's fine 150 or 170 even less than that. Then you can pick your color mode, like RGB or CMYK, and then the background color. Let's click "Create." This is the workspace that we're having Photoshop. Let's understand what these windows are about. On the top part we have the Menu, File, Edit, Image Layer, Type, Select, Filters and so on and so forth. These are all the features within Photoshop. Throughout these course, we're going to have a look at a lot of these features but here's the first trick. Sometimes it's difficult to remember the position of some features and therefore what you can use is the help here. For example, if I don't remember where is the content or where is the tool, just to say one, then there you go, it's very far. This one find it for you. You just need to remember the name, which is easier to remember than the position. Then on the left part here we have all the tools in Photoshop and this is selection, marquee, lasso and other. Throughout the course, we're going to explore almost all of them. Under each tool if you keep pressing, you're going to have another sub menu with audit tools. Then whenever you select the different tools, this bar will be customized based on the tool that you're using. If you notice, the top bar is changing based on the tool that I have selected. Then when you stay for a couple of seconds on this tool, this window pops up with a little video that shows you what it does. Now before I show you the bright part, just make sure that you are on essential right here. If you use Photoshop before and you were customizing your own workspace and if you want to follow along in the best way possible, then we click here to reset essential and this will create this workspace and therefore we are going to be aligned throughout the whole course. Here we have the left panels, which are panels that can be moved anywhere. For example, if I want to move the colors below, I can do it. No problem. I can remove it back up or create a new panel here and then I'm going to have four, I'm going to have colors here and then switches, glitters and patterns here, and then libraries, properties and stuff and then I can move and see the layers below. Just for collective information, I'm going to reset them all, so we are aligned and we just keep the default settings. Now, here there's another toolbar that can be customized by going into Window and then click or unclick one of these to create a new panel like so. Now that I clicked the new panel about character, this will be used when we are going to work with texts, will pop up and then you can click on it and then hide it. In every part of that are these tree-lines, which is basically a sub-menu of that single panel that allows to modify different settings. Even here, if it go here, you can check and pick different type of color selection. Now we have the color wheel, but then we can go in brightness cube, or we can go in hue cube and all this kind of settings. Let's leave color wheel for now. Another panel that I liked to have always on is brushes and brush settings because we're going to use them a lot. Just going Window and then click on "Brushes" and click on "Brush Settings" There you go. Keep in mind that these sidebars are movable as well. You can just drag them and move them wherever we want and even lead them floating. If we want to put them back, you just go very close to the right edge or left edge, leave it and then it's going to embed into it and this one is the same thing. I can move this one around. Now, for the sake of information, I don't move this much, I just leave it like this and that's it. Then we have here the last one, the most important one is the layers box, but we're going to have a look at this in the next video. 3. Layers and style: What is a layer? A layer is the most important element of Photoshop, and how it works is that you can have as many layers as you want and then whatever is at the top will hide whatever is at the bottom. If we click this icon right here we can create new layers and then Layer 5 will cover Layer 4, that will cover Layer 3, that will cover Layer 2, that will cover Layer 1. Photoshop allows to have transparenty elements which means that a layer can have a transparent element that will showcase what's below that. If Layer 3 has a transparent element, will show in that part what's in Layer 2. When you open Photoshop you always have a background element that is locked meaning that you cannot move it anywhere. But then let's unlock this layer and let's play around with this background. As you can see, this is rectangle, it's a white rectangle that before was our background but that we can move it around. As you can see, these little rectangles, gray and white means that these part is transparent. Whenever you see this pattern it means that this is transparent. If we save this image as a PNG, we'll be able to see only this part is white and everything else will be transparent. If I now go on Layer 3, I pick whatever brush I want, then let's select the different colors, let's select red, and then I paint something here. As you can see, this part covers the Layer 0 which was our previous background because the Layer 3 is on top of Layer 0. But then if I drag the Layer 3 below Layer 0, then Layer 0 will cover Layer 3 and this works also for everything. If I go on Layer 1, let's pick green and then we paint something on top. Then yes, it's on top of everything, it's on top of Layer 0, it's on top of Layer 3 as well which is the white and the red. However, it's not on top of the Layer 2 but this Layer 2 is empty, there is nothing. It doesn't cover anything. But if you want we can pick blue here and then paint something else and as you can see, we're covering everything else below. At anytime I can drag the Layer 3 on top of everything and then just hide whatever is below. I can also move this Layer 3 somewhere else to showcase what's below because remember they're in this part where we painted, there is a solid color but everywhere else is transparent and therefore it's going to show what's below that. If I want to showcase the green and cover the blue I just need to drag Layer 1 on top of Layer 2 and there you go. If I want to cover everything up again I'm just going to drag Layer 0 on top of everything and is going to cover all the layer below it. Now, it's not only about you see or you don't see, you can play around with the opacity of each layer to showcase more or less of what is in that layer. For example, now that is a 50 percent opacity that means that this layer is showing only 50 percent and therefore you're going to see all the layers below. Let's press the opacity right here where you see normal here there is a drop-down menu that showcase the blending modes. This is the rules that explain how pixels interact within each other. I'm not going to go and explain them all because many times what happens is that when you want to change blending mode you just try them all and see which one looks good and which one looks bad. For example, as you can see now that I'm moving this one does exclusions, so probably we'll exclude the colors based on the white of the layer that we're using and the bottom layers, for example there is the creams and that becomes purple and then the red becomes steels and so on and so forth. You just need to try them all and see when and what blending mode you need with the time. Let's leave it normal right now. If you want to block a layer so you don't accidentally move it you can lock it and unlock it by clicking on it. This little eyeball on the left means this layer is visible or this layer is not visible. For example, if I want to work on the three levels below, I can hide this layer, I can work on them, and then reset the eyeball so I can see it again. The main concept is just the [inaudible] of visibility. Whatever is on top is seen, whatever is below is not seen depending on the opacity levels as well. Every layer can have visibility or trying to spare it element based on what we want. All the layers can also be grouped into folders. For example, if I select these three layers, then I can click this button right here to make a group. Then whatever action, whatever feature I applied to this group is applied to all the three layers below as well. Here the [inaudible] of visibility works exactly the same, whatever it is on top is seen, whatever is below is not seen. Making groups is helpful when you have 50, 60, 100 layers so you can see them all and then you just group them based on what element that is within your file. Keep in mind that even image can be a layer. Let's try. Go in File and then go in Open, that in the folder you can download, reopen the photo for example flower. This will open a new tab. But then if we click this one which is the Move tool and then we drag, and then stay here and then release like so, then the file will be transported into our file. Because it's too big we can go in Edit, Free Transform, and then you need to zoom out, that's pretty big and then drag one corner to make it smaller. Now, don't worry because all the elements that are not visible are almost always present even on the outside and you can see from these rectangle on the side and then we can move it wherever we want. If we want to put in the center like so we can just decrease the dimension, there you go and maybe we can put it here. This we can click ''Enter'' and we're good to go. This is saved as a new layer, this is called Layer 4. It's always best to rename your layer by double-clicking on the name and write whatever you want. Let's say flower and click ''Okay.'' This is another layer that can be on top of everything or below everything. If you drag the layer into group, this will be into the folder and even here you can play around with the [inaudible] and maybe put it below the green and below the red but above the blue. Then if you move it around you can see that this is below the red but it's above the blue. Let's deactivate this layer so we can see another way that you can import an image or a file within your open file in Photoshop is just dragging into it. What you have to do is just open your folder and then you drag whatever you want. Let's take birds PNG, and then you drag it into the file and this is going to save. Now, you can move it around and in time, there you go and you just click ''Enter'' and this is going to be placed within the file. One more thing that you can do on each layer is that you double-click on it and then you access this layer style. These are all characteristics that can be applied to every single layer or to each group. For example, we can apply a drop shadow and as you can see already the preview of the shadow of these birds. Then you can move around with the distance, maybe you can apply a stroke which now is not really visible because it's a gradient, then an inner glow satin color overlay and many other things. If we click your color overlay then we can decide which color will be the bird. If we want we can go in blue and this will be blue or purple, whatever it is. This will be saved below the layer you applied it to. Of course with the eyeball you can hide or show that characteristic that you applied. At anytime you can double-click on it and then modify it. There you go. If you want to hide or show all the effects that you apply to a certain layer or a certain group, you just need to click on this eyeball and this will deactivate temporarily all the effects. That's it for the layers. In the next video we're going to have a look at how we can crop an image. 4. Crop: In this video, we're going to have a look at different ways on how we can crop an image. As we've seen before, whenever we increment the dimension of an image, even if you don't see it, the image, it's still there. Let's say we want to crop an image. We got in this tool, which is the crop tool and you can access it also with a shortcut C, and then this rectangle will appear. We just need to drag this handle to crop it as we want. Then whenever we are ready, we click on "Enter" and the image will be cropped. In this case because I have this phrase right here, the cropping was fixed. It was always 16 by nine and I couldn't modify it. If I want to clear this up, I need to go in WH resolution and then I need to make sure that this is empty and then I can move it wherever you want. Whereas if you want, you can also use one of the presets right here. For example, if we want, have a crop for Instagram, vertical photos for feed, we have a four by five and this will be vertical. Then you can jog towards the horizontal parts and make it horizontal and then vertical and then horizontal. There you go. If you have the four by five here, first is going to stay exactly the same. Or if you want, you can change it also using this arrow right here. If you want to make manual adjustments, then you can click Clear and then you can move again freely. You can also use the original ratio of the photo, just clicking on it right here. Then if you keep pressing shift, this will be locked as well. This is based on the Canvas ratio, not on that image that we are croping right now, which is the flower. Click "Okay," and you good. Now let's open a different image. We're going File, Open Durdle door. In this case, when you open an image you can crop directly. Even here the concept is exactly the same. Just keep pressing Shift and this will block based on the original format of the image. Then maybe you're going to crop it like this, let's say, and then you leave it. Click "Okay," and the photo is cut. Be careful when you have these tool on, because if you have this thicked on the late crop pixels, whenever you're going to crop an image, you're going to lose all the details outside. Right now, when I unlock the background and then move the layer, you can see that these part has been cropped. Always, always try to turn this off. Unless you have huge images, you want to reduce the dimension, and therefore you want to crop the pixels outside. Another cool thing that we can use is these contents aware of thick, that if turned on, can increase the dimension of the image automatically using AI. But we're going to have a look at this tool a little bit later. Another tool with the cropping here, this trait. We can click on this button right here. Then we just need to drag our horizontal line on the horizon to make it straight. Whenever you have the Crop tool activated, you can just stay in it a bit further away from the border, and then you can move around to rotate the image. As you can see, this will decrease to stay within the grid. Click "Okay," and we're good. One more thing that we can do is show a different overlays. The standard one is the rule of thirds, which is the most used. But then if we want to change the grid to have a different composition and the image, we can choose whatever we want. Let's say golden spiral. We click on the image and then we're going to see the golden spiral here. We can use it to frame our composition in the best way possible. Here let's leave it there, rule of thirds. Then if we want to straighten back their horizon and then here you go drag a line and that's it. Now its straighten, of course I can decrease the image. Yes like so, and then put it back on frame. But be careful if we do this now we decrease the dimension of the image and therefore the quality. Let's go back and keep it in maximum quality. Like in every software common or control Z is step backward. If you want to access the different grids and with a shortcut, you can also click "O" while you have the crop tool activated, and this will change between all the different grids that you can use. Now, open a different image. Let's open frame. Now within the crop and menu, we can also check this prospective crop tool, which is used to crop something that is not straight. For example, right now I want to cut only this frame. Now we click once in the corner of the frame to set up point, and then we're going to go around the frame like so. This will create this grid and will automatically create a straight image for us. We're going to click "Enter," and there you go. The frame is now centered and straighten. That's it for the cropping menu. In the next video we're going to have a look at how we can move, transform, and distort any image or any element. See you there. 5. Transform : In this video, I'm going to show you how you can transform, move, and distort an image or an element. Here we have the same pictures of before, which is called frame, and then remember that whenever you import a new picture, the background is always locked. If we want to move first one, distort it or transform it, we need to unlock by clicking on it, and there you go, now is unlocked and we'll be able to do all the movement and adjustments that we want. Need to go to Edit, Transform, and from here we have lots of different options on how we can distort or put a different perspective, we skew it or rotate the image. Then we have transform and from here we have different options to move, transform, and distort this layer, but let's use free transform for now. We choose the one that I showed you before as creates a blue rectangle on the image. By dragging one of the corners, we can decrease or increase the dimension of the image. By default, it will maintain the proportion, however, if you want to distort the image, we can just press "Shift" and hold it, and then we can move it around without maintaining their proportion. If you want to do it manually here on top, you can set the numbers that you want now because we just open the image is at 100 percent and then this will link or unlink the dimension. Now, because it's linked and I want to decrease by clicking and dragging towards the left the width because it's linked, this will decrease also the height. If I unlink these two parameters and I increase on the height, then only this part will increase and the other one will be blocked. The same time we can increase or decrease their rotation, and this can be also achieved by going on a corner here slightly further away, and then this arrow will appear and then you can move it left or right, wherever you want. Click "Enter" when you're done, and that's it. You can play around with the outer possibility to skew or distort the image. Let me just show you for distort. You can grab this one and then move it wherever you want to distort the image, and then you can also do this and its used perspective. As you can see, this seems like small shot from above, or let's go into original one and then we can go to Edit, Transform, and then we can skew it, then we can add a perspective. This will allow to make this effect. Sometimes I use it, sometimes I don't use it, depends on what photo you're taking. There you go. The last element that you want to remember for this video is the shortcut Command or Control T to access the free transform tool. We're going to use these tools a lot, so make sure to remember Command or Control T, and then we can jog, bigger or smaller or you can go further away and rotate, Control or Command T. I'll see you in the next video where we're going to talk about camera roll filter. 6. Camera Raw: In this video, I'm going to show you how to use the camera raw filter. If you're a photographer, you know that the best way is to shoot raw photos, which means bigger file but more information and therefore better colors, better edits in general. Photoshop allows to import directly raw photos and then modify it from the software itself. In this case, we're going to open. The raw file of your camera I shoot with a Sony and mine is ARW or you can use a DNG file as well. Let's open Car Light, ARW. Automatically, Photoshop will open Camera raw for you. This is basically like Lightroom controls. These you can do basic adjustments, you can play around with the course, with details, with color mixer. For example, now I want to modify the car. I can go and the color mixer go into yellows and then play around and as you can see, this goes orange and then this goes more green, yellow. If I wanted to increase the exposure, I just need to go into basic and then increase this slider named the exposure of course, and then I can change the contrast highlights, shadows, whites, blacks, and so on, so forth. Now, I'm not going to go in depth about this because I explained everything in my Lightroom course on how to edit a picture using basic adjustment curves, details, color mixer, color grading, and all the other things. But it's important to know that these options are also present in Photoshop. And not only present on these types of photos which are raw files, but also normal files. Once you're done with the basic adjustments, you just need to click Open and this will open as a normal file as we've seen before in Photoshop. At anytime you can reopen that window by going into Filter and Camera raw filter. There you go. As I mentioned, you can open that window at anytime with any image, for example, now this is a Durdle Door JPG, but then I can go in Filter and open the camera raw filter. This is the best way for me to color grade and do basic adjustments with Photoshop. You can go here, take the blue and jog the hue, maybe this one instead. There you go, and then decrease maybe the saturation to make it more dramatic colors, and you can apply some color grading. Let's do a teal and orange. I put the shadows into a teal and highlights into the orange. Yeah, I like so. And then you can play around with all these settings. Click Okay, and once you're done there you go with a final image. Now, one of the suggestion that I can give you for every single project that you do, especially when we're working with photos, is always, always, always duplicate the diagonal. In this case, if you wanted to duplicate, you just need to right-click and then duplicate layer and then give it a name as you want, copy. Then you click Okay, or if you want, you can also click Command or Control J to duplicate another one and there you go. Now you have three layers why you do this because if I don't like the edit, for example, right now let's go to Filter, Camera Raw Filter, and then I can move anything that I want like this. If I don't like what I did, I can always go back and use the previous layer. Then I can make another copy and then decide which one I like the most. Always try to keep a background element copy twice, so you always have the original one as well. I also like it because eventually I can drag it on top and then check the original photo with the edit. Toggle on and off this eyeball and see the before and after. That's the Camera Raw Filter. In the next video, we're going to have a look on how we can use levels to adjust highlights, shadows, and mid tones. 7. Levels: In this video I'm going to show you how you can adjust highlights, shadows, and mid tones using levels. First of all we're going to File, we open, and we choose flat image. One of the panels on the right you can see that there are lot of different adjustments, and these are all used to modify pictures or layers. The one that I wanted to show you right now is called Levels right here. We click on it and this will be applied directly to every single layer that is below it. As I mentioned before, if you want you can just drag the Properties panel wherever you want, and I like to keep it always on this sidebar right here. There you go. Then I can toggle on and off. If you don't have the layer selected you can double-click on this left part to open again the properties, and then here we can play around with them. This one what it does is by dragging one of these three triangles, you can actually increase or decrease shadows, mid tones, and highlights. Of course the first one on the left is shadows, so if I drag it onto right this will increase and make darker the shadows. Because this photo is a little bit dull; so there is not much colors, there's not much contrast. I can increase the contrast using levels. Therefore I'm going to drag the triangle of the shadows towards the right and the triangle of the highlights towards the left, and this will increase the contrast. This is before and this is after. Pretty cool. Then I can also play around of course with the mid tones and put as I like. Let's phrase it this and put it like at the beginning. One more thing that I can do is click "Auto", and this will do automatically for me the adjustments. As you can see, it moved a little bit the shadows towards the right and a little bit the highlights towards the left. One more thing that I can do; let's reset, is use a preset. Here there are a few presets. For example, Increase Contrast, Increase Contrast 2/3, Lighter, or Midtones Brighter. Let's pick Increase Contrast 3 and this will ultimately bring more contrast, thanks to the preset of these levels. If you want you can work on the overall image using the RGB channel or you can pick only red, green, or blue if you want to work only on one of these two, and then you can move them around and increase or decrease the amount of blue, green, and red into the image. There you go. Let's reset all of these adjustments by clicking on this button right here, and this will be the original image. One more thing that you can do is that you can pick this dropper to sample the white point of the image. This means that with this dropper, you need to pick an element that is really wide even in reality. Let's say this wall is really white. In normal life I can click on it, and the image will be adjusted as if this was white. As you can see this became completely white and blushed-out a little bit for other part of the image. Whenever we are moving one of these three triangles, we can press "Option" and hold it or "Alt" on a Windows, and move the triangles to see when we're starting to lose details both in the highlights and the shadows as well. When we move this and there is pitch black, this means that we lost all the details. Where there is the red means that we are about to lose details and the yellow means be careful because you're going into dangerous zone. There you go. Here is completely pitch black starting to losing dangerous side. To do this, hold "Option" on a Mac or "Alt" on a Windows, and then move the sliders. These constants work also for all the other adjustments. For example, if we want to increase the brightness of the image we can click on "Brightness". A new layer will be created, and here in the Properties I can modify the brightness if I want more or if I want less; increase or decrease the contrast, and this will be affecting all the layers below this. Afterwards in this course I'm going to show you how you can affect only a certain part of the image. That's it for two levels, let's talk more about adjustments in the next video. See you there. 8. Adjustments and Clipping Mask: Let's take a little bit deeper into the adjustments and clipping masks. But as we've seen before, this is the panel of all the adjustments. We can use brightness to increase the exposure and contrast to increase or decrease. Then we have the levels which we have seen before, and then we have the curves, which they work as normal curves, and this part will correspond to shadows, this part will correspond to mid-tones, and this part will correspond to highlight. Whenever we drag one part that corresponds to shadows, this will increase the shadows of course, then we can click on the curve to make another point and then we can decrease the highlights like so, or increase them as much as we want and maybe decrease the shadows to make this more conscious. The concept is exactly the same as levels. Some photographers prefer to use levels, some others prefer to use just curves. In here we have some custom presets that you can pick, say medium contrast or negative RGB, which works on different channels. Let's leave it like default and the same thing here, we can have the dropper to sample a white point of the image and also a black point of the image to create the right balance between highlights and shadows. Keep in mind that highlights and shadows go from 0-100, and shadows supposed to be as close as possible to zero and highlights supposed to be as close as possible to a 100 at maximum. Darker level towards zero, brighter level towards 100. Even here, like many other adjustments to have the auto function to make this happen automatically using, hey I'm in Photoshop, which works amazingly. For every adjustments that you make, you can delay the layer or simply high negate by clicking and toggling this eyeball right here. There you go, you see that the image changes. Another adjustments that are used pretty often is the vibrant. Here affects the vibrance and the saturation of the image. Once again, the concept is exactly the same as the other adjustments layer. One more is the hue of the saturation and this will be used in future videos because this allows us to change colors of the image. There you go, just slightly in the hue, and even here we can control it on vats, yellows, greens, and all different channels, or having different presets. Let's delete this layer for now, and let's have a look at color balance. This is used to balance the amount of colors in an image, and even here you need to pick the tone. Are you effecting shadows only midterms or a highlight? Next adjustment is create black and white effect. This will be done automatically, and even here you can adjust how dark or bright you want each channel. Next adjustment is photo filter. Here you can apply some filters to your image, like this warming one, and you can decide the intensity of it, or you can pick any color that you want, and then let's say blue. Let's delay the black and white first like so, and then we can go into photo filter double-tap to show here the properties and move the density towards the left or the right. The last adjustments that I want to show you is the color lookup, which is basically a way to import or to apply filters to your image that you can have purchased from other parties or you could have created on your own. Here we have already some presets, let's say drop blues, let's see what it does. Yes, slightly adjustment or let's see maybe bleach bypass, another adjustment, and so on, so forth. Let's delete this layer, even this one, and this one as well. Now let's open frame and then we go into Move tool and let's drag it towards the other image. As I mentioned, all the adjustments will affect everything that is below them, unless we create a clipping mask. Which means that this layer, if we apply this clipping mask, this button right here, like so, this vibrance will be affecting only one layer below. If I move the vibrance right now, you can see that it's affecting only the frame and not the image below, even saturation, same thing. Whatever adjustments I make on this layer because it's a clipping mask will affect only Layer 1 in this case and nothing else below than that. If I want to release the clipping mask, I can either toggle this button or I can right-click on the layer and then release clipping mask. At the same time if I want to recreate the same clipping mask, I can right-click and create clipping mask, and you can see from this arrow right here. You can do this with as many layers as you want, and even here with the curves, you can right-click and then create a clipping mask. This will apply to the layer below, which is applied to the layer below. Both these adjustments are applied to one layer only, which is Layer 1. Layer 0 in this case is not affected by anything. If I want, I can stay here, select Layer 0 and then click another adjustments, for example, brightness and contrast and increase the brightness. But because this layer is right above the Layer 0 and is below Layer 1 is affecting only Layer 0 and not Layer 1. If this was on top of everything, it would have affected everything as you can see it right now. Decrease the brightness, increase the brightness, both layers are affected because are below. Let's drag it only on top of Layer 0, and now it affects only the level below. Let's say there was another layer below. Let's make it common J to query a layer copy, if I want, I can make this as a clipping mask, and therefore this will affect only one single layer below which is zero copy and not zero. Let's see. Now, let's increase the brightness of this and let's hide this one. If I hide this Layer 0 copy, this will be the original image with no adjustments. But then when I toggle the eyeball, then I can see this adjustments applied to Layer 0, and this is the brightness 126. Now, let's make this layer panel the biggest possible, so we have a look at all the different layers. This concept that we've just seen, they worked for every single adjustments that we made. If I select Layer 0 right now and I click on adjustments, this will create a new layer with a new property. Let's pick maybe photo filter. This photo filter that we choose, whatever we want to choose is applied only on everything that is below, which is Layer 0 in this case. However, if I want to apply it to only one single image, then I need to create a clipping mask, and in this case, because there are two clipping masks here, if I drag this layer in the middle, this will automatically create a clipping mask because it was dragged between a layer and another layer with a clipping mask on top of it. There you go. Even here, we can increase or decrease whatever intensity it is, so you can understand here the Cherokee of visibility that it works every single time and is the basic of Photoshop. Now, you might say, that's cool, I can apply these adjustments to a single image, but what if I want to apply to only a part of the image, so only one corner of the image. Well, to do this, we need to create a mask and we're going to explore masking in the next video. See you there. 9. Masking: This is another extremity powerful tool that you can find in Photoshop, which is masking. A mask can be applied to any element, whether it is a layer, whether it is a group, whether it is an adjustment. What it does is it shows or hides certain parts of the image. In this composition, where we have two images, we can apply a mask by selecting a layer or whatever element you want to select and click this button right here. As you can see there is another layer on the right of the layer you applied at with a link between. Now, in the mask, whatever is white is visible, whatever is black is not visible, is hidden. Therefore, if I take a brush, for example, and I select the black color, and then I paint on top of this image, this will hide this image because I'm using black, but what is the difference of using, for example, an eraser? The eraser will permanently delete a part of the image, whereas a mask painted on black will hide it temporarily. That means that if I paint on white, so here I select white right now, and then I paint again where it was black, this image will be back because I'm now unhiding this part. There you go. You can see the preview of the mask right here. If I paint black like so, this will reveal what's below this level where the black is. That means this part is hidden and therefore you're going to see the image and older layers, crops, and adjustments that are below. Where the white is applied to this part of the image and is shown. Now when I select the layer with the Move tool, I can move the overall image and the mask together wherever I want, whereas if I want to keep the mask where it is, and move choose the image, I need to unlock the two layers and now I'm going to move the image, but the mask will stay there. This is an extremely powerful concept. It is easy to understand at first. Whatever is white is seen, whatever is black is hidden, but it can be applied to lots of different elements in a very complicated way to create some beautiful compositions and maybe play around with different elements and how they interact to each other. At the same time, I don't know if you noticed before, but when you have an adjustment like so, let's say, blackness and I want to increase the brightness, this has a mask already on it and is completely white. That means that it affects all the layers below without any distinction. If I want to affect only certain parts of the image, for example, I can invert the mask by clicking Command, I or Control, I. There you go and now it became black. That means it's not affecting any image. However, I can take the brush tool right here, have a white as a foreground color. I can click in this case, because it's here. I can just click this two arrows right here to change and switch between the two colors. Now that I have white, I can paint on the image and this will show the adjustments that we made. Let's recap. Now because we started as it's all black, now that I have a brush that is white, I can paint off the parts where I want these adjustments to affect all the layers below. In this case you, if I wanted just this pavement right here. I can just paint on this. As you can see right now in the preview of the mask there is this part where we painted which is white. Therefore, these adjustments that we've made, which is brightness, 77, is affecting the part that we painted white. Let's have a practical example. Let's eliminate this mask. Let's make another one that's levels. We create auto. Now it's affecting the overall image, but what about if I wanted to add the contrast only on this part of the image where the chair is and not this part? Well, I can either paint black on this part, which will hide the adjustments from this part. Or I can click Command, E or Control, E with the mask selected to invert the colors. This means that I'm going to have it all black. Now these adjustment is not affecting anything. Then I can take a brush with the white foreground and just paint on top of this part. I can increase the brush size by going here, decrease or increase the size like so. This will show the adjustments that we made on this part that we're painting. If I want to increase the levels, I need to click on this icon right here. Then by moving this property, only the part of the image that has white on the mask here is affected and we painted it before. There you go. This mask can be applied to literally anything, even a text. For example, how we can simulate a text behind these chair. Well, let's try. We go into the text function and then we click on the image to activate text. Then let's type whatever, text 1. I click the Move tool so I can drag around the layer. Then remember the shortcut before, Command or Control T to create a Free Transform and then I can rotate it a little bit. Let's put it here. Now I can apply a mask on this text by selecting the text layer here and then apply a mask. I can zoom in by clicking Command plus or Control plus, or if you have a MacBook with the trackpad you can pinch in or pinch out. Then I can paint black. Let's have a black foreground color. Then I can click brush or B. This is a shortcut to access the brush is B. Then here I can modify the settings of the brush. Now, let's put the hardness at 100 and the size maybe 100 like so. Then if I paint here, I can simulate that the text is behind the chair instead of being in the front like so. If I look like this, it seems that the text is behind. Let's not open gym, by Scott Webb. Let's start to put any text behind the subject. We click on "Text" and then we click in the center and we type, let's say, sport. Now, it's black. What I can do with text is I double-click on this T right here to select the text and then on top here, where the properties are of the text, I can change the color and maybe put white. Of course, when you have selected, you can also change any type of font that you want and you'll see their preview. The size of this is like a normal software. I don't need to explain this and the alignment and so on and so forth. Once we are done with the color and now we selected white color, we click on the Move tool, and then Command T to go in the Free Transform tool. With text, we need to keep pressing shift in order to maintain the proportion, otherwise, we'll be just random. We keep pressing shift, we hold it, and then we drag it like so. Then we click "V" if we want to go back to the Move tool like so. We drag it towards this side. Very good. Then we just need to apply a mask. Then let's paint black where her skin is. That means that we're going to hide the text that is on top of the skin that will result in the text behind the image. We click B for the brush and then slowly we are going to drag the brush on top of this text. This looks good. If I want to make a better work, I can also decrease the opacity of this layer. Therefore, I'm going to see where her skin is and I can paint by selecting the mask a little bit more precisely. There you go. Of course, you can increase or decrease, as I mentioned, of the brush based on your liking, and what you need to do. This is a very basic thing and we can do whatever. With more complicated things. I'm going to show you how you can increase efficiency of doing this process. There you go. Now, it looks like that the text is behind the image. If I wanted to darken a part of the image, for example, I can decrease the brightness like so. Let's say I wanted to darken only the shoulders. Then I can click Command, I to invert the mask and therefore, nothing now is affected by this brightness, but we can paint now with the white. We change the foreground colors here. Now we can paint here. Now this part is affected by this change of brightness that we made, which is minus 116. If I want to make it smoother, I can change the hardness of the brush here. I can say, let's say 13 percent, and now there's going to be more feather, let's say. Now, this doesn't make any sense, but it was just to show you another application of the mask. Another thing that we can do is to create a rectangle that looks like behind the subject. We'd go here in this tool, Rectangle, we select the Rectangle tool. Then here we can select all the different properties that we want. Let's say we want to a fill of no fill. Then we want this stroke of 40 pixel. Then we can drag to create a rectangle like so. This will create a rectangle. If we want to modify the colors, we can modify the colors here in Properties. I don't like this stroke black, so we can change in red color like so. Then click "Enter" and apply a mask. Now, how we can simulate that this rectangle is behind the body, we just need to paint black where her body is. In this way, the rectangle will look like behind the subject. We zoom in to make it more precise work, take the Brush tool, make sure that black is the foreground color, where black will hide the part of the image that we are painting on it. There we go. Now, I want the brush to be slightly harder like so and then we can paint. This will hide the rectangle. Keep going like this until end of the body. There you go. This is it. Looks like that the rectangle is behind her body here and then in front here. This is super useful when you want to create some interaction between certain elements of the image and has a lot of different functions that we're going to explore later on in the course. This was the introduction of masking. I'm going to see you in the next video, where I'm going to show you how you can change colors of single objects using the masking and the adjustments together. See you there. 10. Colors: In this video we're going to have a look at different ways on how we can change color of things. Let's go in File, Open, and then we use IceCream. There you go. Click Open. Then as I show you before, we can use the Hue and Saturation adjustment to change colors of everything in the image. As you can see by moving just the Hue slider, everything changes color. Very rarely you need to change the colors of the overall image. We can click here and select which channel we want to change. If I want to change this Cyan, which is this part of the image, then we select Cyans, and then we can change the color only of the Cyans. There you go. Completely different. At the same time, if we want to change the reds, maybe we can go towards the green. There you go. As you can see, also this part is affected because there is a shadow casted here. Checkout this part when I move the slider. As you can see, it moves a bit. Then what I can do, if I don't want these parts to be affected, I go on Mask, and we click the brush, make sure that is black, so we click on the foreground color, and then we select the black color which is here or even here. It doesn't matter. Let's stay here. Then we jog the brush here. But what this does is it brings back the original colors, which is a reddish because it's casted red, and therefore maybe it's better if we leave the green shadow here. Let's delay this and do another one. I want to show you that here with this little hand what you can do is you click on it, and then by tapping on a color and sliding left or right, you changing the saturation of the selected color. We leave it like so, and then if you want to just change the yellow, you can see that I can change the saturation of the yellow only. If I want to change the hue of this selected color, I can hold Command or Control in Windows, and then slide left or right. Even here I can hold Command, click on a color, and slide left or right to change the hue. If I wanted to do the saturation, I just need to have these pressed, click in a color and then drag left or right. Let's pick another image. Let's go in File, Open. Let's use flower. Here, what happens when I want to change the color of the flower? I just create a new adjustment layer, and then I can either pick the channel that I want, or I can affect the overall image, or I can just drag the hand, click maybe on the petals right here, hold Command, click, and then slide left or right to just change the color of the flower. I can do the same thing with the car that we've seen before. When I have different tabs right here open, I can click these two arrows and then this will show me all the tabs that are open and that I may not see, so here I click Car Light, and then I can add in a hue saturation adjustment layer, and then I can click the hold Command, or Control if you're on Windows, and then drag left or right to change the overall color of the car. If I want to go from yellow to red, I can leave it like this. But then I don't like for example these leave they're red now, because they were yellow before, and therefore this is affecting the overall image, the overall reds on this layer. What do I do? I stain the mask, I drag a brush, black color, and then paint on this. I can make it bigger going here, and then increase the size. There you go. Maybe decrease the hardness, and then I paint here. There you go. Very good. This adjustment is affecting only this layer in this white part. The black part is not affecting this layer. If you're a fan of black and white photography, how you can change color or desaturate all the cars, there are many ways to do that. One way is to click on Hue, Saturation again, and then bring the saturation all the way down. This is a black and white photo because it is affecting the overall image which no saturation. What if I wanted to have just the car with no colors and everything else with color? Well, we use exactly the same concept. If this is white, means that it is affecting the overall image. That means that we need to paint black the car. We can decrease the dimension of the brush size. We can go here and decrease. There you go. Then we just need to paint on the car. There you go. Then afterwards we are going to see how we can select this in a much more efficient way, but for the time being this is enough. There you. I'm not going to be precise right now, but just to show you how you can do it and make it happen. That's it. Now I brought back the colors in the car because I painted black on these adjustments which has zero saturation, and therefore all the white part around which are all there are without colors. Now talking about colors, how we can understand what kind of color is certain element or what kind of color is another element? Well if you click on that foreground color here, it pops up this color picker, or also the dropper that you see on the mouse. Wherever I select this will pick the color. Here becomes yellow because the car here is a little bit darker, here is darker, and this is probably going to be gray, yes. This is slightly yellow. There you go. Once you click OK, this will become the foreground color. Then you can pick these two arrows and change the colors. Now what if I want to select the color and then save it because I need it afterwards? Well that's pretty simple. You just pick a color, anything that you like, make sure is in foreground color, and then you go in Swatches right here, and then you click Plus. This will add the foreground color as a new swatch, and you just need to give it a name, which is not really important. Let's leave it like this. This will go directly here. If you want to change the visualization of the Swatches, you can change it here. For example, we can have a large list or large thumbnails, or whatever you want. Let's do it again. I can click here, click on to Dropper for selecting the color of the car. I have it. Very good. Click OK. Is the foreground color. I can go in Swatches, which is one of these palettes, click Plus, and then I can click and give it a name to add it at my Swatches. This can be organized as well in folders, and then you can have different gradients for different projects if you're working on a clients or if you're editing for Instagram, and so on so forth. These are all solid colors and you have also the panel for gradients, so you can save your own gradients and do whatever you want with these. I don't use this much but they might be useful if you want to edit a certain picture with certain colors every single time to maintain consistency for a client or for your own personal work. A little shortcut when you want to change this colored and reset to black and white, you can click on this. I can write here or you can click on D, and this will put back the foreground color as a black and the background color as a white. Now if you want to switch between the two, you can click this arrow or click the shortcut X, and this will change between the two. There you go. This is extremely useful when you're working with mask. Remember D to reset to black and white, and X to change. Another way to put everything black and white is just using the filter that I've shown you before, which is here, and this is going to do it automatically. We can do the same thing as we did before, just painting black on the car to eliminate the adjustments on this side, and therefore is going to bring up the colors again of the car or what we are painting anyway. Then let's say we delay the mask, go back to the original mask. Here we can apply and change all the colors, and the luminosity of all the single colors to affect the black and white image, and also have some presets right here. That's it talking about changing colors of things. I'm going to see you in the next video where we're going to talk about Dodge and Burn function. See you there. 11. Dodge Burn : In this quick video, I want to show you how you can use Dodge & Burn function to highlighten or darken certain parts of the image, which is a little bit more comfortable than using the adjustments and the masking. Let's go in File, Open and we pick Viaduct. There you go. You can find Dodge & Burn here. Dodge & Burn. The Dodge function right here and you can access with a shortcut O, is used to increase the exposure of sets of elements based on these parameters. You can select the range that you want. For example, I want to affect only the midtones, only the shadows or only the highlights for a certain percentage or exposure. Of course, the higher the exposure, the more affected is the area. As always, you can have your own brush right here, the dimension and the hardness. For example, let's increase the dimension of the brush. For example, we want to increase this part of the image because this is like a reflection. Therefore, you are just going to paint and increase these part, there you go. This is exposure 100 percent and I'm touching the midtones. If I want to affect on the highlights, I can just click here and then this is going to affect only the highlights. In fact, if I move my brushing, this area is not doing anything because here is mostly shadows. Whereas if I change hear into shadows, you see the huge difference. Now is affecting quite a lot. The same time the Auto Tool is Burn and what it does is exactly the opposite at Dodge. But you can select the same thing here, arrange the midtones, shadows and highlights and the exposure. This will decrease the exposure based on this number and based on where you paint with the brush. Let's say we're here and we want to decrease the exposure in this point, then you can use this function and just paint on it. There you go. Now, I want to affect maybe the highlights because there is pretty dark, so I want to make it even darker. This is a tool that is used a lot by photographers as it creates depth with the contrast between brighter parts of the image and darker parts of the image. The same effect could be achieved by using an adjustments, for example, brightness and contrast, and that I decrease the brightness, I create a mask, unveil the mask, and then use the brush on white to show the adjustments on certain parts. It's the same concept. This is a little bit faster using Dodge & Burn. This could be applied also on portraits. For example, let's open portrait Number 3. This is a photo where it needs a little bit of touch-up on the eyes. If I'm here, I can decrease the size and then use the Dodge function with the smaller brush to increase the luminance of my eyes. Therefore they're going to pop up a little bit more than before. Then we can use the Burn tool to increase or decrease certain part of the image. Let's say randomly we want to darken this part. Then you can just select highlights, maybe increase the exposure here, and then darken this part. This doesn't make any sense, but it's just to understand and to show you how you can use it. Cool, that's it for the Dodge & Burn. I'll see you in the next video where we're going to talk about text. 12. Text: In this video, we're going to talk everything about text. Let's open Flatlay for this exercise. Now as we've seen before, this is the text tool and then if we press on it, we can see a different option, but we're going to use only the first one. There are two different options for text. First one is inline. Whenever you have this one selected, you just need to click on it and then you can type it whatever you want, like text Number 1. There you go. Now because it was centered then this is expanding from this anchor point. Or I can click on left-align and then that will be from this anchor point onwards. This is inline, so that means whatever I write, I'll just go keep going, keep going, keep going, keep going. The second option that we have is when we select text, we can drag a text box like so. In this case, we'll just go back at the end of the box and create different lines. If I want, I can drag the box bigger or smaller and the texts will follow the box as well. Even here, you can just change the alignment and by selecting it all then you can change the colors by going here. There you go. As you've seen before, another technique to select the whole text is just double-clicking on this T right here. Double-click and it will select the whole text and then from here you can change the color. Or another option to change the color is switching between foreground and background elements and the text will be colored by the background element because it will become the foreground element. In this case now it is white, then I double-click and when I'm going to switch the two colors, this will become black, which is the foreground color. Of course, when you're here, you can select the whole text and change the character and all the parameters that are associated with that type font or even the dimension with no problem like it was a normal software and everyone has this option. One more thing that you can do is you can click on this button right here, and then you can change the warp text. So you can make an arc. Then you can just drag it, drag these letters, play around with the distortion and then do whatever you want. There are a lot of different type of warping. If I want to make an inline text, like this one as a paragraph, I just need to right-click on the layer and then convert to paragraph text. Then I can use to select the text-only, either the tool text like so or I can double-click on the T to select it all. Then I zoom out and then I can drag the paragraph to make it smaller. Now here is really compressed the line spacing due to maybe some weird settings that I have. As I showed you before, you can go in window and activate toggle in or toggle out the character panel which you see here. You'll click on the character and then from here you can modify all the different metrics and all the different points and character spacing and so on and so forth. In this case, this one I fixed it but then we can put Auto and this will follow the font itself. Then we can just increase the paragraph to show the whole thing. There you go. Because the text is also a layer, we can apply any type of layer style. We'll double-click on the layer and then we can apply a color overlay, a gradient overlay, drop shadow that is used pretty a lot. Then a stroke, if we want to modify the stroke. Here's the colors fine and then the size. There you go. Maybe it's too big. Then we can place the stroke may be outside like so. You then increase as much as you want and play around with all the different styles. Same as before, whenever we apply something, it will be seen below the layer and can be visible or hidden, whether this eyeball is active or not. There you go. One cool thing that I want to show you is that we can create some text that is following a certain path using the pen tool. We're going to explore the pen tool in the next video, but just to show you and then you're going to be able to apply this. Now we create a path and then I can click on text and then go very close to the path. This icon will show up and then in this case the text will follow the exact path that we created. Then we can just change everything that we want. It's pretty cool. I'm not going to dig into this because I haven't used it much for my photography work, but you can play around with all the different shapes. That's it for the text. Next video, I'm going to show you the selection process. Very interesting, see you there. 13. Selection: Understanding how to make a proper selection in Photoshop is absolutely key. It's a pillar in this software. There are tons of ways on how you can make selection in Photoshop. The end is totally up to you, depending on what object you have. Many times different types of selection can be used to achieve the same results. Whereas in other times, it's better to use one specific selection method. It would be impossible to list all the different options of selection tips and tricks that you can use for any type of image, because really depends on many different factor. Let's dive into the selection process. Let's open the file called Shoes within the folder. Now I want to show you many different ways on how you can select these two shoes. The first one that I want to show you is this tool right here, which is your Rectangular Marquee tool, and then you can pick also Elliptical Marquee tool, and then single row or single column. The one that I use the most is rectangular. Then for every selection tool that we're going to see here are the properties. The main and most important ones are these. This means that when this button is selected, every time I create a new selection, we'll substitute the previous one. Whereas if I click the second button every time I make a new selection, this will be added to the previous one. Third button means that if I draw a rectangle into a previous selection, this will remove that new rectangle from the previous selection. There you go. The last one is the intersection of selections. That means that whenever I'm going to create a rectangle on a previous selection, already the intersection part will be selected. There you go. When you make a selection, you can also change the feather. But keep in mind that whenever you have an active selection, you can always go and select, modify, and then make changes using borders, smooth, expand, contract, or feathers, or you can go and transform selection. This will allow you to create a different selection and modify like it was a free transform tool that we've seen before. While you are in this mode, you can click "Enter" and you're good to go. One shortcut that you want to know is Command or Control D to deselect everything, or in case you want to use the menu, you can go in Selection and deselect, which as you can see, is here is Command D, or if we need to select all the image, is Command or Control A, or if you want to use the menu, same thing, select and all. As you can see, it created a selection around the whole image. That same concept works for the Elliptical Marquee tool. This will create an elliptical shape as a selection. Then if you keep pressing Shift, this will create a circle. If you want to create a selection starting from a certain point, you need to keep pressing the button Option or probably ALT into Windows and then drag outside. Then if you want to make a circle, keep pressing Shift at the same time. This is a circle with the center where we started, that can be increased or decreased just by dragging the mouse and there you go. Now let's go here with the Lasso tool. Here we have different options. The Lasso tool, which is the manual one, the Polygonal Lasso tool and the magnetic one. The normal Lasso tool is basically drawing a selection based on where you move the mouse by key pressing it and dragging. Then when you release, automatically this will close and will make a selection. Same concept as we mentioned before with these four buttons and the feather. Let's deselect and create another one using the Polygonal Lasso tool, which is creating lines between one point, so we click, and then we take a second point, and this will create a line. There you go. This is the polygonal one. The last one is the Magnetic Lasso tool. And this uses AI in Photoshop to attach the selection based on the contrast and color of the image. There you go. This is creating a selection. All these rectangles are part of the selection. You can change the frequency of these rectangles by simply changing the frequency right here. We click and drag left or right to modify, or we can click a number, let's say 30. Now you'll probably be able to see that the frequency of these rectangles is much lower than if I want to stay here and double-click, this will automatically close the selection. If I want to select the whole shoes, I can zoom in and then slowly go around with the Magnetic Lasso tool around the whole shoes. This is one of the several ways that can be used to select an object like so. There you go. You understood the concept, you just need to arrive at the end. Now I'm going to go fast so we don't lose too much time. Then once we are here, you'll see that little circle that appear there and you just need to click to make a selection. Once again, if we want to select the other shoe at the same time, you just need to stay in this button right here, and then start again a new selection. Just go around, blah-blah-blah, going fast, and then that's it. You're going to create that. If you want to remove this part because you went outside, you can click this button right here and then just go around the selection that you want to remove, double-click to close it, and there you go, disappeared from the selection. Now let's click "Command D'' to deselect everything. Then let's see the next button, which is the Magic Wand and the Object Selection tool and Quick Selection tool. These are all AI powered by Photoshop and they are amazing. In previous version of Photoshop like 2014, 2015, it was almost useless because it was very difficult and was working only in certain condition, but right now, with the laser versions, it works amazing. I always use the Magic Wand to create selection because it's just incredible. I basically stopped using the previous two unless in certain cases where do you need exact precision and the contrast is not really clear between elements in a picture. Let's use the Magic Wand tool. What this does is you just click on a color and this will select automatically everything that is similar to the color. We click here. Now as you can see, the selection is not really great because I put a very low tolerance. By increasing the tolerance, you're saying to Photoshop, hey, checkout also the colors that are not exactly the same as the one that I clicked. Let's go Command Ds to make this selection. This, as you can see, it created a better selection but still not enough. Let's go tolerance maybe 60. Let's see. Now is much better around this black color. Then if I want to click the yellow as well, I can go around and make multiple selection. Always remember to stay in this button right here because look, if I do this and then I click something else, this will be all deselected. Whereas if I want to select the whole shoe, by clicking different parts, I need to stay in this button right here, and then I can go ahead and keep clicking on here. There you go. Keep going. I can even increase the tolerance more say, 80, there you go. Then what happens is that when I clicked here on the white, it selected basically the whole image because this color is very similar to this one. Based on the tolerance that I put, Photoshop decided that there were similar colors and therefore, they would be selected them all. These tools can all be combined together. Command D to deselect. Let's say I select this black part here and then this yellow, there you go, like so, and then this black here. Then I want to select this white part. What I can do is I can go in Lasso and then click this one to add a selection. Then I'm just going to drag around within the selection and then increase this part. There you go. As you can see now, everything is selected because I added the selection with the Lasso. At the same time, if I want to, for example, use the Polygonal Lasso tool to increase the selection even more, then I can go do this, and then here you can be as precise as you want, double-click and this close the selection, and now this is part of the selection as well. If I want to conclude the shoe, I can use maybe the Magnetic Lasso tool. I can go around, there you go. Make a selection and add from the previous one before. Nice. Here it looks gray. One thing that I just need to add is this little bit right here, double-click. Now that it's selected, I can create a mask and then this will hide everything else that is not selected. There you go. I isolated the shoe. Let's go back. One more options that you have is to use the Quick Selection tool. This works very similarly but you just need to drag your mouse around. I'm going to keep pressing now my left-click and then Photoshop will automatically recognize the parts that you want to be selected by controlling the contrast and the colors around. There you go. This does an amazing job. There you go. If we want, we can also select the other shoe using this method, and there you go. Super powerful. Even here, you can click the Minus tool, remove the selection, the Plus or just make a new selection. One more quick shortcut that you can use is to keep pressing the Option button to remove a selection. As you can see, while I keep pressing the Option or Alt on Windows, this will be minus. When I release the option, this will go back to plus without me doing anything. This is a very fast way to just make selection. I do blah, blah, blah, I do this, this, this, with a plus. Please add me this, please. Very good. Then, oh, I don't like the red. I want to deselect the red. I just keep pressing Option, hold it, and then this will remove this part from the selection. In fact, when I create a mask from here, this will be not selected because what I was doing is I have this all selected and then I removed this part of the selection. Now it's not perfect, but we can be more precise next time. Let's deselect again. Then one more thing that we can use is the Object Selection tool. What it does is you need to create a rectangle around an object you want to select and then Photoshop AI will try to recognize automatically the object. This does an amazing job. Eventually, if this is not perfect, like here, you can use any auto tool to add that part that is not part of the selection right now. We carry Lasso and there you go with a plus and then release and this is added to the selection. Looks pretty perfect. Create a mask. Boom. Perfect. Another tool that you can use to create selection is the Pen tool. This is probably the most complicated yet most powerful because it allow to be extremely precise in everything you do. When you have the pen selected, you can click one point to start the selection, and then you need to click a second point and drag the mouse to create a curve. These two handles right here determine how the curve works before the point and after the point. Keep in mind that they are both linked between each other. When we hold Command or Control on Windows, and then we click on one handle to modify it, even the other will be moved accordingly. Then I can decrease or increase the length to determine the curve of the selection. But if I want to move just one single handle, I need to keep pressing Option and probably Alt on Windows, select this point and then you can move it around. There you go. If I click another point, this will be continuing from the previous one that I did. From here, I point it and then I can drag to create handles until I match perfectly the curve, and then I keep going. Maybe I'm going to go here. There you go. Create this curve. Yes, perfect. Then you can take single handles by holding Option or Alt and then modify a single until this is perfectly aligned, maybe this one is slightly light. Then you can take your time. The pen tool takes a lot of time to master. My suggestion is try to master with time, but meanwhile, if you want to make some work, then use all the other tools and try to use this one and understand how that works because it definitely takes a lot of time, but this is the most precise tool that you can use to make a selection. Let's say I finished the whole shoe like so, I can click on the initial point to close the selection, and this creates a path. This path can be converted into a selection by right-clicking and then make selection. You can pick the feathered radius, and there you go. The use the pen is values within Photoshop, for example, one more thing that you can do is you can create shapes. Instead of here having path, you can create shape, and then whenever you close the selection, the path, let's say this will create a shape based on these details that we put. Right now the fill was nothing. Then if I click on Red, this will change color. There you go. Black, yellow, and then this is the stroke. I wanted to have a zero stroke. Then I just need to drag this towards the left or right zero here, and then I can select the type of stroke that I want to have, and so on, so forth. I don't use much the shapes in Photoshop and I'm not going to go too deep into this. Let's now open another image to see some other selection tools and we open again ice cream. One more thing that is super-useful in Photoshop is going to select and having the color range. As the word says, you can select certain colors of the image in a very quick way. I can just click on a color and then here in the mask I can see whatever is selected, everything that is white is selected, everything that is black is not selected. I can modify the selection by dragging the fuzziness towards the left of the right. If the fuzziness is very high, this will select all the similar colors from what we clicked. If the fuzziness is very low, this will select only the specific color that we selected. If you want to add multiple colors, you can just click the dropper to the last frame here, and then we can add, for example, this yellow. This will select everything that is yellow. If I decrease the fuzziness, then the background which is a little bit yellowish, will not be selected. Whereas if I increase the fuzziness because it's a little bit yellowish, then will be selected as well. Another way that you can use the color range is to go from selection menu right here into highlights, shadows or midterms, or even skin tones are using one of the channels, let's say highlights. I can increase or decrease the range, and the mask below will show me what is selected and what is not selected. Then I can also play around with the fuzziness in this channel. Let's go back into shoes and let's make a selection that is not really precise. Maybe we use the Magnetic Lasso tool. Don't worry, don't be precise. I want to show you another tool right now that you can use anytime. There you go. Right now as you can see, it's not really perfect. We can adjust it in several ways. But when we have a selection and when we have a mask selected as well, in these two options, we have the possibility to click Select and Mask, this button right here that will open a new window. This will open a new window where you'll be able to refine your selection. These are the three main main that you can use. First one is to use as a Quick Selection tool so you can drag on top of the selected part, so you can drag on top of the non-selected part and there you go, is fix there ready, and then you can change the view as well. It is more clear what is selected or not selected by using maybe overlay or using all black. Let's use it overlay. Now you can zoom in at anytime. Then we can use the third brush, which is another selection brush that you can use to paint on top of the non-selected area that you want to select. There you go, and then you can be as precise as you want to make it better. Now, this is not really good, like same as before. I can click the Alt or Option key key remove the selection. I can do this and make it very precise, if you need to be precise. There you go and this is removing the selection wherever it is becoming threatened right now, I'm removing the selection because it decided to use this view. This is a better selection and eventually you can select also the other. Here we can play around with the other settings. To see again this and function, we can open portrait number 2. Let's try to use this Select Subject. We'd go in magic 1 tool, Select Subject and see what Photoshop does. Is already an amazing job to be honest. The AI now is just crazy. But then we can go and select and mask and see if we can make something looking a little bit better. For example, this hair, maybe we can use the second button right here to tell Photoshop, hey, Photoshop, please re-select. Let's try to see again if there's anything that you can do better here. Then this will re-sample and try to select all the hair that are here. There you go. Then we can put in maybe on the overlay. Nice, and maybe a bit here, a bit here, there you go. Even here, don't like it much, I'm sure will do better. Yes, there you go. You see the difference? Let me show you. This is before and then when I re-sample, Photoshop the text, these hair, this is an amazing tool and then I can increase maybe the radius a little bit, the smoothness. I think this is a pretty **** good selection. I click Okay, and this was select automatically the subject. Then whenever I create a mask, this will automatically create it. At anytime I can go back when the mask is selected to the selected mask window and then act again on whatever I want. For example, if I want to remove this part, maybe we can tell Photoshop, hey, please check it back. There you go. This is much better already. Nice. Good. That's it. Very nice. Now if I create a new layer on the bottom and then maybe we select the bucket and we put a yellow. As you can see, is not bad, but it's not perfect. Let's try to see another way to make it look better. Right now we select the mask right here we double click, and then we go and click Select and Mask from their properties. One more magical option in Photoshop that we have is to decontaminate colors. When we click decontaminate colors, photoshop will remove all the halo. It's like the shadow of the colors that there was before. Check the hair back from here I tick and this would remove the halo and the color that were there, as you could see on the yellow background. This will have an output in the New Layer Mask. Then we click, Okay, this will create a new layer, and now the selection is just perfect. Let's now try to do a little exercise and combine what we've just learned by opening ManSKate photo. That's up. We open it. Then what we want to try to do here is to change the color of the t-shirt. Even here you have loads of different options to make the selection. I'm going to try to use a couple of and see which one works best. Let's try to use the Quick Selection Tool around. This is already pretty perfect. Very nice. Now, I can't see that he's not really perfect, so I go and Select and Mask and I will adjust this. Now here, the tool to reselect won't work much because this is more when they're a type of hair edges. I'm just going to use the normal brush, and then click hold Option or Alt in Windows and just refine this selection like so. There you go. Very nice. Then let's see what other parts I want to fix. I think this is good enough. Then I want to click on decontaminate colors and maybe increase the radius a little bit and the smoothness. Good. I created a selection with just the the t-shirt. I want to unlock the background and then maybe create a duplicate so we can see the before and after. Now, to change the color of this t-shirt, once I have the selection, I can create a new layer by going into this button right here and then we click the paint bucket tool, and then we create a solid color. Now, if I want to make the solid color applied only to the image below, I create a clipping mask. This will be applied only through the level below, which is basically only the t-shirt. Now, what I want to do is, I just want to play with the blending modes. What are the blending modes or simply how pixels and colors interact between each other. I'm not sure which I'm going to use. I'm just going to see them all and see what they do. There you go. Already multiply. You can see that it makes a huge difference between the white t-shirt and the yellow one. Or let's see if there is any other one that we like. Color Burn is good. Linear Burn is good. Dark Color. There you go. I like linear burn a lot. Let's see if there's anything else that we can use. The overlay works as well with the pastel colors. Soft light is good, this one makes it blue. This one is also good. Let's click on Linear Burn. This is a yellowish color, which works perfectly. Now, as I see that the t-shirt is not perfect. I could always go back and refine my selection at anytime. Maybe here I want to change the preview mode. Then I can go with my paint and then make it much smaller here. Maybe have a plus. There you go. We can make it much smaller. Then paint over here, do you go. Now the t-shirt will get the colors automatically. Nice, if I make a mistake, I can always hold Option or Alt and then paint it back. Then you can take your time doing this and be as precise as you want, making smaller or bigger and you go. We click Okay and we're done. We also selected this little part here. At any point in time, you can just change the color of this to change the color of the t-shirt as well. If I don't like yellow, but I want blue, I select the blue color painted on top, and this will change the color of the t-shirt. It's pretty cool, isn't it? This is the end of this massive lesson about selection. As I mentioned, there are loads of different tools that you can use and really depends on the type of image and what you want to achieve. In many cases you can use different options and obtain the same result. Next video, I'm going to show you how you can remove background from any element and move these elements around you. See you there. 14. Remove background: How do you remove background from object? Very simple. You need to apply everything that we've said until now to make a selection and then make a mask, and you'll be able to move that object, that element, anywhere you want it in the picture. Let's start by opening texture yellow. Let's see, there you go. Then we open it. Then we go back in our shoes and we'll try to select these shoes and put them in the auto image. We can use any tools that we want. I'm going to try to use the magic one and see what it does. I'm going to click on "Select Subject". That's pretty good. Then I'm going to go into Quick Selection Tool and then go around and just tell Photoshop to add all the selection. There you go. Perfect. That's perfect. Good. All right, that looks good. I can zoom in and be as precise as I want. If I go around and notice that there is something that is not okay, for example, like this one. I can hold Option or Alt and then just click on it, drag the mouse and Photoshop. We'll resample it and remove this part on the selection. Now everything that I need to do is pretty simple. Just click "Mask on it" and this will create a masking option. As we remember, this kind of pattern, this onion skin means that there is no background. If I want, I can just drag the layer towards texture yellow drop it and there you go. Now Command T or Control T to resize the image. There you go. Then we can put them here. Very nice. Super easy, quick, and super efficient. If I want to add, for example, the shadow, I just create a new layer. Then with the brush I can paint in the bottom right here, some black. Let's select black by clicking "D" to reset these two colors, and then we can decrease or increase the hardness and the size of the brush. Then I'm going to just paint maybe like this and then like this. There you go. Then I'm going to decrease the opacity a lot. Yeah, that's it. Now it looks like that there is a shadow below the shoes. Not bad, right? At anytime I can also create a mask on the shadows and then eventually refine my painting. If I stay on the mask and I paint with black, this will hide everything that there is on the layer. If I stay here, I can decrease the hardness at maximum and maybe paint around to make a better selection. As always this is non-distractible. This looks better. Now I can decrease the opacity again of the layer. This doesn't look too bad, right? Now let's open background one. Then let's open flat by Ksenia. My goal now is to move this object into the other one and blend them together. First of all, I want to try and see if the magic one works. Because this is the fastest one. That's not bad. Let's click Command "D" to deselect, and let's try instead the Quick Selection Tool. Let's see what it does. Very nice, good job. Not bad. That's a good selection. If I want to make it a little bit better, I can go and select on Mask. Then we go in overlay. We can decrease the opacity to see what's more behind. Like so. Then we can use the Quick Selection Tool and see what it does. That's too much. Let's remove this, otherwise I'll just use the normal paint, the normal brush, and then just paint away or keep selected part of the objects. I can increase the radius and the smoothness. [inaudible] got on this does a better job. Very nice. That's good. You want to remove this part of the selection here. There you go. I've completed the selection and now I click "Okay" and then make a mask. Very nice. If there's something that is wrong like this, I can always use the brush. Then with the black, can paint on it and this will be hidden. There you go. Now we drag the layer towards Bckground 1. Then we can increase or decrease the dimension of this by holding shift to maintain constraints. There you go. That doesn't look bad. If I want to adjust the selection, I can do so at anytime just by using the paint or if I want, I can double-click on the mask and then go into select and mask and make it more perfect. For example, if here I want to adjust it a bit. There you go. Cool. Click "Okay". Now it's pretty perfect because this is a little bit dull and this is a little bit more colored. I can increase the contrast by using levels or curves or wherever you want. Let's try to increase contrast by only having a clipping mask. I want these levels to affect only this layer and we use the clipping mask right here. Let's try again maybe. Like so. Works good. Very nice. Now we blend it a little bit better in the new image, but what we can do even better is try to create a shadow. We double-click on the layer and we click on "Drop Shadow". Then we make a distance a little bit. Now we will be able to adjust these little details that have picked up with the shadow a little bit later, then maybe we decrease the spread. Very nice. We can play around. Then we click "OK". What we can do from here is that we right-click on the "Drop Shadow" and we create a layer. This will separate the layer style and we create an independent layer out of it. If I select the drop shadow layer, I can move it anywhere I want. My goal now is to rotate it and distort it and put it towards this way. First of all, let's try to adjust these little details that I don't like. So we create a mask, then replay the paint black, and then we paint around here. Very nice. There you go. Once we're here with the shadow, we want to adjust it and make it happen towards this side. Let's move a bit this one towards more to the center. Like so. Then we move the shadow here we click Command or "Ctrl+T" to activate the free transform tool. Then we rotate it like so. Then we can make it smaller. Very good. This works fine. Then I want to distort the shadow as well. So you go Edit, transform, and then distort. We're going to play around with these settings. There you go. Let's say I place right here. I don't want this little shadow to stay outside because it doesn't make any sense. So it can stay in the mask. Click "B" to activate the brush. Then with the black one, I'm just going to remove this part. There you go. Here, if I think that the shadow is too strong, I can keep pressing "Command" or "Control", then click on the layer and this will select the whole layer. So I can go and select "Modify" and then we can contract the selection, let's say by 10 pixel. Very good. Then we do again, select, modify, and then we do feather for 10 pixel. Because this selection is internal right now, I want to make it external. I can go and select, the inverse, the selection. Now when I'm going to paint black on this, as you can see, the feather will act and I'll be able to modify a little bit more of the selection. There we go. Now, to make it even more real, a shadow is stronger towards the object and lighter towards the left of the object. If I want I can use a brush and decrease the opacity and the flow, and together they compose the strength of the brush. So I can decrease the opacity, let's say to maybe 13 percent. Then I can increase the brush a little bit more. Then start painting here to diminish the strength of the shadow. There you go. This looks a little bit more real usually. Now you can take your time, make it as perfect as you want. I'll see you in the next video where we're going to talk about removing object and distraction from any image. See you there. 15. Remove Unwanted Elements: Welcome back to another key video of this Photoshop course. This one, we're going to have a look on how we can use different tools within Photoshop to remove objects, people, or unwanted distraction from an image. Let's dive into it. Let's open Durdle Door. In this photo, there are a lot of elements that I want to remove, including all these people and maybe these rocks. Let's first duplicate the layer by clicking ''Command J'' or ''Control J'' to duplicate the layer, or you could just have right-click and duplicate layer. We're going to have a look at the before and after. Let's hide this one on the bottom. Then here we can zoom in where the people are. Let's analyze how we can remove these people. We can use these tools right here that contains five different things. We're going to have a look at the first four. The last one is not used anymore as it's difficult to have red eye in modern cameras. Let's start with the Spot Healing Brush Tool, which is basically an AI tool from Photoshop that will automatically detects the color around the area and substitute it to make it look nice. Let's use the first one, Spot Healing Brush tool, which is basically a brush that use AI to remove everything that you're painting on. Now if we want to remove all this bunch of people, we just need to paint on it. Then release. Look at the magic happen. There you go, they're gone. This is super powerful and works, I think 80 percent of the times. I use this one because it's the fastest way to remove people from anywhere or even objects or whatever it is. It works with people and then works also with rocks. Let's see what it does. Boom, gone, and you won't see it anymore. Boom gone. Now you can also increase, of course, the size and the hardness of the brush. If you increase the hardness at 100 percent, this will make a very harsh selection, whereas if you live it with a very low hardness, they will make a much fuzzier, more feathered brush line. Even here, this tool works in several ways and you can have different type. For example, creating a texture of proximity match or content-aware. These are all three different and there's not really a rule where you need to use this one or the other. If the first one doesn't work, then try proximity match or otherwise you're going to try with several other tools and I'm sure you'll always find something that works. Even if we leave proximity match and we try to remove this person, maybe, this one doesn't work let's try with this, guys. This one doesn't work, for example. We need to live content aware, and this will probably work. There you go, they're gone. If you want to fix, you can also fix this little part right here. The second tool that we try is the Healing Brush tool, which is exactly the same thing, but the difference is that you sample the part that you want to be copied in that selection. For example, we want to remove these people. You first need to select something as a reference point. We click and hold "Option". The brush will change type, then you can click on it, and then now you'll be able to drag on top of these people based on the selection that we had. Photoshop will automatically clone this part as well. Let's try with the other people. We select this part of the beach and then we paint on top of them. Not bad. That's good. This is different from before because before it does it automatically, whereas with this one, you decide where to select the reference. Next tool is Patch tool. This one is also amazing. What it does is you need to make a selection around the subject, and then when you have that selection, you can move that towards a part that you want to substitute. In this case because we have selected the source, then the source will be substituted by the destination, whereas if you have destination selected, we can make a selection of the origin and drag it on top of the destination. This will move from here to here. Whereas if we click ''Source'', then we first start from the source and then we move it towards the place that we want to substitute with. There you go. You just release it and this does it automatically. How cool is this? Very cool. Keep in mind that this Patch tool works with any selection. If I want, I can create any type of selection with any tools that we've seen in the previous videos, and then go into the Patch tool and use it. For example, right now that I have the Lasso tool selected, I can select around these people like so, then go in the Patch tool and then I can directly move it wherever I want. There you go. Done. Disappeared. One more way that you can do the exact same thing is to use the Content-Aware Fill. Let's make a selection on something. Let's say these people are right here. You can go and edit and click ''Content-Aware Fill''. If you don't remember, that is in edit, was I said at the beginning is that you can just go and help and type Content-Aware Fill. Then this window will pop up. Basically, Photoshop will decide starting from this green area selected, how to substitute the selection. Now it did a very good job, but if I want to remove, for example, my hair from the selection, I can just drag my brush here and don't select from these people, don't look at these people, don't look at this, don't look at them. There you go. Now if you look at the front part of the image, this is changing based on what I'm adding or removing. If I did any mistake, I can just go here and click Plus or Minus and keep going with the selection. Same concept as before, when I have plus like so, I can just color, and then if I want, I can hold Option or Alt and Windows and then just remove it. This will keep changing. There you go. This is perfect. If I want, I can have the output on a new layer or under current layer. Let's have it in a new layer and I can show you one more thing. There you go. Now I have this output in a new layer. I can recall it. I can show it or hide it. If I want to incorporate in the layer below, I just need to select them all, right-click, and then merge layers, and this will merge the two layers. Now, I don't have the distinction anymore. There you go. If the selection was not perfect, I can always go back and use maybe the Spot Healing brush, make it smaller, and then paint on top of it. This will remove all the object that have remained. Even in this case, all these tools, they can be used combined together. Another one that I want to show you is the Clone Stamp tool. This is very similar to what we've seen before, but slightly different. What this does is I hold the Option and then I click a reference point and this will create an exact copy from that reference point of the overall image. Right now I can click on it and this will be exactly copied. Then whenever I move, this will follow the previous image. If I take reference of the C here., that's when we recreated the C in this point and we'll recreate the image. As you can see, the other little rectangle that you see that is moving on the right side of the image is basically where I'm now cloning the image from the source to the destination. There you go. Let's say I want to remove these people using beach. What I want is, first of all, I decrease the hardness quite a bit and the size of the brush, and then I want to hold Option, select a reference point, and then start painting. Now, if I see that the people are coming back in, what I need to do is I need to re-reference another point from the image and then start painting again. There you go. I right-click reference. There you go, and these people are gone. These tools are very useful in lots of different situations when you're using Photoshop. Now let's open portrait number 3. Same time you can see that in this jacket, there are a lot of fur and we can use any of these tools to remove it. Let's start with the Spot Healing Brush tool first and then let's paint on it. There you go. It's gone. The fur is gone, even here, boom, boom. This one just need to paint on it, there you go. Boom. Nice. Well done. Very good. Then you can just take your time and remove all the fur from the jacket, which is super annoying. This is very useful when you need to clean an image. You can take even hours to do this process based on how refined your image you want. Then the Patch tool can be used also to remove some wrinkles like so. I just create a selection and then I move it below where there is a part that is similar to that one, I release it, and there you go. Before and after. Not bad. This can be used also to remove pimples. If I'm here, I can just use the Healing brush, there you go, and paint on it to remove pimples or imperfection of the skin. But we're going to have a look at this later on in the course. Now, let's open the London picture and I want to show you how we can combine several tools that we've used before to get it. In this image I want to try to clean the concrete because otherwise, it will distract the viewer and it's better to remove all the distracting objects as much as you can. I want to keep the concrete, of course, but I don't want to remove all these white little dots. Going after each single point where the Spot Healing brush will be crazy, so how can we select everything in a faster way? Well, we can use one of the tools that we used before, which is the Color Range. First, let's duplicate the layer here with a Command J or Control J to see the before and after. We can see the before and after afterwards. Then we select one layer, we go and select Color Range. Now there are different ways that we can do this. Either we sample this color, which might work, might not work, or we can try to go and highlight and play around with the range and see what we can get. I think this looks good because the black part, which is the concrete is black, therefore it's not selected, whereas the white bits are these yellowish elements that we want to remove. Let's play again around. I think this works, we click ''Okay''. But then what happens is that this is all selected and this looks like a mess, but we want only this part. We go in the Lasso tool and we click the last one here, which is the intersection of the selections. From this, we use the Lasso and we just go around here. There you go. No need to be too precise. Boom. Now it selected only this part of the asphalt. But I want to keep this line because I like. I'm going to remove this part using the removing selection. There you go. Very nice. Even here. Even this one, I want to remove it, there you go. Then we go and Edit, Content-Aware Fill. Then we eliminate everything that we don't want from the selection. That works. Let's see the result. This looks pretty awesome. Let's click "Okay", not much that we need to do here. Boom. Now this is sampled in a new layer. We can see a difference, Control D or Command D to deselect. This is the before and after. Before and after. Super clean, super quick, and pretty cool. That's it for removing object and unwanted distraction from the images, I'll see you in the next one where we're going to have a look at how we can clone things. See you there. 16. Clone: In this video, I'm going to show you how you can clone different objects in an image. Let's start by opening London Eye. There are several ways that you can do this and I want to show you a few of them. The first one is that we can use the previous one clone, not only to remove an object, but also to copy it. For example, if I want to copy this little bird somewhere else, I can select this part as a reference point, move it, and then there you go. Done. Super easy. Let's do another one. I can select as a reference to this point, move it and then boom. But what happens when I do, for example, this one, but then it goes here. What we need to do then in this case is we go back, we create a new layer, then we make sure to sample all layers. Then we sample this one, we go here. Good. Then we can play around with all the settings that we learned to blending in a better way, so we create a mask and then we can maybe make some adjustments like increase the brightness with the clipping mask and see where we can make it happen. For example, already right now I see that this is blended much better than before. But eventually I can also go with the mask and then use a smaller brush. Very low hardness, with the paint black to delay this part that I don't want it to be affecting the bird. There you go, and this already much better. Again, you can take your time doing this, but this is the concept. This looks pretty real already. Let's go back. One more thing that I can do is playing around with the blending modes. It's not guaranteed that there's going to be one that works, but probably we can check. This one works perfectly, Pin Light. Then let's try them all. Divide, no. I think that works best. There you go. Done. Not much to do. One more option that we have if we want to copy something is exactly like what we learned before, creating a selection. Then we can click ''Command" or ''Control C and V" to create a new layer just with the element from the selection. As you can see, now, this is the element from the selection before. Same as before, we can play around with the blending modes. This one works perfectly, Pin Light, or you can make a mask and then play around with the mask, with the brush. Let's set to opacity 100. Then you can be as precise as you want as always. You can double-click on the mask to access this Select and Mask option if you need to do so as well. Another option that you have, because this is black and it's very high contrast, you just need to click the Merging tool, select this part, then Control C, Control V to copy, it's going to create a new layer. You can click "V" to access then the Move tool and move this layer around. There you go. You have a new one. Then Command T to access the Free Movement, Free Transform tool, and then you can just move it around. Another tool that you can use is the Patch tool. You just need to click here which is underneath Spot Healing brush. Then you make a selection around the object and making sure that it is on Destination, you move it, and this will create a copy. There you go. Let's do another example with another image. Let's open Flatlay2. Even in this case, both systems works. I can just make a selection on it. Then move it. Boom. Created a copy. Make sure that this is Destination. The only problem with the Patch tool is that it will create in the same layer, so I won't be able to modify this. Whereas with the Clone, what I can do is I can create a new layer, and then clone. We increase the brush. Then we select the pen, increase even more the brush. Here we can go harder. Then from any point, we can just copy our image, copy a clone of the image. Right now, this is in a new layer as we did before. We can move it around without being constrained from anything. Then with the masking option, if there is this part that is not matching, you can just fix it with the brush. You can play around with the hardness and size to then blend it slightly better. Opacity, down. Boom. This will help with the blending of the image on the object in the new position. That's it for this video. In the next one, I'm going to show you how you can combine photos together. 17. Combine Multiple Photos: In this video I'm going to show you how you can combine multiple pictures together in a couple of ways. Let's start by opening Hong-Kong 1 and Hong-Kong 2. Now, let's drag this image in the other image. There are two ways. Either you drag like I did or you can click, ''Comment A, '' or ''Control A'' to select all, and then click, ''Control C'' to copy and ''Control V'' to paste in the other one. Now, what I want to do is, I would like to create a very cool effect that goes from night to day of the image. How can I do this? Well, first of all, I have a layer on top. I want to decrease the opacity so I can see what's going on below. These are two photos of Hong-Kong they don't match perfectly, but they are similar taken from the same spot. What I want to try to do is try to align as much as possible the two image. I think this one is slightly smaller. There you go. Then try to be as precise as possible while doing this. That's better than before. Click, ''Okay.'' Now, using the concept that we've explained before, we just need to mask this image on top and then make the combination happen. I'm going to use the brush on the mask here and brush that one to be back, so it hides everything. Then let me show you this trick first. Whenever you have the brush instead of going here every single time as we've done before, if you hold control option on Mac or it should be control and alt on Windows, and then you click and drag left or right, you're increasing the size of the brush. Whereas if you go up and down, you increase the hardness or decrease the hardness of the brush. This is a much faster way than going every time here and there, or what I use I have the touch bar in my MacBook Pro so I can just move and use the touch bar here with the hardness and the size of the brush. Here we go into mask, we make sure that we have black, if we don't have it here we click ''D'' to reset and then this one to change, and what I want to try to do is try to blend this as much as possible. There you go. Click. Then try to make it happen with this move and transition possible. You can go around and play with the brush. Or what we can do is we have another option that I haven't shown you before. Let's delay this layer mask and let's create another one. Because this is a normal layer and we can paint with any tools that we have, let me introduce you to the gradient. Here you can play around with anything when you need to color using different types of gradients; radial, angle, reflected, and diamond gradient. Whenever you click here, we'll open up the gradient editor where you can pick from basic presets and you have a lot of different colors here, but then you can create your own as well. By clicking on the bottom of this bar, you are able to create a new color. Let's pick blue blue one, for example, by clicking on this spot right here, you're creating new colors and then you can just select whatever you want and Photoshop will automatically create the gradients that you like the most. But for this case, let's pick this one which is from black to transparent and we click ''Okay.'' Now we just need to drag from left to right and then release to make the gradient happen. We did it on the other side. Let's go back, control Z. Then you just need to drag from right to left to then apply a gradient that goes from black here to transparent that is here. We made perfect blending in the sky but I don't like much to see. Now I can adjust the selection by using the normal brush with a very low opacity and a very low flow like so, and then just paint on the city. There you go. On this part I want to bring up the daylight in Hong-Kong so I'm using the white brush to show this part. Very nice. Then maybe here I want to decrease the size of the brush and then showcase the night part of this building right here. We click the black with x, we change it, we stay with the black and then we paint on top. Maybe increase the flow in this case. There you go. Then we just want to hide the previous image. That's cool. The concept is doing this thing with all the buildings right here. Also make sure that this part is not really affected so we're just painting with the brush like so and then maybe we can decrease in this case the opacity and the flow to make it blended better. There you go. Then we need to cut the image. Yes. Now, it's not perfect because I don't want to take too much time in doing this. But if you make sure, for example, you go around all this part so you don't see the image in the front, let's say like here. If we want to show the night then you need to paint black. There you go. Whereas if you want to show the day, then you need to paint white. Then you can go around and adjust all the different buildings. This is the final result. One more tool that you can use is the auto align. To do this, let's open auto align 1 and 2. Let's drive one image on top of the other. There you go. As you can see, these two images have been shot handheld and therefore they don't have the exact same perspective, the exact same angle and it would be difficult to align them manually by using opacity as we did before. Another tool that we can use is the auto align. Let's select both layers and then we go and, edit and then auto-align layers. We can choose some different options, auto will work fine we click ''Okay'' and this will automatically align the two layers. There you go. This is the result, pretty cool. Now, if I want to blend these two images together the concept is exactly the same. I just need to make a mask on top of it and then paint with the brush as precise as you want and make the image below appear. Of course even here it takes a pretty long time to make selection just try to be as precise as possible, I'm going fast to just show you the basics. There you go. Not bad. In the next video I'm going to show you how you can simulate turning on car light. See you there. 18. Turn On Car Lights: In this video, I'm going to show you how you can simulate turning on car lights. Let's open Car Light.ARW. Here because it's a real photo, you can just make any kind of adjustments that you want as we've seen before. Let's not touch anything here and we click "Open". To do this, you have different options. One thing that I haven't told you before is that you can import custom brushes. I purchased some custom brushes before and to see what you have imported to see some custom brushes that are already inside Photoshop, you can open this tab. If you don't see it, you can go in Window and click brushes. Now let's make this one bigger. Here there are a lot of different folders. Some are built in Photoshop and some are from outside. I purchased this super cool light effects. These are all custom brushes that can be used in your image at anytime. Let's create a new layer and let's use, for example, number 4017 here. As you can see, the brush is shaped by these form of light and then depending on the foreground color, so right now I want the white. I can click on it and create first car lights. I can take maybe another one as well. This could look okay. Everything that we're missing now is to make this part slightly brighter. Even to do this, there are lots of different ways. Either you use a normal brush and you just paint white and this could work. Yeah, I think that could work. There you go. This is already quite turned on. I don't like much of these rays because they are too strong, so what I can do is I use a filter called Gaussian blur to make it mode blurred. I go in filter, blur and then Gaussian blur, and then I play around with the radius. For example, 2650 pixel works fine, and that's it. That's really one way to turn on the car lights or if we don't want to use this method, we can use adjustments, like brightness and contrast, and then we increase the brightness quite a lot. Invert the mask by clicking Command I, so everything is now black, so nothing is visible about this adjustments and then we can pick a brush. Let's pick a normal brush and then we can paint using the white color on top of it to reveal the adjustments that we made and this is the same effect. There you go. This looks pretty good. Maybe here a bit more. Yeah, nice. That's pretty much it. To recap, to do different effects in Photoshop, you can use lots of different ways, especially when we talk about brushes. On the Internet, you can find lots of different creators. They sell their own brushes or even some certain website there, they sell brushes and you can just import them by going here on the three lines and click "Import Brushes" and then you'll show here. I purchase also some clouds and then some birds, and then some fares, some IVs, and all the things and more. Or the same effects can be achieved using adjustments in combination with mask so it's totally up to you. That's it for this video. I'll see you in the next one. Thanks for watching. 19. Text Interacting with Objects: In this video, I want to show you how you can use the masking option to play around with text and subjects. This can be useful for making YouTube channels or magazine covers are loads of other different options. Let's start by opening Gym2. Then the fact that I want to achieve is, try to stay behind this leg, but then in front of this other leg and then behind again her foot. Let's take the text tool and let's write something random like, never give up. Then we click "Control" or "Command T" to scale it bigger. We make it that big. Very nice. Let's change font. I don't like this one. Let's pick Montserrat, that's too big. Let's make it smaller. Yes. Very good. This could work. Now, if I double-click on T, it's going to select the whole text. Then here in the character menu, I can decide to have it all caps on and this is it. Now let's have it maybe bolded, extra bold. Done, good. Then let's make it smaller like so. Here we have different option. Either we can mask out directly the text. Or we can try to select the subject, make a copy of the subject, and then put the subject on top. Let's say if the magic one where the select subject works. It looks pretty good. We could command or Control J to duplicate the selection. This will create a new layer, well the person, and then we drag the person on top of the text. Right now it looks like that, the text is behind the subject. But then as I mentioned at the beginning, I want this part to be in front and this part to be at the back, so very easy. I just stay on this layer 1. I create a mask and then I'm going to pick a brush, make it maybe this big and then I want the black color here as the foreground color and I'm just going to paint here to hide this part of the body of the person. But because the body is also below, then it won't be affected, it's still going to be behind the text. This is the result. Looks great, isn't it? If we want to take this further, we can apply a drop shadow, double-click on the layer here on the person, and then let's see how it is the result. We can play around. I want to be on the front like so maybe less distant, good. Don't worry about this part we're going to delete this afterwards. But I want to make sure that this part and this part have a very nice shadow. Maybe we increase the size. Yes, it was a little bit spread out. Very good and then we click "Okay". Nice. Now what I want to do is right-click in drop shadow and create layer. We'll click, "Okay", and we're going to have the shadow here, create a mask. Then with the black brush, we're going to paint on top of this to delete parts that we don't want. This is it. We have a nice shadow here and we have a nice shadow here as well. This is the final result. Let's do another example and we open face. Now here, what I want, this would've been a YouTube thumbnail. Let's say I want to write here, must have photography app, but with the word photography, as big as the image and behind my finger and below the phone. What I do, first of all, let's create a text, must have. Then let's make it bigger. I think this could work. Now, let's pace a bit more to two , slightly smaller now. That's good and then let's write photography. Let's make it bigger, I think that could work. Let's make it as big as the text above. Let's position it properly like this. This one is slightly lower. Let's put everything on white. Double-click on the T to select the whole text. We go here and we can change the text, or we can do the same thing by going in this panel right here and change the color there as well. There you go. This could work. Now what I want to do is, to have this, must have behind the subject. First I click "Command J" to duplicate the background and then I'm going to go into magic 1, select "Subject". Very good, and then create a mask. Drag the layer on top of the text, so we'll simulate that the text is behind everything. If there is something that is not okay like here, I can fix it using the brush and then make it smaller. With the white color, I'm going to paint on top of these parts that have been hidden before and also on the other side. That's it. Now what I want to do is, I want to put this photography board behind my finger and the phone. If I move the photography behind the subject, this will be told to the behind. But I want to put in between. What I need to do is, I need to Command J, another layer here. Then we drag it on top and we just need to select the phone and the finger. Even here we can pick any selection process that we want. Let's try to see if the quick selection tool works here. That's good. This did a pretty good job. Maybe here we'll need to refine it. That's perfect. Now if I want to refine this, I can take that polygonal lasso tool because this is a straight line. I make sure that here I'm on adding selection, and then I click first point, drag my mouse, and then click the second point. There you go even here was not perfect. Done. That's it. What I want now is to create a mask and is going to reveal the photography word that is below. If I don't like the edges right here, what I can do is I double-click on the mask here and then click "Select and Mask" and play around a little bit with the smoothness and the radius. Let's have a look on the white background. That's good. That's much better already eventually can shift the edge minus 20. That looks great. Let's see the result and now is perfect, great job. The last thing that I want to create is a shadow. Because of course, is below the phone and behind the finger. Let's try to create a shadow. In this case, what I want to do is I create a new layer, click this button right here, and then bring it below and simply with the brush, make it black and paint. Let's make the brush slightly bigger and very low hardness, even zero percent could work. Then let's just make a shadow here, like this. Very nice and what we do here, we just decrease the opacity and that's pretty much it. That's the final result. It's pretty cool, isn't it? If I want to affect, not my scheme here, but only the text photography. I can also create a clipping mask, right-click on this layer, and click "Create Clipping Mask." There you go. This is going to affect only the text and nothing but that. Using this concept of masking, you'll be able to create also magazine covers or other things that interact within each other. In the next video, we are going to span these concepts using objects. See you there. 20. Interaction between elements: In this video we're going to expand the previous concept just using objects. Let's open again Gym2. Now, I will let you create a circle that goes a little bit behind and then in front and then behind and then in front of the subject. To create a circle, we have different options. I want to show them both. First one want to use the shape and we take the ellipse tool, and with these settings right here, we can change the stroke color. For example, we can pick blue or we can pick any other color, and then we can change the fill. In this case, I don't want any fill and also the stroke dimension. I think this one looks fine. I just need to drag and create the circle right here, and this is already fine. The second option that we have is first of all, we need to create a new layer, and then we create a selection using the marquee tool with Ellipse. We can start from the center, hold Option in Mac or Alt in Windows and shift to start from the center and then create a circle. There you go, like so. Then click "G" to have the paint bucket selected and we switch the color, let's say red, and we color it. Then we go in Select, Modify, and contract the selection, and we can pick maybe 60 pixel. There you go. Now the selection is contracted towards the center, and now we can create a mask. Now because the mask is taking only the center of the circle, we can invert by clicking "Command I" or "Control I" and this will invert the mask, so we're going to have just the outer part of the circle. Now, from here the concept is very close to what we did in the previous video. We just need to go in the layer below. Let's make a copy and we go on Magic Wand, Select Subject, and simply make a mask. Drag the mask on top of it and see if there is any correction that we need to make. Actually I did an amazing job already so there's nothing actually we want to adjust. Maybe we want to double-click, Select and Mask and increase the radius and the smoothness. That could work and we click, "Okay". Very nice. This is better already. If you see here is much smoother than it was before. Now, I just need to decide which part I want in the front and which one I want in the back. Everything is in the back already, but let's say I want this part in the front so I make sure that I'm on the mask, and then I click "B" to select the brush, stay on the black and simply paint where I want the circle to be in the front of the girl. Here I want it back and here I want in the front. Very nice. This looks like that the circle is going behind, then the front and then behind, and then in the front. Of course, if I want, I can make it even better by creating a shadow. I can do it manually or in the same method as we did before. Let's do it manually this time. I just need to create a new layer, have the black selected, and I can reset it by clicking "D" then break the brush slightly smaller, there you go, and paint where the circle is. That's good, and then here. That's good. Now we drag this part below and we decrease the opacity. Yeah, that's it. It looks like a shadow. Right now you understood how easy it is to play around with the mask. It might take a little bit of practice to see things, but this tool is super powerful and you can just play around with the front element. Thank you very much for watching and I'll see you in the next video where we're going to start talking about portraits. 21. Eyes Focus: For a few videos from now on, we're going to talk about portrait, and in this one specifically we're going to talk about how we can enhance our eyes and how we can change colors of our eyes. Let's start by opening Portrait 3. Then let's zoom in by pinching in if you have a track but or by pressing Option and moving into tripod or simply Command and plus to move in or Command and minus to move out. Let's start by zooming in on the eye. There you go. The first thing that we want to do is create a copy of the background and we can Command or Control J to make a copy. The first thing that we want to do is select the Dodge Tool here on the left panel and then we're going to set the highlight here in range and exposure around 22 percent. What this does is increasing the highlights and the part that we're going to paint, so, with the mouse we click around the eye and as you can see, this is already much clearer than before. Before and after. Yes. One more thing that we can do is use the Burn tool, which makes things darker. We had arranged mid tones around, let's say exposure, maybe 34, and let's darken with a smaller brush, the part on top of the eye. Yes here. The eyebrow. There you go. Good. This will enhance the eye itself. Let's see before and after. Much better already. One more thing that we can do in the eye, is saturate it a little bit more. So we use this punch tool here than we demo we can have desaturate or saturate. We're going to click on Saturate and the flow, let's say 20 percent. That's it. Then we can click on the eye to make it a little bit more saturated. Before and after. Not a huge difference, don't change too much. Now let's zoom out to see the effect before and after. Already a huge difference. Now, don't worry if it's done too much because after we'll be able to decrease the opacity in some central parts, for example, right now I can see that this is a little bit too white. The next thing that we can do is we can take in this menu right here, we can press and access to the sharpen tool and here we can pick a different mole. I'm going to pick normal one and the strength, let's say maybe 50 percent. Then with a smaller brush, we're going to just tap on the eye to make it even sharper. Yes. That's it. That's the final result before and after. Now, let's say I did too much of the white here, which now it is I can create a mask and then we with a very small brush like so and very low opacity here, we take the brush and with a very low opacity, we tap black, we paint black on this part. This as you can see we're hiding a little bit, some of the adjustments that we made, and this looks pretty perfect, maybe a tiny bit more. Yeah. There you go. Nice. This is the before and after. Huge difference. Eventually we can do the same exact thing with the RTI, even though in this case it doesn't really matter because it's very dark. Let's go in the next phase where we're going to see how we can change color of the eyes and let's open eyes. There you go. Now, our goal now is try to change color of these eyes. The first thing as always we create a copy of the background just so we can see the before and after, afterwards. Then what we can do is, we take a lasso tool and then we create a selection even draft one. Don't worry if it's not extremely precise about a portion of the eye. Let say like this. There you go. Then we create a new layer and we're going to paint this with whatever we want. Let's say we pick a red color just to give you an example and we paint on it. Now here where the magic happens, you just need to go here where there are all the blending modes and we play around with the colors and see which one works best and probably the hue will be the best one, and there you go. Now you're changing the color of the eyes. At any point in time, you can just hold Command or Control, click on the Layer and this will be selected with another color. You can just paint with different colors. So we have one blue, we can take the blue and paint blue. There you go. This is the radial part of the eye. Let's say we want to change also the other part, let's do the same thing. Create a new layer, take the lasso tool, select the other part of the eye. Nice. Now click "G" to access the paint bucket tool, change the color that you want. If we want to keep it, maybe yellow, no yellow is already like that one, maybe green, and then cool. We paint it. Command D to deselect and then apply the hue blending mode and there you go. She has an eye with two different colors. At the same time, let's say you want to adjust this, you can always create mask or take the layer directly and make it even bigger like so and then you can adjust it at anytime. Let's say it was like this and I want to adjust this part, I just need to paint with the same color, let's say green on this area, and this will be colored as well. Let's put the opacity 100 percent and there you go. This is colored as well and then you can adjust it. Whereas if you want to remove this part that you colored by accident, the best way either you can use the eraser tool, but this will be permanently, then you can pick any brush that you want, a soft round and then this will delay the permanently or you can just create a mask and do the exact same thing that we've been doing until now. Take a brush black and then paint on it with the opacity maybe a 100. You've removed this part, but the mask is not distractible. It always best to use mask as you can go back at any point in time. Even here maybe I don't like it, there you go. If we want to modify this color of the entire eye, then we can just select the whole eye. There you go. Go around. Don't worry if it's not perfect. Then you remove by going into this part, the internal part of the eye, the black one. Yeah. Nice. Then we create a new layer. Take the paint bucket, let's put blue teal paint on top, blending mode hue. We made the eye blue. Easy. If it's too strong, then you can always decrease the opacity at anytime. Of course, if you put zero, there's going to be exactly like before. Maybe let's say 50 looks good enough. Not bad. All right that's it for this video. I'm going to see you in the next one where we're going to talk about teeth. 22. Selecting Hair: In this video I'm going to show you how you can select hair. Before it used to be the most difficult thing to do in Photoshop and now the AI is just so advanced that it has become super easy, so let's take into it. Of course we are opening Hair 1 and hair 2. Let's start by Hair 1. Let's make a copy of the background just in case, and then we're going to click "Select Subject" and see what happens. There is already a pretty good selection. Now let's make a mask and then we double-click on the mask to open this panel right here, and then click "Select and Mask". Now we can see here changing the view that did already an amazing job and we don't have to do much. Let's get the lasso tool where to adding selection, and then let's make a selection on around her head. A rough one, no need to be too precise. It's for showcasing how you can select hairs. There you go. Now we can create a mask, and then we double-click on it to show this panel and, then we'd select and mask will be able to refine in a much better way the hair. The best tool is this one, Refine Edge Tool. This is pure magic because you just need to paint with these tool around the edges, and Photoshop will automatically make the selection of the hair. This is just crazy, how fast and easy it is right now. There you go, and it's pretty perfect. If we change the view here on a black, we can see that there is nothing that we can do better than this. Is really really great. One more magical thing that we can use is this button right here as I've shown you before; Decontaminate Colors, and this will remove these halo that we can see from the background. Let's click on it, and boom. Let's click "Okay" and we can create a new layer. Let's put it below paint bucket and let's color it blue, and we can see that the hair is there. How amazing is this? Now if there's these little problem, you can always go back and change it a bit or use directly the brush black and get it away. Boom, it's gone. How cool is this? Let's try the same thing with Hair 2. Let's make a copy of the background first, and then we go and select "Subject". You go create a mask, and then go and select the mask to see how it was the selection. You did already an amazing job. There's not much that I want to do more than this, let's have a look at the other type of views. Well, it's amazing. Honestly, there's nothing that we need to do. We did already an amazing job, but eventually if we want to make it maybe slightly better we can use decontaminate colors here and then we're going to click "Okay" Then if we create a new layer we'll be able to check the work that Photoshop has done by clicking paint bucket and changing the color. How crazy is this? Look at the perfection. Boom, super easy. If there are some problems, of course you can always go into mask, brush, and then adjust it with the white color. Click "X" to switch between the two, and then with the brush you go and paint it. Very nice. Is there any problem somewhere else? Looks like no. Very good. If you have these edges you can adjust them by going and select mask and adjust the smoothness. There you go. Look how much better it is right now, and then I mentioned also the radius. That's it, perfect. That's it for this video. I'm going to see you in the next one where we're going to talk about skin retouching. 23. Skin Retouch: In this video, you're going to learn how you can retouch the skin and making it look perfect. Let's start by opening Portrait Number 1. Then here we have two options. First of all, let's duplicate the layer so we can have a reference folder before and after. Let's rename it maybe before and let's stay on the layer above. The first thing that you want to do, and this is the very basic adjustments. Many times I just do this thing without going into the next step that I'm going to show you later. What I want to do is to just remove these big pimples and the difference is going to be already massive, so we can use the spot healing brush to do this. Ninety-nine percent of the times it does a great job. But eventually we can use the Patch Tool or the Healing Brush or even the cloning as we've seen before, to remove the pimples. Let's use this spot healing brush for now. We zoom in and then let's try to remove all this big, big pimples right here. Very nice. I'm just going to speed up the process. After removing the big pimples this is the result, before and after. This is already a massive difference and could be enough if you need to post your photo just on Instagram and you don't want to modify your skin too much. However, if you want to shoot a campaign or if you have some big shooting or if you want to go deeper into skin retouching, here is what we have to do. Let's copy two times this layer. Common J, Common J or Control J. Then we name this one first step, and then we name the second one blur and the third one, texture. Now let's hide this last one and let's go into blur. Now we're going to filter blur, Gaussian blur. With this rectangle right here, we select close to the eye and we need to make sure that we can recognize the eye, the pupil itself. We decrease the Gaussian blur until we can clearly see the eye. Has to be blurred, but not too much. This would work because we can see that he's here and we click "Okay". Then we show that texture layer and we click on it, then we go in image, apply image and make sure that the source is Portrait Number 1, we click the layer as only blur and we need to make sure that the blending mode is in substract. Not normal like you're going to find, but we need to have subtract and then have a scale of two and an offset of one, two, eight, 128. Now you click "Okay", and then you're going to see something that looks like this. This is the texture of the image. Now we go into the blending mode with a texture selected and we go and click on "Linear Light". Now it looks like that nothing has changed. But then look the magic happens. We go in to blur, we click on the layer, then we go into Lasso tool in this case, we make sure that this is selected, add in selection and the photo is around maybe 20, 15, or 30 depending on how big the image. Let's leave 25 for now. Now what we need to do is just select her skin. You don't need to be too precise in doing this. Don't take the mouth or don't take the eyes, or the nose as well, leave them outside, and then we select her skin like so. Nice. Maybe here the nose a little bit more. There you go. Maybe we can select the neck as well. Good. The next thing that we want to do is we're going to filter again, blur and then Gaussian Blur and see that the more we increase the pixel, the better the skin will look until it just go crazy. Here it looks completely fake, and therefore you need to find a balance while doing this. Let's see where it looks good. I think here it looks great around maybe 13 and you go and you click "Okay", then we deselect and the skin looks so much better than before. Here is the before and here is the after. Not bad. At any point you can always go back into the blur level and if you want to increase the smoothing effect and you can just select the part that you want to smoothen more, we go to filter blur, Gaussian blur, and then you can increase this part if you want. For example, right now actually it looks good like so. That's pretty, pretty good. Then we can touch up a little bit the nose, we can blur, Gaussian blur, and then we can increase that sit. Command D to deselect and let's see the before and after, huge change. This chin was already pretty bad before, we just made a huge change but then if you have a model that has a better skin, then the result will be even better. That's the end of the video for skin retouching. I'll see you in the next one where we're going to talk about Liquify tool. See you there. 24. Liquify: In this video, I'm going to show you how you can use the tool liquify to make changes in our body. Let's start by opening portrait number 2. Let's create a copy of the background just in case we want to see the before and after. Then we go and filter and we click "Liquify". It's going to be a new Window opening. From here we can do lots of different things. The first thing that I want to show you is this little button right here the Forward Warp tool that can be using many different situation. Then you have a brush which you can modify the dimension. For example here let's even 166. With this one, you just need to press and drag to make changes to the dimensions of a certain part of the body. For example, if I don't like this line right here, I can move it towards the center and maybe with a bigger brush, let's say like this, I can just drag and move this parts towards the center. This could be used to shrink it down, straighten part or to make other larger. If I don't like, for example, this ear right there, I can push it towards the center there you go to make it look like a little bit smaller. This is very useful in many different situations. The menu low, we have lot of different options to modify directly certain parts of the face or of the body. AI in Photoshop is amazing and an automatically recognize face parts, for example, the eye size here we have the left eye and here we have the right one. Here we can modify the size of the left eye and that if we click this link, then we'll modify the left and right side at the same time. There you go, and we can make the eyes much bigger. The same thing. This affects the overall size of the eyes, whereas the height only of course, the height of the eye and down width and also tilting is crazy because it looks just so perfect and eye distance as well. The same time you can explore the nose and the mouth if you want the noses to be higher or lower and maybe bigger or smaller than we can use these sliders to modify the face, they work amazing. Here we can modify the mouth to make a smiling a little bit more or just changing the upper lip or the lower lip, and the mouth width. It's just crazy. Let's click "Okay". This is it, this was there before and after. Let's do another example with portrait number 3, because I don't like, for example, my nose here. I don't like this little curve. What I can do is they going filter, liquify. Then with this much tool here, I can zoom in, in my nose to make the brush much smaller, like so, and then simply drag this line to adjust my nose. How cool is this? Is that before and after. I just straightened my nose. Let's open another picture now. Click on "Person" and open it. Now, guess what using these tools, you can literally make anything to your body. Let's go to liquify and let's try to make this belly slightly smaller. We increase the brush size, maybe like so. Boom, look how's the shrinking working, make it smaller for this part. There you go. You can be as precise as you want. Of course, you can't make freely the six pack with this, but you can improve any photo that you have. You can also make the arms smaller if you want or affect the image. Maybe have a smaller double chin. Here you can literally affect the whole image as you like. Then you can literally play around with this until you find the results that satisfy your needs. This is there before and after. There we shrink down a little bit, not too much, but we can go further if you want. But just to show you that you can do a lot of things, click "Okay", and this will be saved already in the original layer. For one last example, let's open "Yoga" and then let's go and filter liquefy. Just to show you that if you want, you can shrink down anything and give a customized shape to anything that we want. In this case, let's say I want to make the legs smaller just need to use this tool and then we can decrease the dimension of the legs just a tiny bit, no need too much. If we want, we can make even the butt slightly bigger. Nice. Here we can shrink a bit thus can go smaller here and there you go. Tiny changes, but they'll make a huge difference in the final image. This is the before and after, huge difference. We click "Okay", and we're done. This is it for this video. The next one we're going to have a look at something funny. The neural filters. See you there. 25. Neural Filters: In this video, I want to show you something very funny, it's the new Beta function in Photoshop and it's called Neural Filter. These allow to modify the overall look of a portrait or even general image. These are developing and for now are not really used and I don't use them much, but I think it's worth showing them to you because they're going to be probably very useful in the future. Let's open Zyprh number 1, and let's go in Filter and then Neural Filters. This will open up a few option. The first one that we can use is skin smoothing. You can do basically what we did before, but this one will use AI, and then you can decide how smooth you want the skin, and it does an amazing job. I'm pretty sure that with time, Photoshop will develop this function even further and will have a even better version that what we did before. Let's turn these off and let's go into the fun part and we activate this Beta, as you can see here, Smart Portrait, and check this out. You can just be happy if you want and drag this lighter [LAUGHTER] to the right. Wait a few seconds until this is charged. This is the result. [LAUGHTER] It's pretty crazy. Then you can be sad, or you can have a surprise element. Let's say I want to be surprised, and let's drag it to the left. Let's see what happens here. There you go. Then let's change it. Let's say I'm angry right now. Oh, and this looks good. Let's drag it to the left. Let's see what happens. Funny. Then we can also change the facial age. I want to be old right now. Let's see what happens. Nice. This is the old version of me, not bad. Then we go to the left, and this is a few years ago. I leave it up to you to play around with these settings. Then I just wanted to show you that there are other option that are being developing by Photoshop, like Colorize that will bring old photos with colors or SuperZoom that allow to zoom in into JPG photos without losing too much detail. Photoshop will basically recreate some of the pixels that will be missing in a smaller photo. To compensate the loss of resolution and then others that will be added probably in the future. With these funny functions, we end up with the portrait section. In the next video, I'm going to show you how you can replace this guy in a photo. See you there. 26. Sky Replacement: In this video, I'm going to show you how you can replace the sky in an image. Let's start by opening sky. Now, here we have two options. The first one, let's unlock and create another layer Command or Control J to create a duplicate, and then we go in select, and then Sky. Photoshop will automatically select the sky and then from here, we can add any type of adjustments like we've seen before and create a different color or maybe substitute it, or create a color balance, change the hue and so on, so forth. For example, like so, then you can change the color of the sky in any condition. Maybe let's desaturate it, maybe like this color, I like it a lot and that's it. After you have this selection, this create a mask worth selecting Sky, you can always hold Command or Control and click on the mask to re-select it again and then maybe apply another adjustments like brightness. Then from here you can increase the darkness and do all the adjustments that you want to make. This is the first option, let's cancel this part and then let's go now and edit, and Sky Replacement. This is one of the coolest feature that you have in Photoshop, it's a new feature that came up not many months ago. From here you'll be able to replace this sky with low to different image and you can upload also your own skies. If we go here, we can change the type of the skies that we want. There are already some preloaded skies in Photoshop and you can change them all and try them around and see which one works best for your type of image. These already look amazing. Look at them. Look how crazy it is this function. This one looks great. Let's say this one we click "Okay", let's select this one. As you can see here, you can create new folders and you can add new skies and just import from your own pictures. Then with this lighter, you can zoom in or zoom out the preview so you see more or less skies. With this button right here, you have more option to rename, delete, or organize your files. Now, here's the coolest thing, it's not only that Photoshop substitute the sky for you, but you can also make loads of different adjustments into it. For example, adjusting the colors that are casted by the sky into the image. Here, you just need to play around and see what they do and which part works best. Usually, Photoshop does an amazing job already and you don't need to touch up much. But if you want to make any kind of adjustments, then you're able to do so. For example, if I move the temperature towards the blue or towards the yellow, and then maybe the brightness, and this is affecting only the sky, this is the sky adjustments, whereas this is the foreground adjustments. Everything else that is not the sky, so we can try and move them around and see which one works best. Then you can fade the edges or not, and then you can play around with the edges. Actually, I like not really faded that's great already and then you can shift the edges so they touch up the foreground elements or they just stay further away. I actually like this. Yeah, that's pretty perfect. Then the output you can pick to have new layers or duplicate layer. Let's have in a new layer and we click "Okay." Another cool feature of this tool is that Photoshop would create automatically a folder with all the masks and adjustments inside. These are non-destructive because these are all masks. If we need to modify something, we can just go ahead and do it manually. For example, here we can see that the part in white is the one that actually is visible in this image in the sky. Let's say we don't like this edge and we want to modify it by hand because AI couldn't make it happen in a very good way then we could just take a brush, take the black, and then we go and modify whatever edges we want. Of course now I'm doing it random because I just want to show you that you can literally modify anything if Photoshop didn't do a good job enough. Let's click "Command Z" to go back. The same time, you can still adjust the brightness. Just double-click on this adjustment and then you'll be able to make the adjustments that they were also in the previous part. If you modify the image, if you decide, maybe I like it brighter or I like it darker, then you can just double-click on this and modify whatever you want, even the temperature and the color balance. At anytime you can just hide this Sky Replacement Group, and then stay again in the bottom layer and do it again. Edit Sky Replacement, and then just change up and then you'll be able to pick one which where you want. This one looks pretty great. That's very nice. Lets have a look at this, nice. Let's decide I like this one. I can always flip it. If the sun is coming from the right towards the left, but here it seems that the sun should've been here then I can just flip it and see if that works better or not. This is totally up to you and Photoshop does a great job in allowing you to decide which part is the best, which skies the best, and which settings are the best for this type of image. Let's click ''Okay" and we're going to have another Sky Replacement Group so we can decide which sky we like the most. As you can see, there is a huge difference even in the foreground color. This is more green, whereas this one, because it's a sunset, is more like pinky. That's it for the Sky Replacement in Photoshop, I'll see you in the next one where you learn how to add fog, smoke, and different effects in Photoshop to your images. See you there. 27. Add External Elements: In this video I want to show you how we can add external element to our photos. This is one of my favorite things to do when using Photoshop, because it really allows to bring an image to life by adding depth, balanced the picture, and add vitality, with several elements such as clouds, smoke, fog, rain, snow, sun flares, sun rays, light effects, bokeh, plants, foreground elements, background elements and load of other things. To do this there are two different ways. One is using custom brushes. This means that you can create or import custom brushes into Photoshop that can literally be used as a normal brush with any color dimension, hardness, direction, and so on so forth. For example, a brush can take a form of a cloud. The second way is using overlays. These are basically external images that can be added and blended into our photo, can be either PNG files without any background, or they can be whether white or black background which would require a change in the blending mode once you add the element from the external source. Inside the folder you've downloaded you'll find another one called overlays, which contain a few free elements. I generally think that applying these elements will make the photo 10 times more appealing, at least. Let's dive into it then. The first image that we're going to use is ManSkate. We open it. Then as I mentioned before, overlays are external laser that you can import in Photoshop just by dragging them, that will add that to the picture. Let's have a look at all the layers that we have in our folder core overlays. Then maybe we pick Bad Photocopy number 1. We drag into Photoshop, there you go. Or you can go in Open, and then you do the same thing. It doesn't really matter. Now we're going to rotate it. Here we do minus 90 degrees, and then we're going to just make the dimension. Now seems that everything is black, but what happens when we change to blending mode screen is that all the black parts, basically they disappear, they blend within the background. There you go. This is already a pretty good result. Now if I want to make it better, I can click on T and then write Skateboard. There you go. Just a random title. I can put it maybe here on the white color. Yes. Then I can add another text, maybe writing Since 1992. Maybe we can put it here. There you go. This looks like really a campaign. Now one more thing that I can do is also dragging a different overlay. For example, this Polaroid PNG. We're going to drag it in there. There you go. Then let's make it bigger, until we are like this. There you go. Now we just need to bring the text back. Like so. You don't need to use the text, we're just doing something random. There you go. Or you can also delay the text, and then you just need to crop in the photo, so until you have the frame. This is another type of overlay having frames. There you go. These are already pretty good. You can do whatever you want, let's try to add also bad Photocopy number 2. That's it. Increase the dimension. There you go. Now as always we need to change the blending mode into preview. We go into blending mode here. Then we're going to change into Screen. Now if it's too strong, always when you're working with overlay, decrease the opacity, no problem. You can also create a mask on top of it, no problem. We have the mask, we select B for brushes, make sure that the brush is colored black. Then maybe you can make it slightly bigger, and then tap wherever you want to delay this overlay. Done. If you want to delay it also the bottom one, you can do the exact same thing. Maybe you want to showcase more the shirt just a little bit. Boom, there you go. Eventually if you have a text you can also apply the same overlay to that text. Let's cancel now this mask. What we can do is we drag this Bad Photocopy 2 layer on top of keyboard, and then we create a clipping mask. We create clipping mask. There you go. Now this is affecting only the text, but because he's on screen you don't see anything. We're going to change back into normal mode. Now it looks like the effect is on top of the text as well, even though it's pretty light. Can just move it around. There you go. Maybe you need to increase the opacity so it will become slightly stronger. The effect is there. When I'm moving the text, then it changes the gradient inside because he's moving around this image. At the same time if I take this layer and move it around, I can see that the color changing also in the skateboard text. This looks good. Now let's open a different image. Let's open Siegel. Now this image looks already pretty good, but if we want we can do loads of different things. Let's first of all change the sky, as we've learned in the previous one, sky replacement. and then we're going to pick whatever sky you want. I'm probably going to use this sky right here, which is a dramatic sky. Then you click "Okay". I think looks great. Maybe let's see if we want to change the brightness and decrease it a tiny bit. There you go. This looks already pretty good. Now I want to add a little lighting right here. I'm going to go in the overlays and then I'm going to pick lighting number 1, move into Photoshop. Just drag it in. There you go. Now I want to decrease the image and make sure that the blending mode is set on screen. There you go. Now I just want to decrease it, maybe here. There you go. Then if I want, I can change the blur. Because of this an element in the background, then maybe we want to increase the blur, so we go in Blur, Gaussian Blur. Then let's see what looks good. I think this could be fine, four pixels, that's right. Now one more thing that I want to do is maybe add a reflection here and maybe a rainbow. Let's see if we can find something. We get the Sun Warm here, drop file in it, and put it there. Set it to Screen. Then let's see if we can put it here. I think this could look good, but there is a problem, and this is one of the key things that you need to look at when you want to apply overlay, is that in the previous image, like in the previous sky that we were using, the sun is basically here because you can see these sun rays. It's extremely important to read the image. In this case the sun cannot really be here, otherwise these sun rays just wouldn't make sense. Whenever you're using overlays, be very careful and try to read the image, especially when we talk about lighting and position of the sun or the clouds. We're going to cancel this layer. Instead maybe we're bringing the rainbow. Here we got rainbow, put it on top, there you go. We place it here, small. This part was very far, and then we go Screen. Now obviously this is too strong, it doesn't make any sense, so we always decrease the opacity. There you go. I think something like this could look fine, maybe 10 percent, 15 percent. There you go. Even here if you want you can add some Gaussian blur or not, totally up to you. Even in this case if you want you can just add some dust on top of it. Let's see if we find something. Let's get Dust & Scratches number 7, and then you can just drag on top of it, rotate it 90 degrees again, make it big, and then change the blending mode into Screen. Now you want to decrease the opacity quite a lot. There you go. Also seems like it is raining here. That's not an effect that we can obtain. Also we have some rain overlays here that we can use eventually. We can maybe drag it and see what's the effect of it. We jog it here, make it big. There you go. Decrease the opacity. It's actually pretty good. We can also delay the dust and scratches that is below. That's the final result. Next example, we are going to open Mountain. Here we can see that there is no snow, but I think it could look good. Let's go into overlays and let's pick snow. Maybe Snow_1, Snow_2, Snow_3. Let's see. I think Snow_3 could be all right. We move it, drag it on it, then change the rotation minus 90 degrees. Make it big. Change the blending mode into Screen, and boom, that's amazing already. I can also decrease the opacity if I want. Maybe let's leave it to 50 percent. There you go. Amazing change. Next one we're going to open up portrait number 5. In this case he's smoking a cigarette but there's no smoke, so what if we can add some smoke? Of course, so we go in overlays, we pick Smoke Overlay. We drag it on top of it. You want to rotate it, so you just go a little bit further away than the corner where you are in free transform tool. Then you want to decrease the image. There you go. Put it on top, maybe zoom in. I think this could look cool. Change the blending mode into screen, but then we have this problem right here. How do we solve it? Well we add a mask, brush, have it black, and make sure that the size is correct. That was too big. Boom. There you go. Just delete this part, and I'm pretty sure that now this will look pretty great. Let's have a look. Boom. That's amazing. If I want I can make it also bigger, maybe will look cooler, as big as the cigarette. There you go. If it's too neat, obviously you go in Filter, Blur, and then you add a little bit of motion blur or Gaussian blur. That's Gaussian blur 5, and I think this look great. One more thing that we can do here is that we can add a texture behind if we don't like the white background, obviously this photo looks great like this. But if you want, we can duplicate the background. Go in Select, Subject. Photoshop as always does a great job. Then we create a mask. Then we go into overlays, and we're picking Wood Texture. There you go. Import it in Photoshop. Make it as big as the background, and simply drag it below our mask. That's the final result. If I want always, I can just blur it here. Go in Filter, Gaussian Blur. There you go. Maybe this one you put a little bit more, not too much. Done. That's the final result. Pretty sick photo I would say. Next we open portrait number 1. That's cool. One more thing that I love to do with overlays is playing around with the background as we just did using shadows. In this case shadow of a plant, so we got this one. Then let's drag this overlay in the back. Same story as before. You can also just create a mask, duplicate the layer, select the subject if you want to make this one bigger, and let these go behind the subject. But in this case I think looks good already like this and there's nothing to do, no blur to add, it just looks amazing and creates a little bit more depth because you see that shadow of that plan just in the background. Super cool, isn't it? Next one, another example of a shadow. Let's open Pexels photo, ksenia-chernaya. Hope I pronounced it well. We got this one. Let's drag shadow window number 2. Then we put it on top of it. This will add so much more depth than the photo without. Now obviously is a little bit too dark, so what do we do? We just decrease the opacity. Boom. You can leave it as much as you want. This is just another photo. Is very different with more depth, with more elements that make the overall composition I think more interesting. Obviously if you want to have it clean, if you want to have a flat image, then this is always fine as well. The next one we're going to open Sky Rodrigo. Open, we me go in Sky. In this case we can substitute the sky guy and make it more interesting. We can duplicate the layer, Command J, then go in Select, and we go in Sky. We let Photoshop. Once this is selected, we create a mask, we invert the mask, and then we are ready to import whatever we want. In this case we can import for example a different sky, like night sky star in the overlay packages. There you go. Now we make it as big as the image. Nice. Then we just need to drag it below. Boom, that's the final result. But the alternative is always using the sky replacement function, which works much better than doing this process. Obviously what you need to do in this case, you just need to go in plus, we are going to find the image, Night Sky. There you go. Now you can see two images because I imported it already before, but just to show you. That's it. Now as you can see here is not perfect, but you can just go in the true mask and make it better. Next one we're going to open Wells 2. Here what can we do? Simply maybe adding some fog and some clouds in these parts. Let's see what we have. Let's select and drag into Photoshop fog number 1, cloud number 2, and cloud number 1. Boom. We got the first one, we got the second one, we got the third one. Let's start by fog number 1. We place this one in the bottom of the image. I think it could look good. We change the blending mode into Screen. Then we decrease the opacity. Very good. If it's too neat, we can always add a little bit of Gaussian blur. Maybe six, I think this looks great. Done. Now let's start with the cloud number 2. Here we add the screen mode. There you go. Then maybe we want to rotate it, let's say this way. Then I went to simulate that this cloud is going behind the first mountain that we see right here. How do we do this? Well let's place it here first. There you go. Maybe slightly smaller. Boom. I think this looks fine. Then what you want to do is create a mask on top of it and try to hide all these neat cuts. We use a black brush, decrease the size, and then with not much hardness, you're just going to go and paint away this part, and also this part because it's too neat and obviously clouds don't have this neat element. There you go. Maybe you can increase the opacity. Just stay further away, like here done. That's pretty much it. Boom. This looks great. Decrease the opacity. Let's place it maybe a 50 percent. I think this looks fine. Now we have the last cloud, which is the cloud number 1, and we do the same exact thing. You put it in the screen, you use a brush on a mask, black, and we just paint away these neat parts. There you go. You can place it wherever you want. Maybe here looks good. We decrease the opacity, 50 percent. Done. That's the final result. But we can also add one more element in this photo. It could be a sun, a reflection coming from the right. Here we have Sun Warm.jpg. Let's grab it and replace it in maybe here. Always blend the mode, screen, and that's it. Not even need to decrease the opacity in this case because it looks already great on that side. How amazing are these overlays is incredible. They can really transform your photo, adding so many different layers, adding depth in the picture, adding things that were not existing before. So they're very cool. A second option of doing the exact same thing is using custom brushes, which are basically overlays but instead of being files are built-in custom brushes. To import them you just need to go in the brush menu, you go into three dots, and then you go in Import Brushes, and then the file is going to be ABR probably. As I mentioned, they can be clouds, they can be birds, they can be reflection, they can be IV, whatever you want. If you want to add another cloud, you can do it here. Let's create a different layer. Then boom, you add a cloud. Obviously this is not the right color, you just need to change it into white. Depending on your image and your brush, then you need to do a few adjustments. But that's another option. I hope you enjoyed this video, and I'll see you in the next one. 28. Panning Effect: In this video, I want to show you how you can increase the panning effect or even creating from zero using motion blur. Let's start by opening Car Panning. Now, this is the panning effect when there is an object in focus and the background that is moving and is blurred but I want to show you how you can increase this effect and then with the following image, how you can even make it from zero. The first thing that we want to do is to unlock the background and create a new duplicated layer by clicking Command or Control J. From this layer booth, let's go in Magic Wand and click Select Subject. Let's see what happens. It's not a perfect result let's tries to fix it using maybe the Quick Selection tool, there you go. We just drag it over here. Now here is not perfect, let's fix it with Lasso tool and then here we have the Subtract Selection, and then we go around the car. We don't have to be extremely precise for this tool, of course, the more precise the better. Let's make sure that here the Feather is zero then we go around and make a selection to remove this part and then we can increase and make it better this part as well. That could work maybe here. Nice, that's okay. Now let's remove this part, we can click and hold Option or Alt Windows to remove a selection and change between the tools. There you go. Once again, we don't have to be perfect. Now let's use the polygonal tool to add this to the selection. That's it. Very nice. Good, let's follow the car over here. That's nice and then we double-click to close the selection. That's it. We just need to do this back part and I'm going to just speed up the process. Once we've finished selecting the car, even though it's not perfect, don't worry about it what we need to do is create a mask. Now, it's basically selected only the car in this previous layer then you select the bottom layer. We go in Filter, then Blur and we go in Motion Blur. This will move the image that is below and we can rotate the angle of the movement. Of course, I don't want this because it looks like earthquake but I want it horizontal. Let's say angle 0 or towards the car, maybe angle minus 19. That looks perfect and we can also increase or decrease the distance and to increase or decrease the movement of the background but I like it like this and then we click Okay, and this is the effect. Then you click Okay, and this is the final result before and after. It seems that the car is going much faster, isn't it? Now eventually, if you want, you can even adjust the selection afterwards by double-clicking on the Mask, go to Select a Mask and we can play around with the settings. I would like to increase the Feather, in this case just like so. Maybe shift the edge towards the inside and then we click Okay, and this is the final result. Not bad. Let's have a look at another example. We go in File, Open and we use Zyprh number 2. There you go. Even here the process is exactly the same. I would like to add some movement at this picture. Let's create actually two copies of this layer, so we'll be able to see the original whether before and after. Let's hide this layer now, then we go into top layer and we select subject. We go in Magic Wand and then Select Subject. If we don't want to go in a Magic Wand, but stay in any tool that you have, we can also go in Select menu and then click Select Subject. There you go. The effect is exactly the same and did a perfect job as always. It's absolutely incredible. There is two and then go to Mask, Great now we go in the layer below and then we're going to Filter, Blur and then Motion Blur. Even here, we want to adjust the angle based on the direction of the subject and I think this looks great already. Maybe decrease the distance, I think that was a little bit too much. We'll click Okay, and there you go. It seems that the subject is moving. Maybe if this is a little bit too much, if you want, you can also decrease it slightly more or we can also decrease the opacity in this case as we made another layer below. Let's keep it 100 percent for now and let's drag this layer on top to see the before and after. This is the before and this is the after. We added some movement and I think it's pretty cool and could be useful in many situation. That's it for creating motion with motion blur, I'll see you in the next video where we're going to talk about pattern. 29. Pattern Creation: In this video, I'm going to show you how you can create pattern that can be used for lots of different things. For example, putting the background or maybe adding some motion or adding some branding elements. Let's get into it. The first thing that we want to do is we open a new file, and we create a square 500 times 500. This we can leave 144 pixel per inch or we can put 150. Doesn't really matter for now and we click "Create" Now we go into folder of our photo and then we find the folder icons and then we select them all and we drag them inside the file. Then let's click "Okay" and move them a little bit around. That's nice. That's fine, that's fine and that's fine. The key point here is to find a way to place them around in a balanced way. Let's try to move them maybe here, even close to the edge, could look cool. Maybe here, this one maybe here, and this one may be here. There you go. Here's a trick. Instead of moving from layer to layer and then move them around, we can hold Command or Control and then click on an object to activate the auto select. Here you have the auto select and you can keep it on every single time or usually what I do, I skip it off, but then when I hold Command or Control, this goes on. Therefore with these button activated you can click on an object to activate it also is a layer. As you can see, I click here now this object is selected and I click this one and now this object is selected always while holding Command or Control. I can hold Command, click on this one and then maybe move it, there you go. Let's move the heart more in this way, this one more in this way. Now I think this is going to look, okay, let's try it here on the right, if you have this essential view, you will have one tab called pattern. If you don't have it, you can go on Window and click on "Patterns." Now here, as you can see, in this tab, there are some preset patterns that you can apply to your images, like trees and grass and water and here these are custom patterns that I created myself. If you want to make this as a pattern, you just need to click this plus right here and then give it a name. Let's say 'Icons number one,' then you click, "Okay", and this will appear in a folder and then you can move it around as well. I want to have it here ready to use it and that's it, you created a pattern already. Now let's open a new file, whatever dimension, doesn't really matter. We can open the first one, and then we can just drag this pattern on top of the layer to create a new pattern. By double-clicking on the new created layer, we can actually adjust the settings of this pattern. Here, we can adjust the angle of it so we can move it around and we can adjust the scale. If we decrease, the icons will become much smaller and then you can increase or move the angle. With this pattern right here, you can just change the pattern if you create more and you want to have a look and some others. For example, if you create a shape, then you can also create a pattern with different shapes, or you can put your own logo, you can put loads of different things. As you can see, just moving the scale and moving the angle, then you'll be able to create your favorite pattern. You can play around with it. Then if you want to create a different pattern, because maybe you can see that here, there is actually a huge white space. You can just go in your previous image and create a new pattern. From here, you decide, maybe this one was here and then this one is better if it goes there. Then this one a little bit more open. Then maybe this one a little bit here, there you go. Then you can just create a new pattern and if you want to delete a pattern, you just right-click on that one and then delete pattern. There you go. Then you can create a new one and so on, so forth. I hope you enjoyed this video, I'll see you in the next one, where we're going to talk about multi-post on Instagram. 30. Multi Post: Do you know this post history where you just scroll, but it seems like one single image. Well this is super cool. Let me show you how you can do them in Photoshop. Let's start by opening a new. Then we need to set these settings. We need to use 1,000 pixels or 1,350 if we want to have the vertical ratio of the Instagram post. Then the width, we need to multiply 1,000 times the number of post that we wanted to have. For example, one we want to have four posts, then let's use 4,000 and then we can use the resolution of 144 or whatever, it doesn't really matter. Boom, you're going to have a very long layer right now. Next step will be to separate these four posts. To do this, we go in view and then new guide layout. From here we'll be able to create automatically some rulers that will help us slice this images. We can pick the number of columns that we want and because we said and we set the file for four columns, then we just need to put this number right here. Then we click "Okay" to create these rulers. Then the next thing to do is to use this splice tool that you find it below the crop tool and you go. But eventually you can slice the post manually by just clicking and dragging on the rulers and then you're going to see the first one here and then the second one here and then you can go ahead with the other. But the easiest option is click this button right here. Slices from guide. Click and there you go. We have already the four posts. Number 1, 2, 3 and 4. Now, what we have to do is just simply design our own post and we can make them as good as we want. Let's create a new layer, layer 1. Then let's use the gradient tool to make a nice gradient. Let's pick a preset, for example, a blue one and then maybe we can change the color. Let's say we want a reddish now, like so, that could look good. We click "Okay" then we drag the gradient from left to right and there you go. Now let's make some texts. We select this button right here, we click on it, maybe change and use Montserrat and maybe bold. You change all the options that you want here and we write whatever we want, we design our post. Let's say number 1, secret. If the paragraph is not okay, you can adjust it by going into this. If you don't see here, you can just click on Window and activate the paragraph panel. There you go. Then you can play around with the character and here this one has to be set on auto. There you go. Nice. These types of posts are very powerful because they allow the audience to tell them to scroll until the end of the cursor. To do this, we can, for example, add an arrow and this point right here, it is telling the audience, hey, you can scroll and there are more things right here. We can pick any arrow like this one that you find or you can create on your own and then let's do this and maybe change the color. We double-click to open the layer style, go in color overlay, and then we create whatever we want or we can also create a gradient overlay, which can be customized as we want. Let's pick a blue one. Remember to increase your opacity 100 percent and then you just make it smaller. There you go. Then you just need to finish customizing the other three posts. For example, we make three copies of the secret and then we move it. Maybe here we have the secret number 2, secret number 3, and then secret number 4. I double-click context to select it and then we go and modify whatever we want here. Number 3 and then we have number 4. From here, you can pick the arrow and then move it in the other side as well. There you go. Maybe a tiny bit on the left. Here will be the second post and this will be the third one. Just to show you how it's going to be the flow and then to save this file, you just need to go in file and then export save for web. Then you can pick all the settings that you want, use equality, a 100 percent jpg, then you click "Save". Then when this window pops up, you need to make sure that slicer are here, all slices. Then you click "Okay", you can give it a name. This will create a new folder in your desktop called images which contains all the four different posts. Now you just need to go on Instagram and upload them. How cool was this? That's it for this video, I'll see you in the next one. Thanks for watching. 31. Reshape the Image: In this video, I'm going to show you how you can expand an image using different methods. First one, let's open sea. This is probably the easiest. You just need to go and crop and then tick various Content Aware Tool. Maybe zoom in into image, drag one corner and look the magic happens. Click "Okay", and boom Photoshop increase automatically that part of the image. This is pretty crazy, isn't it? Let's have a look at the second method and open Flatlay number 2. Now first, let's increase the canvas size using this crop tool without these content-aware tool. That's it. Then the next tool that we want to try to use is the Content Aware Scale. We're going Edit and then we click "Content Aware Scale". Now, look at the magic happens when you drag this one. The image automatically resize itself and Photoshop will decide how to compensate the bigger dimension. Isn't it crazy? This can be useful for many different purposes. Even if you want to scale it down, maybe Photoshop is doing a great job. Great job, great job. Automatically deleted it and recognize to decrease the center of the image or increase the center of the image and the proportion to make the size that we want it. There you go, super cool, isn't it? Now let's do another example. We open the file called Fruit. Then let's rotate it. First we go in "Image", "Image Rotation", and then we go "Counter Clockwise". There you go. Now what happens is that when I increase this background, for example, the [inaudible], I would like to fill up this part. Let's create a new layer and then we use the paint bucket tool. We hold Option or Alt to select this color right here, and then we click it. Now, let's drag the layer below, and then as you can see, first is not matching because this is a texture, is not really a single color. How we can use this texture to then expand the image. What we can do is we use the Content Aware Tool. We select this layer where the fruit is, then we go in "Edit", "Content Aware Scale", and we drag, drag, drag, boom, there you go. Crazy. But then let me show you another option that you can do. Just go back because sometimes what happens is that because this is moving the whole image, maybe you can distort this, but I don't want to distort the fruit, I like that it is. Let's try to make a selection first on this part of the image. Then we're going Content Aware Scale. Then we can drag this selection and tell Photoshop, okay, scale it up, but just using elements from the selection. We click "Okay", and this is the result. It's crazy. Let's do one more example. In this case we open Man1. Then we click "Open". Let's try to make the same thing that we were doing before, get the crop tool. Let's increase the image. Then when we're going to use the Content Aware Scale, what happens is that even this man is stretched out, and of course this doesn't work. Let's see how we can solve this. Well, this is the process, let's take the marquee tool, a rectangular marquee tool. Then let's make a rectangle around this man. Then we go in "Select" and "Save Selection". There you go. Now, let's call it Man1, and click "Okay". Next you want to go again in Content Aware Scale, and then on the top you see this button right here and a drop-down menu that says protect. From here you click Man1, which is the selection that we made before. Then from now, we can increase and expand everything in the image except that protected selection. There you go, we click "Okay", and this is the final result. Pretty crazy, isn't it? Let's open again the previous image called C. Then let's increase the canvas size by going into the crop tool and increase it right here. There you go. Now, I would like to keep and maintain this proportion of the sea and just increase the dimension of this black sand beach. What I can do is I just make the selection of the black sand. There you go. Then I go in "Edit", "Content Aware Scale" and just scale it up. Bam, click "Okay", and is done. It's pretty cool, isn't it? That's it for this video. I hope you enjoy. I'm going to see you in the next one. Thanks for watching. 32. Content Aware Move and Extend: In this video, I'm going to show you another cool tool that is called Content Aware move or extend. Let's start by opening Birds1. Below this menu, you'll find one object called Content-Aware Move tool. What this one does is that allow to create a selection around an object and just move it in another place. Then you click "Okay" and this will disappear from the original place and just stay in the new one. But what happens is that, for example, if you move this bird in this position then it probably won't look good. There you go. There's going to be an halo. To solve this, what we can do is, let's go back, let's deselect. Let's create a new layer. Then what we can do is, from here, we fit on Sample All Layers. Then we'll be able to get this bird right here and then move it in another side of the image, click "Okay". Then from here, because that's where the bird is right now, we'll be able to make all the adjustments that we want like creating a mask or maybe play around with the blending modes. Let's see if there's anything that looks good. Maybe not in this case. This one looks great, Pin light. Then we can mask out if we don't want this one by just adding a mask, then we click "B" to select the Brush, have the black one selected, pick a normal brush like a soft round, make it smaller. Then you can paint on this and there you go. But let's say we have a normal blending mode, then there are a lot of options that we can do. Let's zoom in a bit. First of all, we can select because there is a high contrast, we can use the magic one to select it and then click "Command C" or "Control C" and then "V" to create a new layer where the copy of the previous one and there you go. We can just move it around without all this mess. Or eventually, if we want to keep this one, then we can create a mask and just mask out everything that we want. We're going brush, Let's make it smaller like so and then brush out. While using the black brush, we can remove all the halo that is here. Then you can be precise and do things with calm and it's going to be a great result, there you go. Well, we can use all the previous method that we've learned before in order to make this happen. Let's delete these layers. If this tool doesn't work very well, you can always play around with structure and color to make it happen a little bit better. This is literally try and error, there's not a standard that you can use. You can always play around a few times and see which one works best for you. Pretty great job just modifying the structure and color, for example, right now. Let's go back. This tool also works if you want to make any type of selection with any other tool. For example, we can use the Marquee Tool or we can use the Lasso tool to make a selection around the object and then you can go and select the Content-Aware Move tool and do the same exact thing. Click "Okay", and this will disappear from here and change it from there. There you go. This didn't really a good job because maybe we can change the structure and the color to see which one works best. Let's go back. As I mentioned at the beginning, using this tool, you'll have two options, either to move one or the extend. The move one will make disappear the source into the destination. Whereas the extend, guess what? We just going to drag a selection from here and then he's going to keep both the source and the destination. It's kind of a copy very similar to the clone, but more advanced and could be used in several different ways when the clone doesn't work, for example. This will automatically detect the object that we want to copy that we want to clone, and then we'll make a duplicate in the destination. Even here, what I suggest is always try to use new layers to create new objects because for example, if we want to do this, then with Sample All Layers, we can move this around. Because this will be created in a new layer, we can always click on Command or Control T and then make all the adjustments that we want, like making going down, for example, and then move it around. Once again, if you see these halo right here, you can always try to change the blending mode and see if there's any that works good. For example, there you go. Pin light in this case works best. All right, that's it for this video. I'm going to see you in the next one. Where are we going to talk about other type of shortcuts on how we can improve our Photoshop speed. See you there. 33. Shortcuts: In this video, I want to summarize some of the most useful shortcuts that we have seen already, and I would like to introduce some new ones so you can speed up your workflow when using Photoshop. Of course, it is very difficult to remember all the shortcuts at once, so feel free to watch back this video at anytime or to take some notes on the shortcuts. There's also one more place where you can find all the shortcuts and this is located in Edit and then Keyboard Shortcuts, where you'll be able to modify everything that you want or see all the shortcuts that are built in with Photoshop. The first shortcut that I use every single time is V. This allows to select this move tool from anywhere you are. Let's say I'm in text and then I click "V", this will go to move tool. Then the shortcuts that we've seen quite a few times is Command or Control T to activate the free transform tool based on the layer that you have selected. Then you click "Okay" to deselect it. Then we have the auto select option that instead of going here and tick or untick it, you can just hold Command or Control, click on the layer that you want to select and this will be selected. Right now I'm on this bar, but if I want to select the background, I just need to click anywhere where the background is this image and this will be selected. Then you just release Command or Control and this will be unticked. Next one that I like a lot is B to select brushes, very, very useful every single time, B for brushes. Then one more shortcut is Command or Control A to select all. This will select the overall image. Then we can click "Command" and "D" to deselect the selection that we have active. Then when you have a selection on, you can just click "Control C" and then "V" to make a new layer based on the selection before. Here we had selected the overall image and therefore it made a copy of this image. Then let's say we have a selection right here. I can stay on this button to add selection, but then hold "Option" or "Alt" to go out to my colleague in removing the selection, then I can drag my mouse wherever I want to remove the selection, just release Option or Alt, and then you'll be back into adding selection. Another one that you can use when you're zoomed in is hold the spacebar and then this hand will pop up and then you can just move around the image. One more super useful shortcut that you can use when you're very zoomed in in a picture is that you hold "H", then you click and hold with the mouse, move around the rectangle, then release the mouse to zoom in again in that area. Let's say it again, I hold "H", click on the mouse and hold, then move around the rectangle, release, and then I'm going to zoom in that area. Let's zoom out. One more useful shortcut is pressing "R", and this will activate the rotation of the canvas. You can move it around. Let's say I want to paint it in this way with my mouse and I don't like maybe this way, so I can move it around, make it comfortable for me, make it natural, and there you go. This could be used as well while I have a brush selected, let's say this one. I want to have on the other side, not from here, that I can just move to overall image and then boom, I have it from there. There you go. If you have a recent MacBook with the touch bar, I use it all the time, t's super useful because you have a lot of shortcuts right there. If you want to modify it or customize it, you just go in View, and then Customize Touch Bar. One more cool thing that you can do is having multiple files open at the same time, and to do this, you just need to go in Window, Arrange, and then you can pick whatever you want. Now because I have just two files open, I can click "2-up Vertical" and this will allow to have this file in the left and this file on the right. Here, you can have multiple windows as well. If you have more images, you can open even three of them. Then to go back, you just go in Window, Arrange, and then consolidate all tabs. One more cool thing is that if you have multiple layers, let's have like 10 layers, whatever, you can just hold "Shift" and then start from one layer and keep pressing the mouse and drag it down to hide all of them. There you go. Then again, shift, click, hold and drag and there you go. One more thing, if you have lots of different layers, then this one will be useful for you. Let's say we have some text here and then we have one more text layer. There you go, just completely random. Then maybe we have one shape here, and then another maybe there. Here, they're all different types of layers. What I can do is that from here in Kind, I can pick only a certain type of layer that I want to be visualized here. For example, if I want to see just the text layers, I can click on this, and this will show me only the text layers that are present in the image. Or if I want to see the shapes that are present in the image, I just click this one and this will pop up on the triangle and ellipse that I just created. Then you can do lots of other things to just filter what kind of layers are you seeing. Now, it might sound useless, but in some Photoshop composition, you literally have tons and tons of layers, and just you need this to be more organized and to find your layers easily. One more thing that you can do is that you can hold "Option" or "Alt", and drag one layer to duplicate it. Instead of clicking Command J or Control J, which is very useful and I use it all the time as well, you can hold "Option" or "Alt" and then drag the layer to have a new one and this will create an exact copy of it. One more very useful thing, for example, when we want to see some before and after is that we hold "Option" or "Alt" and we click on one eyeball to hide or show all the other layer. Just hold "Option" or "Alt", click on the "Eyeball", and this will remove the eyeball from all the other layers except the one that we've clicked. To go back, you just need to re-click it again, hold "Option" or "Alt, click on the "Eyeball", and there you go. Once again, there are tons of shortcuts that can help you improving your speed in Photoshop and you can consult them in anytime, just going to Edit and then going into Keyboard Shortcuts. These are the ones that I use the most. If you want to check out the shortcuts for the main tools, you just need to press on it and then you'll see in the side. For example, to select these three menus, you can click "G" to access the gradient paint bucket and 3D material drop tool. With this last video, we conclude our short yet extremely intense Photoshop course. I know very well that so many information might be overwhelming, but feel free to watch back any lesson that you don't remember. The majority of them are very short so that you'll be able to pinpoint the exact one that you need to re-watch. Now it's time for the fun part, putting everything we've learned into practice. 34. Exercise 0: Hi everyone. I hope you enjoy the course. I know it's a lot to take in, but as I previously mentioned, practice is key, and this is exactly what we're going to do now. They're going to be many exercises where you can put in practice whatever we've learned so far. If you don't remember a function, don't worry, because it's absolutely normal. Feel free to go back at any time and watch back the lessons of the tool that you forgot. You've probably received a PDF or a Word document with all the exercise explained and the result that we are trying to obtain. The best way to approach these exercises is that you try hard to do them on your own first, and check the solutions only at the end of the process or if you really get stuck somewhere. If you do this, you're going to learn so much more than simply following step-by-step what I do. We are going to use the reference photos that you received, but I also suggest you try to same effect and maybe combine different ones and more techniques and different photos. You can mix up and play around with whatever you have in your folder or you can go on paxos.com or unsplash.com and download any photo that you like to retouch. Remember that Photoshop is a software with loads of different tools and functions which are easy to forget if not put into practice. With this being said, it's time to start your exercises. Whenever you finish the first one on your own, watch the relative video and check the process I used. Have fun and good luck. 35. Exercise 1: In this exercise, we're just going to try something very simple. We pick an image and we try to separate the subject from the background and try to put something else as a background. As we said, we have lots of different options to do the same thing, so let's see a couple of variations. Once you are in Photoshop, we go in File, Open, and in the folder Exercises, we just going to open Ball, which is this image right here. Now, because this image has a very neat difference between the subject and the background, we have lots of different options and it's going to be very easy. The first option that I want to show you is using the Magic Wand tool, which is here, and we're going to click "Magic Wand." Now, we just need to click on the background in order to have a pretty neat selection. Now, because there's such a difference between the subject and the background, we just need to click on the background and Photoshop with AI will automatically select it. Then we can go here and click on "Mask" to create a mask. Now, what happened? Because we selected the background, then we created a mask that hides the subject. With the mask selected, we need to invert it, and we can do it by clicking "Command I" or "Control I." In this case, all these squares means that this is transparent. When we select the image, we can move it around anywhere we want without the background anymore. Another option that we have is using, for example, the Object Selection tool. In this case, we just need to drag a selection around the subject, and there you go. Photoshop will automatically select it and recognize that this is what we want. Click "Command D" to deselect because another option that we have is using the Magnetic Lasso tool. In this case, I always put the frequency pretty high because I want to have as much control as possible. In this case, I zoom in, and then just with one click, the Lasso tool will start picking up automatic points. Then we hold space and we can move the image and then release space, and we can start again making the selection. Once you're done, you're going to have something that looks like this. Now, I'm going to go very fast, all around, and then you're going to have the selection. There you go. Eventually, another option is using the Quick Selection tool. In this case, you just need to drag your clicked mouse around whatever you want to select. In this case, because the background is so uniform, then I can just go around and this will select automatically the background and then the process is always the same. We click on "Mask", "Command I or Control I" to invert the mask, and there you go. Now, let's create a new layer. We're going layer, new layer, we'll click "Okay", we can give it the name background, then we bring it below this. Then from here, we'll be able to create loads of different things. For example, if one app give it another color, we can go here in the Paint Bucket tool and then we select the foreground color that we want. Let's pick, for example, this green here. With a color picker, we can pick it here, we click "Okay", and then we just click on the background. Here we have it. If we want to maybe apply some feather through this mask then we double-click on the "Mask", select the mask, and then here we can play around with the settings. Or simply we can double-click on the "Mask" here, this panel will pop up, and we can increase the feather right here. This of course will show a little bit the background as well, so it really depends on what you want to do. If you want to change the selection and maybe contract it a little bit more, you can go within the selected mask panel and then you can shift the edge outside or inside. Here we click "Cancel" and go back, no feather. One more option that we can have to change the background is using the gradient tool. In this case here, we can pick whatever we want. We have some presets that we can pick. Maybe let's pick a basic one. If you want to have this one, then let's change the color of here. We click on the "Selector" below and here in colors, we just need to change the colors in whatever we want. For example, if we wanted yellow, let's put it right there. Then if we want another green maybe into the middle, we just need to click here, another selector will pop up and we'll do the same thing. We just change the color, maybe we'll leave it here, first one right there, drag it this part. We don't want this, we click on it and we click on "Delete." There you go. Now, we click "Okay." Then here, we have lots of different options for different types of gradients as we seen before, so in this case, this is the linear one. We can just drag our mouse here and there you go. We have created a background. Or you can choose this one, you drag it here, and the center will be the first color, and when you drag it outside, this will be radial, so all the way around will be the second color. Maybe we have this one as a different option as well, this one, there you go, and this one as a star and that's it. One more option that we can have to create a solid color directly is going in this menu right here and click on "Solid color" then this will be an adjustment. From here, you just need to change and pick the color that you want. Obviously, because the layer is above, it's going to cover the ball. Then if we drag this one below, then obviously we're going to see the ball on top of that layer. At any point in time, you can just double-click on here and then change the color again. There you go. Very simple, not complicated at all. That's it for this easy exercise. I'll see you in the next one. 36. Exercise 2: With the second exercise, we're going to try to put a text behind a subject, and put a frame around it. I'm going to show you two option on how to do it. Here in Photoshop, we're going Open, and we pick the photo called Motocross. There you go. We'll click 'Okay', and then our goal is try to create a text and put it behind. The first thing that I want to do is just duplicate the background. So we'll click 'Command J' to duplicate it so we can see the before and after. So the first thing that I want to do is just create a text, and here we can put whatever we want. I'm just going to write MOTOCROSS. From here, we can select the color before writing. So right now, if I change it, nothing will change, but if I, for example, black one, and now I'm going to keep writing, then will be black. Now let's leave at yellow for now. We're going to click 'Control' or 'Command T' to activate the free transform tool, and then we're just going to increase the dimension of the text. Depending on the version that you have in Photoshop, you need to keep pressing 'Shift' to maintain the proportion, or maybe it's already automatic, and there you go. So I'm going to place it, maybe right here. Now, here we have two option. The first one is that we must directly the text itself. So to do this, I'm just going to select this layer, and then I'm going to click on 'Mask'. Then with some patient, I'm going to use the brush tool on black color with the general brush, I think in higher round should work. Not too big, I think this should be all right, and I just need to paint on top of the rider. Now to make our life easier, we can click on the text and decrease the opacity so we see where we are painting. So we click on the 'Mask' back again, and then we just going to drag the brush on top of the rider. There you go. So if we see the result, we go back in text, and we increase the opacity. Now looks like the M is behind the subject. The same time, if we want to make a frame around that, we can use the Shape function, Rectangle Tool, and then in Stroke, we're just going to pick whatever you want. Let's say 56. Don't worry, we can change it later as well, and then we're going to place it right here. If want to change the color, we click on 'Stroke', and maybe we select white or black, let's leave it black, and then we can move with the 'Move Tool', the frame wherever we want. Now if we want to put it below the text, we just drag it below. There you go. If we want to put it also behind the rider, we need to do the same thing. So we decrease the opacity until we see the rider. There you go. Then we create a mask on the rectangle with the brush, black. We're just going to paint on top of the rider. There you go. You can be more precise, I'm just going a little bit fast right here. There you go. Then we go back into rectangle, increase the opacity. Just need to remove this. Once we zoom back, then it looks like that, the frame is behind the subject, not bad. If we want to remove this part as well of the frame, then we can do it as well like so. Now looks like the frame is going behind the mountain as well. This is already a pretty good effect. Let's say we're done, but the problem with this is that there is that part that is masked out. At the same time, I can unlink the mask, and then move the image, and the part will be masked only in that point. But if I go, for example, below, then we didn't create a mask in this part, so we're going to see back the frame. Therefore, we have a better alternative to do the same exact thing. I wanted to show this one because sometimes you need to use this option, because the second one won't be doable if you're not going to be able to separate the subject very well in the image. Sometimes this one could be faster as well, depending on the options. The second option that we have, which is probably the best if you can use this option all the time, is that we are going to isolate the subject only, and then put the subject on top of the text and the rectangle. So in this case, we're going to create a duplicate of the background. So 'Common J' or 'Control J', and then we're going to use any type of selection tool that we want. I think that object selection tool in this case, could work pretty well, and then we're just going to drag a rectangle around the subject. Then if the selection is not great, then we need to help Photoshop refine it. In this case, I'm just going to hide the two layers of motocross and rectangle, and then here we can use whatever we want to refine it. I'm just going to use a Polygonal Lasso tool in this case, just make sure that here you are adding a selection. So we click this button, and then we're just moving around, clicking around the subject. There you go. The most precise tool is the pen. If you have complicated subjects or stuff, then I suggest you you the pen. But in this case, just because of the tutorial, and because I think it's going to be fine, I'm going to use this tool. There you go. We 'Double Click' to close the selection. Very nice. Then here I want to remove this part. So what I'm going to do is, I'm going to click on 'Magic wand', and then remove from selection. I'm going to click right here. Boom, and got it perfect. If this is not perfect, we can always refine it. So we go back in the Polygonal Lasso tool. Then this case is going to be adding selection because this part is removed, and then we're going to add this part. There you go. Maybe here as well. This looks pretty perfect, and I think that's fine. I want to hide it behind this part. We need to add this part as well of the helmet. There you go. I think we're good. So right now, we just need to create a mask, boom, and the subject is isolated. So right now, let's get back all the previous two layers. What happens is that if we put this layer on top of the other two, then the subject is going to be in front of motorcross, and in front of the layer as well, and this is pretty cool. One more thing that we can do is that we could remove the line from below the motorcross text. So to do this, we're just going to use the Rectangle Marquee Tool. We're going to drag a selection where the text is like so, and then we're going to stay in rectangle and create a mask here. Then obviously we need to invert it. So Comment I, when you have the mask selected, and there you go. Looks pretty good. This is the second exercise. I'll see you in the next one. 37. Exercise 3: In this exercise we're going to try to change the color of something, and then again try to have some interaction with the text and with the image itself. We start by opening a new image called happiness, and there we go. Our goal is try to change the color of this flower in the middle, and then try to push text behind the hands but in front of the flowers. The first thing that I want to do is duplicate the layer so I can see the before and afterwards. Then our goal is try to select this flower. In this case because it's all yellow and there are some hands around. I can use the color picker, the Color Range as a selection tool. We go in Select and then we go in Color Range, and then from here we just need to sample the colors. If you don't have these frames here, activated means that this is deselected, so just click on here and then you're going to have the range as well. Then with the color picker, we're just going to pinpoint a color that is right here. Then with the Fuzziness, we can decide how many other colors close to the one that we picked we are going to affect. In this case, whatever is black is not affected and whatever is white is affected. Don't worry about the outer flowers because afterwards we're going to be able to select only the center one. Just makes sure that the center one is selected, there you go, and then we click "Okay". We have a selection, but we've also selected all the other flowers. In this case, what we want to use is a Lasso Tool in this last one right here, which is the intersection within selection. In this case, just going to use this one, and then I'm going to drag the pointer around flower in the center. Here needs to stay very close, there you go. Then we release it to conclude the selection. Right now we just got what was selected and what we selected because this is an intersection. We just need to clear the selection a little bit more, so in this case I'm just going to use the Add Selection to add the center because I want to affect the center as well. Then this part I want to effect it, and then this one right here, there you go. Then maybe I'm going to use the Polygonal Lasso Tool to clear out this one. With a plus, we go around, click, click, click. There you go, then double-click to close it. This is perfect. We're just going to remove this one, in order to remove it, you just click and hold "Option" and then you do one-click, second, third one, [NOISE] and double-click to close it. There you go. Now it seems pretty perfect, let's have a look round. That's cool. Now we have different option, either we mask out this one, so we create a mask, and then by applying a huge saturation with a clipping mask, then we'll be able to change the color only of the layer below this. There you go. We'll be able to change any type of color that we want, and we can also try to change the blending mode. If we want to have a different type of blending and see which one works best. Or another option that we have is that we create directly another adjustment of writing mask. We can go here and pick whatever we want, or the same thing. With the selection active, we can click on Hue saturation" and then this layer will be already masked. Even here, depending on what you're doing, one is best or the other. In this case, we're just going to change the color, whatever you want. Maybe like this one, and then we can decrease the saturation you want or increase it and also the lightness in the same selection. There you go. We just going to leave it here and this part is done. Next one, we want to create a text, so we'll click on "Text" and we write happiness, there you go. If you want, you can change character, you need to make a selection first. We pick this one, very nice. We click "Control" or "Command T" to activate the free transform tool to make it slightly bigger then we changed the direction, maybe like so, very good. Eventually you can make it white or whatever color you want. The this looks good, just going to move it and maybe a little bit more in the center very nice. Next thing that we need to do is trying to select the hands. How do we do this? We can use whatever tool we want. In this case I'm just going to create a duplicate of this one, put it on top of everything, and I'm going to isolate the hands. Maybe we can try using the Quick Selection Tool, let's see how it works. That's perfect, that's exactly what we want. We mask out this, but then if there's something that we don't want, we hold "Option" and we just drag it on top. There you go. Photoshop will automatically understand what we don't want. Let's get all the fingers, we don't want the black, so click holding "Option" and then going on top of it, and there you go. That's pretty nice, maybe let's get this finger, but know this black in the center here. But this one, yes, there you go very, very good. In this case because the text is just going to be below this hand, I don't want to mask the other one out, but really depends on the image that you want to do. In this case with this election active, we're just going to create a mask, and there you go. Then you activate this layer. But then what happens is that because we mask out only this part right here and not the other one, then we have the flower that is half yellow and half red. What we need to do we just need to rearrange the layers and we're just going to pick the layer that makes the flower red we're going to drag it on top and this is the result. I hope you enjoyed, I'll see you in the next video. 38. Exercise 4: For this next exercise, we're going to try to take an object, move it in a different background, change it color, and add some shadows, and could be useful for lots of different variations and options when we're doing product photography, or also we need to move people somewhere else in an image. We're going File, Open, and we pick Origami and Table. We hold Command or Control Picture Images and click "Open", and this will be open in two different files in Photoshop. Let's start by going in Origami. In this case, same as we did before, we need to isolate this subject in any manner that we want using whatever selection you want to pick. Because the background is extremely even, that is going to be pretty easy using the Magic Wand. We're going to click "W" as a shortcut or just going on the function, and then we're just going to click on the background. Even in this case, what we're going to do, we're just going to mask out this background, but it will remove this origami, so we're going to click on the mask and then we hit "Command" or "Control I", we're just going to invert the mask. Now there is just the subject. We hold on the subject, hold, hold, hold, drag, drag, drag, we go in the table and then we release the layer and this will automatically import it here. That's pretty good. We go on the Move tool and we're going Edit and Free Transform or Command T or Control T as we know. Here, hold Shift, depending on your version and make it slightly smaller. We put it in the center and there we go. Now, how do you change color? Well, we have different options. As always, I can click on Hue and Saturation and simply use the slider to change the color to whatever you want. But what happens is that it's affecting everythings. What is the function that allows to affect only the layer below? Is clipping mask. How do we activate it? Using this button right here. There you go. Now the origami is changing colors because it's the layer below. We're just going to change it to maybe this one here, I think this looks good. Change saturation and lightness, whatever you want, and I think we're good. Another option that we have is creating a solid layer. We go from here, solid color, pick whatever color that you want, maybe this one right here, click "Okay", and we create a clipping mask on the color itself. This will do the exactly same thing, so will affect only the layer below, but in this case is a solid color. If we want to show maybe some shadows, we need to change and have a look at the blending modes. These are all different option that you can use, could be useful in different situations. Let's leave it like this or let's go back to the previous version, which I think is the most effective in this case. Now what I want to do is, I want to try to create a shadow on the table to make it look a little bit more real. We double-click on the layer to access the layer style and then we go in Drop Shadow, we activate it, and then we need to create a shadow that we like and that we think could look good on the table. I think we could decrease the opacity a little bit, maybe increase this spread of a T point, that's too much. I think this could look good. The angle in this case doesn't really matter because what we're going to try to do after we click "Okay", we're going to separate the drop shadow in a different layer, so we right-click on Drop Shadow and we go on Create Layer. We click "Okay", because we're going to separate it, and then here we have a new layer, boom. Now because we can see that there is still a little bit of framing outside, what we do is we create a selection that contains the whole origami, then we invert the selection by going into Select an Inverse, or we can click on "Command", "Shift I" to invert it, and then we just click the "Delete". This will cancel everything that is between this rectangle, so outside the selection, let's say. Then we click "Command D" to deselect everything, and then we'll be able to move around that shadow. Now how do we make it look real? Well, we can definitely skew it, making smaller, the concretions form, and then we're just going to make it smaller like this. There you go. Then in this case, we need to read the light a little bit. Because the light is probably coming, there is one light coming from this way and maybe another one maybe coming this way, we can try to see if by transforming and flipping the shadow maybe could look better. We can flip it horizontally. No, this one doesn't work. Let's say if we flip it vertically. I think it's okay maybe if you leave it like this because I'm pretty sure that there is one light that is coming this way even though it's pretty even. But because the shadow is a little bit too neat for me, I think we can increase the blur of the shadow. We're go in Filter, Blur, and then Gaussian Blur. Here, we can play around and see which one works best for us. We can zoom out and drag a lead bit this slider and see. I think this looks pretty perfect. We click "Okay", and that's pretty much it. I'm definitely pretty happy with the result. I hope you enjoy it. I'll see you in the next video. 39. Exercise 5: This next exercise, we're going to use a person and try to change the color of his clothes. Here, once we are in Photoshop, we go in File, Open, and we open posing with skate and there you go. We can change whatever color we have but the concept is that we need to isolate whatever object we want to change the color of and then apply a different blending mode. In this case, if I want to select the white t-shirt using the Magic Wand, I'm not sure if going to work. What I'm going to do is, I'm going to select the whole subject and then remove the parts that I don't want, like arms and head. Even here we have lots of different options to make the selection, you can pick whatever you like. As always, we duplicate the background so we can see it before and afterwards. Then we go and Select and then Subject, which is the same thing then going into Magic Wand and click "Select", Subject". They're both the same option. There you go. Is that not a pretty good job? Now, my goal is try to remove from the selection his face and arms and pants. To do this, I'm going to use the Quick Selection tool with the plus here's and then by holding "Option", we're going to delete his arms, skateboard, pants, left hand, left arm and neck. That was pretty fast. I think it could look good. If it's not perfect we can always fix it later at anytime. In this case, I'm just going to use the Polygonal Lasso Tool to fix this part and by holding "Option", I'm just going to remove this part. There you go, and also add this little corner of the t-shirt here. If it's not perfect, can make it perfect. Maybe it was a little bit too much because here there's a little curve. Even here, it really depends on what you have to do. If you need to do a social media post, you don't need to be so precise because the image will be pretty small and these very, very small, details won't be noticed. But if you need to do a print for a campaign, if you need to do something extreme professional, then you want to take your time to doing whatever you need to do. Here I'm going to add to selection. Here, we've got remove it. Here, we need to add it as well. Here it looks okay. Add it. I think we're good. Now, one more thing that I want to do is just to make sure that nothing else is selected with the Lasso Tool. I'm just going to go in their intersection of selection. I'm going to create a rough selection around the t-shirt. There you go. That's nice. Even here we can use all the option that we've seen before even if we go in Solid Color. Boom, this will create a new layer with the mask already applying on it. Let's say I want to make it reddish, I'm going to select this color like that, and then with the blending mode we just need to play around. This one multiply, it looks pretty good. Linear burn could be fine. Lighten, I like it a lot, is like pastel color that fits the mood of the picture, I think. We'd go around overlay, awesome as well. Soft light, awesome. The difference is pretty good as well. Subtract is good. I think I really like soft light, there you go. We keep it this pastel color. Now, next thing would be doing the exact same thing but just with the pants. Now with the pants we can use as always any kind of selection tool that we want. Let's pick maybe a quick selection tool. I think this could be right. This we're just going to drag on the pants and make a selection around it. Let's pick this yellow right here. Got the white. Here the skateboard, just going to hold "Option" to have the minus. When I hold the "Option" here changes as you can see, and then I'm just going to go around this skateboard. If there's any parts that we need to fix, as always, you can use whatever you want just to fix it. In this case, we need to remove it. I'm using Lasso because I don't want to be too precise but if you want to be more precise, you can use the Pen tool or any other tool, and then we need to add this selection right here. Even in this case, maybe the Polygonal one is slightly better, you're going to add the selection around. There you go. That's perfect. Double-click to close the selection and I think we've got all the pant selected and even here we need to do the exact same thing. Here, this skateboard is not perfect, we just going to remove this one here and we need to add this little bit right here. Once we've made the selection, we can use whatever tool we want and, for example, I'm going to use hue saturation in this case. Because there was a selection is going to create already a mask. We are simply ready to move the hue wherever we want and choose the color that you want to have for your pants. Let's leave it red, I like this, and we're good. Now, I see that in the selection by holding "Command" or "Control", you can click on the mask and see what you've selected. The wheels are also inside, and this is why when I change the color of the mask then the wheels are also affected. If I don't want to affect the wheels, what I need to do is just turn the mask. What the paint? I just need to paint on them with the black color. Let's use a normal brush, hard round. I just want to show you that we can simply do it afterwards. If we see that we made a mistake before, you can just paint and this will bring back the original color of the wheels or you can do the exact same thing simply by creating a selection around the wheels, so you're more precise. Always suggested to do this, let's say like this and then with the paint you're good to go. Even you can use a big one and that's pretty much it. You can do the same thing on the other wheel as well so you create a selection. This one because it's pretty straight, I think it is going to work. There you go. Can be precise as you want. If there is a feather that you need to add, you can modify the feather here before doing the selection then with the brush. Boom, done, and you've got your colors, you've colored back. You want to change the color of the pants, you can always do this. There you go. Let's leave it red. That's the final result. I hope you enjoy the video and I'll see you in the next one. 40. Exercise 6: For this next exercise, we're going to try to change the background on a portrait and try to add birds in post-production. We're going Photoshop, we're going File, Open and open both Person Sky, and by holding command or control, you can select another image and we pick birds. Click "Okay" to open both files. Now we start with Person Sky. What we want to do, just try to substitute the sky with something else. Let's duplicate the layer so we can see the before and after at any time. Then how do we change the sky? We go and Edit and go on Sky Replacement. In this case, we just need to take a little bit of time. Photoshop is operating its magic and from here we can select any sky that we want. There are already some preset skies, or you can purchase from external sources skies, for example, sky pack from any creator. Check out on my website if you want to know more about sky packs. Here we have already some presets in Photoshop, and we can try to change them and see which one works best. This one I think could be okay, let's have more dramatic look at this one. Maybe so so, you can try different options. This one I think looks pretty good. But it is more like sunset vibes anyway. You can take your time and see which one works best for you. I think I like this one right here and then we can adjust a lot of different settings like temperature of the blending between the sky and the subject, the brightness, the lighting adjustment. But to be honest, I think Photoshop does a great job when substituting this sky so I think this is fine, we click "Okay. " Then Photoshop creates a new folder where we can have a look at all the layers and adjust eventually the foreground lightning, the sky with all the mass, the temperature and so on, so forth. I think this looks already perfect. Now our next step is try to import some birds. To do this, you can use PNG files where there is just a silhouette of a bird. You can purchase some overlays or you can simply go from another image, take the birds, copy and paste into this one, and that's exactly what we're going to do. We opened the bird's image and then we want to copy this birds into the auto image. How do we do this? We have lots of different options. If we want to copy only one bird, then we can use, for example, the magic one, like here. Select one, Control-C, Control-V to create a new layer with the bird. Then we're going to move to, and there you go. We can just change and go in here and then we leave it there. But if we want to select all the birds at once, how do we do this? Well, in this image it's pretty easy because the birds are black and everything else is not black so how do we select a single color in the overall image? We can go in color range. We're going to select and then color range. In this case, we're going to just sample the black color of the birds and as we can see, everything that is white will be selected. Everything that is black won't be selected. Don't worry if we select also the building because we're just going to drag that intersection of selection on the birds. Right here we click "Okay". That's the selection that we've got. We can go into the Lasso Tool and then use this button right here to have only the intersection and then we're going to drag a big circle around all the birds. There you go. Then release it to close the selection, boom. Then make sure to be on the background and then Control-C, Control-V to have all the birds in a single layer, then everything you need to do is just you drag on the person and release it to have all the birds. Now let's select also the single bird below and drag outside so we don't confuse them from the sky replacement group. We close this folder and then we're just going to decrease with the Free Transform tool, all the birds. Let's put them maybe right here. I think this could look good, right there. There's one problem. When I zoom in, there is a little bit of difference between the two things. To solve this, we can always use some blending modes. For example, Multiply works perfect. Why this is happening? Because the sky here are blended within the image and the birds are just something that we're pulling from the outside. Sometimes it happen. Let's say I want to have more birds. Well, we can go from this layer. We can duplicate as many birds as we want. One options that we have is that we can use, as we did before, just the magic one, select Control-C, Control-V and this will create a new layer, and there you go. Or we can use also the Content Aware Move tool. I can make a selection around, boom, and then move them somewhere else. Here you click "Okay" and it's done then Control D to deselect and this will be in the same layer than the others. But there is a problem in this image. The birds look okay, the sky looks okay, but I would like to make it looking a little bit more real and if I wanted to make it look a little bit more real, I should blur the background. There is this bouquet vibes and we don't need to isolate the subject in this case because we have already a difference sky that is isolated from the subject that Photoshop did it for us when we did the sky replacement. If we wanted to blur the sky, well, we just need to do is select where we see the sky here, let's select this image and then we're going to go and filter Gaussian Blur and then we can drag and play around with the slider until we are happy with the result. I think this could look good. We click "Okay" and obviously we need to do the same thing with the birds. Now, I have three different layers with the bird. What I'm going to do is I'm going to create a group so we select the three layers and we just going to drag it below where the folder is and this will create a group and we call it birds. There you go. What I can do is I can select all the three layers and then create a merge layer. I'm going to right-click on the three layers and then merge layers. There you go. Now from here, if I need to change the blending mode, just change the blending mode. Then we going Filter, Blur, Gaussian Blur, and then play around with the slider so that you're matching with the sky as well. Then maybe a little bit more. I think this could look good. Slightly less. Play around, click "Okay" and you're done. This is the result. I hope you enjoyed the video and I'll see you in the next one. 41. Exercise 7: In this exercise, we are going to practice how to retouch the skin. We're going File, Open, and then we use Girl skin. It's the one that I already open. There you go. Our goal is try to retouch her face and remove all the imperfections. As I've shown you before, there are a few ways that you can do this. Depending on the level of perfection you want to achieve, then you'll take one or the other. If we want to make something very soft without going too crazy, we can go and pick the Spot Healing Brush Tool, and simply by decreasing the size of the brush, we can go and remove all the pimples. We can zoom in and then touch on all the pimples, if we want to make it looking a little bit better, there you go. Nice. You can increases size whenever there are some bigger pimples, and then just go patiently working on all the imperfections. Now just as a reminder, when you are in this Spot Healing Brush Tool, if something doesn't work and it creates some weird texture, you can always play around with either Content-Aware or Proximity Match. That's the two things that might need to be switched, sometimes. It's very difficult to predict which one will work best, but try both of them in case one or the other doesn't work. Then we can go and touch on all the pimples. We're good. This could work. If we look at the before and after, there's already a massive difference. This is before and this is after, we just remove the biggest pimple, let's say. Maybe we can remove a little bit more here, and there we go. But what if we want to create a little bit more smoothen skin, let's say. To do this as we've learned, we're going to create two copies of the layer that we're working on. In this case we're just going to call the background layer before, so we know. Then this is, we call base and then we're going to create two copies, 1 and 2 Command J or Control J again. Then the middle layer we're going to call it blur, and then the top layer we're going to call it texture. There we go. Now, let's hide texture for a bit. We go in blur, and here we need to apply a Gaussian Blur. We're going to Filter, Blur and then Gaussian Blur. Here, we click with the mouse on her eye, and we need to make sure to pick a number of pixels of radius that allow us to see the pupils. In this case, I think this works best. The more you do it, the more smoothen the skin will look like, but on a certain level will just look fake. Don't go too crazy. Maybe you do a little bit of trial and errors. I think this case could be perfect. Seven pixels we click, OK. Then next thing we go in texture, we click on this little eye to show the layer, and then we're going to go in image, Apply Image. Then we need to make sure that we are on our file, that the layer is only on top of the blur, so we click here on blur. There you go. Then the blending mode has to go on Subtract, there you go. Then we're going to use a scale of two and an offset of 128. That's perfect. As you can see, we only see some edges off our subject. Then we click, OK. Nice. Now we need to change the blending mode of this texture layer. To do this, we just going to go in blending mode and we're gonna go in Linear Light. Now it seems that nothing happened. It looks like the original image. But what happens is that when we go in blur layer, so there you go. You click here. We're going to take a Lasso Tool, and then we're going to use a feather off, let's see. Just zoom in the face and maybe 30 pixels. Then you can do in two ways. Either you have a single selection. Let's do a selection now on her face. right here, it doesn't have to be completely perfect. But we see that there is the feather that we put here, because it's not straight, there's not a very neat corner. Then what we need to do is we go again in Filter, Blur and then Gaussian Blur. This time we just need to play around and see where it looks good or where it looks fake. If I do this and I go crazy, obviously it looks fake, as you can see. But if we start going maybe around 30 or 47, I think here looks good. There you go. Now we see that the skin is much smoother than before, and we click, OK. In this case, if we have selected this one, you just need to do another selection in another part of the body. What you can do is you go again in Filter, and then you can just click here in the first action, which is the one that we just did. We can click here and then the skin is already fixed. There you go. Or, another option that you have is to go in here, adding multiple selection, there you go. In this case, we just need to drag our mouse around all the parts that we want to touch in a single time. We go here and then we add first part, there you go. Then we add a little bit this part, very nice. Nose here. There you go. Slowly you just go and add all the selection that you want. Then by going again, into Filter, we're going to click on Gaussian Blur and boom, the skin is already retouched all at once. It's totally up to you if you want to have more control maybe, you want to go with normal selection, so you go one selection at a time. If you want to do your everything together, then you can go with add multiple selection together. The same thing could be done also on her arm. If we want to fix the arm in this part, then we go in Filter, Gaussian Blur, boom, much better. Then we can go in the whole arm if we want to do so. There you go. Filter, Gaussian Blur, boom, and it's fixed. Now it looks already so much better than before. If there are some areas that require a little bit more Gaussian Blur, a little bit more skin retouching let's say, then for example, we can select this part, then we go in Filter, Blur, Gaussian Blur, and then you can increase a little bit the filter. There you go. Maybe it's better, maybe it's not. It depends on the image. I think I like this. If we have a look before and after. This is before, and this is after such a huge difference. Then of course, if we want to try to fix again, some other details, we can always select them all, if we're happy with everything else, and then we can click Merge Layers. In this case we'll merge all the layers and we won't have the previous ones, or we can create a new layer with all the merged ones, and we can go and Command Option E, and this will create a new layer with all the selected layers, but this time it's merged. Even if we hide everything else, we can see that the image is still perfect. Again, we can show the before and after. There you go. Now in this case, if there's anything that you want to fix, you can always go in Spot Healing Brush Tool, and then increase or decrease the size of your brush and just click on the perfection that are left in case we didn't do it before. There you go. Now it looks perfect. You can go as hard as you want depending on the job that you want to do and the result that you want to have. This looks pretty nice. But this really depends on what you like. I think this image is a little bit too warm. In this case, what we can do to make it a little bit better, is that we can apply color balance. We go here in Adjustments and then we click Color Balance. In this case, you can move this slider towards the blue a little bit. In this case, we're just targeting the mid tone, so I think this color of the skin is already much better than before, but if we want to target, for example, the eye lashes as well, maybe we can move it or jog it as well, the Magenta to have a different skin color. Remember the mid tones all the time are targeting the skin color. Whenever you are moving this, then you're moving, of course, all the image, but especially the skin colors. Then you can just go wherever you like. I think here looks better. Let's see the before and after. Before, and after, there you go. I think this is the final image. Thank you for watching and I'll see you in the next exercise. 42. Exercise 8: In this next exercise we're going to touch again a portrait. We go in Photoshop and we open Men Color. There you go. Now our goal here is that we're going to touch a little bit of skin. We're going to try to make his eyes slightly bigger and as you can see, his left eye is slightly more closed than he is right one. We're going to make them a little bit bigger and try to straighten a little bit the nose. The first thing we want to do, always to check them before and after. We could Command J and we duplicate the layer, and we call this one before. We work on the following layer. We can do the same processes with it in the previous exercise to make his skin perfect and sometimes is done also for men not only for women, but the first thing that I want to do, we just remove those imperfections. In this case, I'm just going to use a Patch Tool or you can use this Spot Healing. You can choose whatever you want. We're just going to use either one just to show that it your works. Then making sure that we are in Source not Destination. If we're in Destination, this will be the results. We're going to duplicate that pimple, but we don't want that because we want to eliminate. We go in Source and we're just going to move it where there is a part of the skin that is similar to what we want to hide. We're going to do the same thing on this part, big circle and boom release. In this case didn't work very well. I'm just going to go back and try to change the skin portion that we're going to target. Then we're going to do a couple of times, and there you go. Now, if I want to remove this little hair right here, you can do the same exact thing or you can do again the Spot Healing brush, which I think is going to work better for those times. We're going to just do this. Boom, gone. Gone, gone, gone, and gone. I think this looks nice. Let's see if there is anything else major that we want to do. Boom. I think that's fine. Creates a little bit the brush size. There are some bigger parts. There you go. That's very nice. Maybe here. That's perfect. Now let's say we want to do the exact same thing that we did before. We can say slightly lighter when we do the effect. We going to Command J again to duplicate this. We're going to call this Blur. I'm going to go slightly faster this time. Then we're going to call with this one Texture. When we are in Blur, we hide the Texture layer. Then we go in Filter, Blur, Gaussian Blur, we click on the eye, and we decrease until we see the pupil. I don't want to go too crazy. This case, I'm just going to do 4.3. I think that's fine. Then we're going to Texture, we remove the hidden option, we go in Image, Apply Image. If you did it before, this will stay exactly the same if you didn't close Photoshop. But here, we just need to change the layer so from Merge. We need to go in Blur and then we click "Okay". That's very nice. Now we're going to go in here Blending Mode and we go in Linear Light. That's perfect. Now let's stay on the Blur layer. Then we just need to pick the laser. I'm just going to stay with adding selection with a factor of 30 pixel. That's fine. Then I'm going to drag selection around his face. There you go. Here. Maybe here. Nice and maybe here. That's it. I'm just going to pick the nose as well. Then we're going to go in Filter Blur, Gaussian Blur again and see what happens. There you go. Just going to touch up a little bit. Let's say 4.5. I think here it looks good. There you go. We good. This was the before and this was the after. Very, little touch up, but I think that's more than enough for a man, I wouldn't go too crazy here. The next thing that we want to do is try to change his eye colors. To change eye color, there are different ways how we can do it. First of all, let's create a new layer based on these three. Let's merge them, and the shortcut is Command Option E. This will create a new layer with all the previous one that we have selected and that were visible. We can hide them. There you go. We're going to work only on this one. We have several options how we can do this. Maybe the easiest one is that we create a solid color on top of it, we choose the color that we want to use. Maybe this one. Then we invert this mask. There you go, with Command I. Now everything is black so we don't see anything about this color except when we're going to paint white on the mask as we know. We're going to take a brush. Then we're going to decrease the size and just paint around it with the color white, make sure that here you have white. If you have black, you just need to click X. This will change between foreground and background color. Or if you have another color, you click D and this will reset into white and black. We use the white and then we just going to paint little bit round this. We can always fix this later. There you go. We're going to go and pick color mode that we like. I think overlay could look good. We go in hue and this is pretty perfect. There you go. Now what we want to do is let's increase the feather by double-clicking on the mask. This panel of the properties will pop up and we can increase the feather of the mask. That is not as neat as it was before. That's pretty much the result. If you want to make this color a little bit brighter then we need to create a brightness and contrast adjustment layer. There you go. Now, we can increase the brightness, but this will increase the brightness of the whole image. What we need to do is basically we need to create the same mask that we did when we were changing colors and this is below this layer. How do we copy the mask from the previous layers to this one? Well, we can go and this mask and then hold the Option in your keyboard and drag the mask towards the new layer. Now this will popup replaced mask, we click "Yes" and boom, this, we'll copy this mask into the outer layer and there you go. Here we can go into Adjustments, double-clicking on this part right here. Then we can increase or decrease the brightness and the color of our eyes. There you go. This is a little bit too bright, I think. We can go into previous layer and just decrease the opacity here and there you go. Now let's do the same thing with the other eye. You know the drill already. We're going to go here and then we create a new solid color. Very nice. We pick same color that we picked before. Let's say it was this one. Maybe we can go here. We've got it. Then we're going to go in mask, Command I to invert it. Then with the brush, here, white color. We're just going to paint on top of the eye. There you go. Like this. Very nice. Here we decrease the brush size. That's perfect. We're going to change the color in overlay. There you go. We bring the layer on top of the other, double-click on the "Mask", this property will pop up, and we increase the feather. There you go. Now, if there are some parts that we were not precise with, we can always go back into black and simply going around it and cancel what we don't want. There you go. This looks okay. But here we took a few steps that we didn't have to, because instead of using the new layer, what we can do is that we cancel this one. We simply paint white on this layer that we created already before. We'll make sure that we have a brush that is white, and then we're going to paint on top of it. There you go. We got ready their result. Now, depending on what you want to do, you can have two different layers, or one only. It's really up to you. Because the concept is that if I want to have two different colors of the eyes for an effect or whatever, then I'll be able to modify each layer. For example, right now we can do that thing, and just duplicate this layer, and then modifying the color. Maybe we go in red. Then in this case, because the mask is affecting both eyes, I'm just going to delete this part right here using a black brush. There you go. Now, if I want to increase the opacity, I can, and here is now more reddish, or we can change the color and see what looks good. There you go. Maybe we keep it green. That's very strong green. We've changed it the color of the eyes. This is one of the way on how you can change it. But you could also use a hue saturation. For example, if we want to go back like the previous one, the original, what we can do is, we just create a hue saturation, and then we're going to change the color or whatever we want. Let's leave it maybe blue like this. Then on the mask, there you go, we invert it and we're just going to paint on top of the eye with a white brush. Click "X" and there you go. Very similar effect, two different ways to do it, depending on what you like, you can pick it whatever you want. There you go. Just paint on top of it, then double-click on the mask if you want to increase the feather so it looks less fake. There you go. Same thing with this layer. You can just decrease the opacity as much as you want to make it as credible as you want. Here we've got the before and after. Much better. Let's go in the next part. What we want to do is increasing the size of his eyes. Let's first create a merged layer from this. Command Option E. There you go. Now we have this one. Let's drag it on top of everything. Now we'd go in Filter and then we go in Liquify. This is an amazing tool for portrait because it allows to do lots different things with these lighters. In fact, we can just increase both eyes in the same way, just dragging this slider here on the left. If we want to increase them at the same size, both of them to get it proportionately, we just need to click this "Link". When I drag this slider, even the other one is moving as well. Whereas if I want to move just the right eye, this one, because I think it's a little bit smaller than this one, then we just take this slider with Unlink the two, and then we just going to drag this slider slightly towards the right. As you can see, the eye is becoming bigger. Let's make it like this. Now they're good. Maybe 17 or 20, 22, I think this looks great and we've got the eyes already bigger. If we want to make it also taller then we can link the two. With the eye height, we take this slider and we move them. There you go. We make it a little bit bigger. Let's do eight. We can increase the width, the tilt, the eye distance, and whatever we want depending on what you like, and depending on the result that you want to achieve. Same thing could happen with nose and with mouth. But in this case, I don't want to do much here. But one I want to do is try to straighten this nose because seems that is going a little bit towards his right. What I want to do is, we pick this Forward Warp tool and then with a brush size that is big enough to take the whole nose, let's say like this, we take it and we drag it a little bit towards the right. I think this looks fine. It looks straighter than before. We got before and after. As you can see, how the nose is a little bit more straight even here, you can go as crazy as you want. But it really depends on what you want to do. One more option that we can use to make the eyes bigger. If maybe this slider don't work well, but usually they never disappoint, we can use this tool right here, which is the Bloat tool. Here we need to have a size of the brush that is maybe as big as the eye. We just click and the eye is is becoming bigger. Click. Now, obviously now is a little bit crazy so we just go back. There you go. For example, if your nose is too small and you want to make it bigger, or if you want to make bigger your lips, you can use this tool and make the lips a little bit bigger depending on where you click. Done. At the same time, you can use this other tool right here that is called Pucker tool to make something smaller. We take a bigger brush and if we want to make smaller the those, just click on it and it's shrinking. We've got the before and after, huge difference. This tool can be used also on any other part of the body that you'd like to shrink. Then we click "Okay" to see the final result. We've got the before, and we've got the after. Not bad. I hope you enjoyed this exercise and I'm going to see you in the next one. 43. Exercise 9: In this exercise, we are going to fix the teeth, a little bit of jaw line and adding a very cool overlays to increase the depth and make the picture more interesting. We go in Photoshop and we open Smile. There you go, Smile.jpg. Now, here as we can see, because the photo is a little bit yellowish, then also the teeth are yellowish. I want to try to fix this. As always, we have lots of options to fix the teeth. But I think the easiest one and the quickest one is that we use simply hue and saturation adjustment, or we can use Sponge tool. Let's use first the hue and saturation, and that our goal is just decrease the saturation because this are yellow, so we want to remove this yellow from these teeth. Then what you want to do is, you stay in the mask and then you click "Comment I," to invert it. Then, as always with a brush, white one, we are going to decrease the dimension of the brush and also decrease the hardness of the brush like so, and then we're going to paint on top of the teeth. There you go. If you go on top of it in some part that you didn't want to touch, you can always go back to live brush and there you go, paint it back. Now here, you should be a little bit precise. Let's see how quick we can make this happen. There you go. Just there in the teeth, very nice, and I think this should be fine. Now let's see the before and after. I think already much better. What we can do right now is that first of all, let's increase a little bit the fetter of this mask. But then we can also go in brightness, and then by clicking and holding "Option," then we can drag the mask on the outer layer and replace the mask. Now we've copied basically the mask from the bottom to the top and here what you want to do is increase the brightness a tiny bit. There you go. Now it looks already 10 times better. This is the before and this is the after. Huge difference. At anytime any point, you can just go back in the mask and applying a wide brush or a brush if you want to increase or decrease the areas that you want to effect with these adjustments. One more way that we have to do this is that we can use the Sponge tool. I'm just going to hide these two layers and then I'm going to create a copy of this one. Here we call it before, then we stay on the new layer and we're going to use the Sponge tool. Here we have all the details of how we're going to apply this brush. We're going to use the mode of the saturating and the flow of 34. We go close to the teeth and then with the size of the brush, I'm just going to decrease it and remove the color from the teeth. They're not going to be yellow anymore, hopefully, and we're going to have a brighter tone. There you go. Having the flow not at 100 percent means that we need to go on top multiple times if we want to affect it more. In this case, if I pass one time, you don't see many difference. But if I stay here, pass, pass, pass, then you can see that there is a huge difference. We can apply different intensity of our brush based on how many times we go on top of it. As we can see here, cool. I think this looks good. Before and after. Maybe there's a little bit too much, so we can always decrease the opacity. There you go, and make it a little bit more credible. That's it. Then same as before, we can apply a new adjustment layer. Either we show this one on top or you just create a new one and you do the same thing, so we show this and there you go. The result is great, so we've got the before and after. Not bad. Now, the next thing that I want to do is using the previous tools, Liquify, to try to decrease her jaw line, making a little bit smaller. Now there's no need to do this if you don't want. I just want to show that there is the possibility and how you can use Liquify to do this as well. We stay in this layer and then we go and filter and we're going to Liquify. But now we see the teeth are not really real because we decrease the opacity from before. But then we can use either the Shrinking tool or the Work tool. To do this, we're just going to have a big brush, as big as the jaw line, and just decrease a tiny bit here. Again, don't go crazy because you don't want to change completely her face, but you just want to increase or decrease certain details to make her look slightly better. There you go. Boom, I think this looks fine. That's it. We've got the before and after, a huge difference. Now, even here we can apply some filters, so Face Aware Liquify. This menu right here if you don't have it, you just need to click on this, and then we can play around with all these details. If we want the nose to be a little bit different, shorter or longer, you can do this. Maybe I want it slightly longer right here, then you can increase or decrease the width. You can use this one or you can use also the Shrinking tool right here, the Pucker tool. There you go. The mouth, if you want to make a bigger smile or smaller. I think this is fine. Upper lip, move it and make it bigger. Lower lip, make it bigger or smaller. There you go. Mouth width, yeah, I actually like it slightly smaller. Mouth height, that's depending on how you like it, and I think that's pretty much it. Again, we see the preview from the before and after from where we are changing when we're using this Liquify tool, and we click "Okay," and we're good. Now we can see this part right now because what happened is that we used an opacity of 67 percent. You see the layer below, so when we hide it, we don't see it anymore. But then we need to increase the opacity of 100 percent. In case we want to go back with the teeth because they're not really natural, well, it's always best to use these options that we did before because they're non-distractible, and we can maybe try to fix it using the Sponge tool, byusing this Saturating tool. In this case, let's see what happens when we do this. Yeah, the yellow is coming back a little bit and then you can play around until you're happy with the result, and I think here it looks pretty good already. If they're too bright, maybe you can decrease the brightness right here, so double-click on the "Adjustments," and then decrease the brightness. There you go, and I think they look much better now. We've got the before and we've got the after. Huge difference depending on how you like it. You maybe shrink it more, you can latch it more, have bigger eyes, eyebrows, all the things. Now the next thing that we're doing right now is that we open a file called Shadow Window. We go here, Shadow Window.png, and then we have this file, that looks like nothing, but what it is is basically an overlay. Whenever we are using an overlay, we are placing a new layer on top of the premise image to create depth and to add elements that were not there before. In this case, we have two option. We can use the Move tool to drag and we're going to smile and we leave it right here. Now as you can see, we need to make it a little bit bigger so we click "Command T," or "Control T," to activate the free transform tool, and then we just need to increase as we want, to be honest, this image maybe right here, there you go like there was a Window. We're creating a fake Window effect to add depth on the picture. To be honest, I love, I'm a huge fan of overlays because they add just so much more to the picture with elements that sometimes is very difficult to catch. For example, having this exact shadow on the window. First of all, you have to have the right window, you need to catch the sun at the right time and it doesn't have to be too bright. Whereas doing this, it looks like we have a professional light coming from the outside of the window towards your face because the skin is really smooth. We don't have a harsh light. That light looks like that we've took the picture on a direct sunlight, which is never really a good idea unless that's a specific effect you want to go for. Even here, if it's too much, you can decrease the opacity at anytime, and maybe you can also create a mask on this layer and then simply decreasing a little bit the effect on her face. We want to use a black brush, there you go, and then we're just going to paint on her face. There you go. Here, it looks like the effect is also behind. I think it is really nice. There you go. Here we can decrease the opacity again, and this looks pretty sick. Before and after with the shadow, with the overlay, and this is the before and after of the overall image. Before and after, such a huge difference. I hope you enjoyed these exercises and I'll see you in the next one. 44. Exercise 10: In this exercise, we're going to apply a few other techniques that we've learned so far into a single image. The first thing we want to do is, of course we open an image and this time we're opening girl shadow. We go in Open, and then we go in Girl Shadow. There you go. Now, what we want to do is we want to isolate the subject, put a texts behind, a circle around her neck, and also some shadows behind. The first thing, obviously is we create a copy of this so we can see the before and after. Let's call the background before. Now what you want to do is isolate the subject. Let's create another copy, and here we're going to go in Magic Wand Tool and then select Subject, or you can also go in Select, and go Subject. There you go. Let's just wait and see what Photoshop does. That's a great selection I think. Now it's time to go and fix it if there's any problems. Right here, we just want to remove this part, so we are here we move selection and we click it. There you go. I'm just using the Magic Wand because I think this will look great. That's it. Very nice. We want to add this part, so in this case, I'm just going to use the adding selection and maybe a Lasso Tool, and go around this part. There you go. That's nice, much better. Then we're going to go around. I don't think I want this, in this case, I want to use that Polygonal Lasso Tool. As you can see, depending on the situation and this will just be with experience, I'm using different tools to make the selection. In this case because it's a straight line, the Polygonal Lasso Tool is just perfect. When I'm done, double-click and the selection is closed and I remove that part. Very good. Now in this case, because there is a huge contrast, I can just use the Magic Wand , removing selection, click. Maybe another click, perfect. Going this part, another click to make it slightly better. There you go. This part, another click to make it slightly better, and we're good. I think here looks perfect. Just checking around. I think we're good. One more thing maybe here we just need to add the selection, but it's not really important this part, because we're not going to really use it, but it doesn't matter. Let's try to be precise. Obviously you can take your time and be as precise as you want. Then from her we collect a mask. There you go. We isolated the subjects. Now what happens is that when I create, for example, a new layer, just to show you, and I put it below, take whatever color I want. Here, red, blue, this has changed. Now I got it white, if I want to take a blue. There you go. We've already changed the background super easy in basically two minutes. Now let's delete this layer because this is not our goal. What we want to do is create a text, so we go and click "T", shortcut to access the Text Function Tool. Let's create any text that you want. Maybe shadow here, and we're going to put it like this. Move to, we're going to move it here, increase the size, "Command T" or "Control T" to access the Free Transform tool, and then we're just going to increase the size. Depending on the version that you have, if you want to maintain the proportion, you just need to "Click and hold Shift". This will maintain a proportion, or you probably just going to have to drag this in the portion as already maintained, that's depending on your version. That we put it right here. As you can see, it that doesn't matter where we put because the text layer is below our layer where the subject is isolated, then we can move it around and seeing it behind, even here, between her hands or below this piece of brush. How cool is this? Very cool. Then we put it, let's say maybe here. But there is a problem, because the subject is in focus and is a little bit crunny as well, but this one is so neat. So what we want to do is try to have these effect that the text is attached to the background, which is a little bit further away, like a bouquet effect. To do this, we just going to use a normal Gaussian blur. We go in Blur and click "Gaussian Blur". Now, what's going to happen is that Photoshop is going to tell you, you need to rasterize this layer because it's a text layer in order to apply this effect, or you can convert it to Smart Object. We use Smart Object. Then we'll be able to move around a slider and see how far we want this text to be. Anything, this looks pretty good. Maybe 19 pixels. Click, "Okay", it's depending on you; you want to put more, you going to put less. Totally up to you. Then we zoom out and the shadow now looks a little bit further away than the subject. This looks pretty good. But there is one more thing that I don't really like is that. I think is a little bit too black, so what we can do is that we can decrease the opacity. Just click and drag on the opacity slider to decrease it. There you go, and we're good. Or there is another shortcut that we can use, which is using a 5, 6, 7 or 8 or 9. These numbers are moving the opacity slider. Now just watch here, I'm clicking "Seven", and then "Six" and then "Five". This is moving basic on 50, 60, 70 opacity. I think this looks fine. Maybe a little bit more, 70 or 80. Seventy is fine. Now we open another file, so we're going to put an overlay behind the subject. We open and we use shadow plant 1. We got shadow window, shadow plant 1. This is exactly the same thing as we did before. In this case, we can just select whatever I want to move, maybe everything, or we can click "Command" or "Control A" to select all, and then we click "Command" or "Control C" to copy. We go in the other file and then we click "Command" or "Control V" to copy it in here. There you go. We rename it shadow plant. We leave it here below the subject. As you can see when we're moving, this layer is behind the subject. That's exactly what we want, isn't it? Now, I just want to rotate it, so we click "Command" or "Control P" to activate the Free Transform tool. Either I can stay slightly further away from a corner and then it can move it around. Or what I can do is simply here adding 90 degrees, or if I want to move it on the other side, I can move it minus 90 degrees and that's done. I'm going to place it in a corner and then dragging the opposite one on the other corner. There you go. Click "Okay", and this looks pretty sick already. If I want to add another selection, another shadow, maybe here in the bottom and maybe here in the corner, then I can always "Command J", duplicate this layer and then maybe drag it. We click "V" to access the Move Tool, and then we drag it upwards. There you go, then we place it right here. If we don't want this part, we just create first a selection and then we create a mask. There you go. Now we have only isolated the top part. You can just click "Command I" to invert the mask, and then we're going to have just the bottom and this one disappear. But I also love to apply the same thing, maybe in another leaf right here. I'm just going to use this one "Command J", and this will duplicate the mask as well and the layer. I'm going to click "V" and then move this one right here. Now, I don't like this, but what I like is moving it again in another direction, so maybe 90 degrees. Let's see what happens. There you go. We just need to move and find the right one. There you go. Boom. But then I want to have the direction going on top. I'm going to go in Edit, Transform, Flip Vertical. There you go. Now the direction is towards this side. This is the before without that part, without that shadow and this is the after with, that shadow. I think this looks great. We've got the before and we've got the after, we added a few elements already. All the elements are behind the subject because we have isolated it. There you go. If we would remove this one, we can see that all the shadows are now on top of the subject, as you can see here, on this part of the chest, we have the shadow because we have hidden this layer, which is the isolated subject. Now if we turn it back on, then we see that this is popping up, is in the front and everything else is in the back behind her. Now let's do one more thing. I want to add a circle around her neck. To do this, we're just going to click on the first layer. That means that the next layer that we're going to create will be on top of this one. Then we're going to select the shape. We click an ellipse tool, and then here we need to modify everything that we went to modify. In this case, I want to have a fill that is transparent. This means that he's transparent, and then I want to have a stroke. In this case you have the stroke different colors. You can just pick here from something that is already made or you can do and play around with the other presets. In this case, what I want to do is I want to have a gradient that is going from blue to pink around her neck, which are the exactly the same colors of her hair. In this case, I can play around and see if there's anything that is matching. Or we can also change it in post-production. That means first we create a circle, we create the mask, and then we're changing the colors. Now let's pick a random color. Let's pick maybe this one, that seems similar to the hairstyles. Now, let's just change this one right here. We double-click on this palette right here. Then now we're able to change the color either manually or we're just using the eyedropper when we go towards the image to click on any part of the colors that we want. Let's import this one, which is the exact color of our eyes. There you go. We click "Okay". Now we're ready to draw the circle. We're just going to do big circle around, don't worry, we can change it at anytime. Then we can click "V" to move it around wherever we want. Plus with these properties right here, that you can also access by having selected the shape tool and then going in properties right here. From here you can change again this stroke. If we want to have it bigger, you can just type here, and this is a little bit bigger. I want to have it around 70 pixels. Here you can change the stroke options. If you want to have this one or if you want to have other ones, whatever you want, you can change the gap to dash whatever you want. We're going to use a normal line, so continuous line, and then from here we're able to change, again the gradient same thing as we just did before. But before changing the colors, what I want to do, is I want to have this ellipse going behind her head. To do this, first of all, we want to create a mask on this layer. Then I want to delete this part that is on top of her face. To do this, there are a few options on how we can operate, either doing manually. We pick a brush, we stay on the mask, and then by having the color black selected, we can just paint, there you go. This looked like that is going already behind, now he's not perfect, you can be perfect. But the best way to do this is not actually going manually, but he's having a selection of the subject and then painting on top of it with the black color. But do we need to do another selection of the subject? No because we did it already in this layer right here. In order to select the mask that we already made, we just need to hold "Command" or "Control" click on the mask and this will create automatically our selection of everything that was here already before. Now that we have the selection active, we just need to go back in our shape tool, select the mask and paint black on top of it. We click "D" to reset the colors and "X" to change the two colors and then we're just going to paint on top of it. Done, super easy and looks pretty sick. Now, let's fix the gradient. To do this, we just going to click on the shape with the "Properties" tab right here and then we're going to change the stroke width, a gradient. We select the gradient and then we're going to have this blue is already the one that we selected with the hair. This one is fine. What I want to change instead is the other one. We're going to click on this palette right here, double-click to pop up the color picker, and then we're going to select her hair. There you go. Select whatever color you like. I like maybe a little bit clearer. I think this is fine. We click "Okay". If we want, we can just click on any point here and change or add another part of the gradient. In this case, I like this white here in the middle. I think it creates a beautiful gradient right here. I'm going to keep it or you can just move it around to change the gradient. You can also change this one to change the proportion of the gradient. If I want to move this little rhombus right here, as you can see the gradient now it's more neat, whereas if I went to put it in the middle, that means 50 percent of this part will be towards white and 50 percent will be towards that ink that we've selected. Let's leave it like this and boom, here we are. We made it. But now there is a problem is a little bit weird because the perspective is not really right. What I would like to do is put this in a better perspective, like it was parallel to the ground on a more like natural shape. What I want to do is I click "Command T" on this circle right here and I'm going to just make it like a little bit these torture right here. It looks like that is going around her neck like a necklace. I think that looks fine. But what happens is that, while the mask is broken now because it was made out of a different position. What we do is very simple, we just delete this mask and then we create another one. What we do is we create a mask and then hold "Control" or "Command," click on the mask of the subject that we've done before, and then with a black brush, choose going to paint on top of it. Super easy, isn't it? Now to create the shadow, we just need to go on the ellipse that we've created the shape, double-click on it, and then we tick on drop shadow. Now we need to modify all the things that we want, like the distance and I think I want to have it here, the Spread and I think I like this. There's too much. I think like this and this size and I think I, this as well. We click "Okay", now the problem is that the shadow is going also in the background. Here it looks pretty weird. I want to affect only our subject with the shadow, we go and drop shadow here, we right-click on it and then we're going to click on "Create Layer". This will separate the layer of the shadow from our previous properties. It will be a single layer as it's here. Now I can hide it, or show it. But now how I apply the shadow only to the body itself, there are a few ways we can do this. The complicated way is to create a mask. The easiest way is that we just going to create a clipping mask that is affecting the layer below. There you go. Now from before. The shadow right here, as you can see here, there's the shadow on the background. But the moment when I click "Clipping mask," boom, the shadow from here is gone, it's only on her body. How cool is this? We don't need a shadow here because here's going behind, but we just need to shadow on her body. This is the final result. We've got the initial photo, and then we've got the actual photo, the modified photos we photoshopped and this is the final result. I hope you enjoyed this exercise and I'm going to see you in the next one. 45. Exercise 11: In this exercise, we're going to have a landscape photo and we want to remove loads of unwanted element, use some Dodge and Burn add a sun. So let's start by going in Photoshop and open Durdle Door. Now as you can see, Durdle Door is a.ARW, which means it's a raw format of my Sony. Now, whenever we opening such a virtual format than the camera raw filter will open automatically directly and from here, we can change all the option that we want, like we were in Lightroom. So on this case, I want to use the exposure slider to make it a little bit brighter. Increase the contrast. Maybe decrease the whites a bit and texture a little bit down. Clarity, little bit down. There you go. Vibrance slightly up. Then I want to create an S-curve here, so we go into Linear 1,1,2,3 points, dragging up a little bit the highlights, down the shadows and increase the blacks here to create a very nice gradient and then maybe details decrease the sharpening. I don't want it too much. Color mixer, we're going to use the blues towards the cyan. There you go. Then we're going to desaturate them. That's nice. We're going to desaturate the oranges because it is affecting my skin quite a lot. And then we're also going to desaturate, the greens and put them towards the yellow. Very nice. Same thing with the yellows. That's pretty good. I'm just going to increase again the exposure. Very nice. I think this could look pretty good. Maybe we can go around and pay a little bit with color grading, where the geometry with some facts. If you want to add some grain, vignetting, maybe no need, maybe minus five, that's fine already. I'm playing around also with the calibration. Now for this specific course, I don't want to go into touching the colors too much because for that, I have my Lightroom for photographer course that you can check out on my website. Once we're done with the camera raw filter, if you're not coming directly from Lightroom. So my suggestion is always import the photos in Lightroom and then with the right-click from Lightroom, you can go and open them in Photoshop, so you don't have to use these Camera Raw Filter, but it's here. So if you want to just use Photoshop, you can and we go in open. Once we are here, the first thing that I want to do is removing all these people that are here. As we've learned to remove all the people, there are loads of different options. So let's start by the easiest ones, which is Spot Healing Brush on this people here. There you go and then here, gone, sorry guys, gone. In this case, what I did is I used the, Spot Healing Brush here on these guys, but it doesn't work very well because it creates a weird texture. So either we try proximity match or we can also use either the Patch Tool or the cloning. So let's see if the patch tool works. It's already so much better because with the patch tool, we pick up the texture much better than the brush sheeting tool, which sometimes create a weird blur effect or add some different texture and stuff. So it really depends on which one works. We have loads of different options here. You can keep going with the Patch Tool or I'm just going back using this hidden brush in this case. And it's nice. Gone. So in this case is a little bit more complicated because I cannot just drag around, it will be slightly more difficult, let's say to just drag it around, so the best way to do this is to try to isolate myself and then drag everything that is on the outside. So to do this, we're going to try to see if the select subject, then we can see the viz is not really perfect. So if doesn't work, then what we're going to try to do is using Magnetic Lasso tool and then going around my face and see if this one works. There you go. I think it's fine. Then we go in select and mask and then we're going to try to fix this. So we smoothen quite a bit and we shift the edge towards the insight. I think this looks fine. Then we can use the brush with quite a thick hardness, maybe like A, T and then we're going to try to remove everything that is not part of my face. I think this looks okay. We click, "Okay" we're just going to try different tools, maybe let's try the healing brush, so we pick this and then we're going to increase or decrease the dimension probably smaller. There you go and now we're going to click here and see. One thing that we need to do is that we need to invert the selection because now there is the internal part of my face selected. So we're going to click "Comment, Shift I" to invert the selection. Now you can see that everything else is selected or you could just go and select and then do inverse. Then we hold option and we click on the sand to have a sample and then here you're just going to drag again, we could this sample and then you're going to just go on top of this part and here it's already looking a little bit better. There you go. Nice. We keep going. Many times you just need to go back in descend, create another sample and then you're good. If we want and it doesn't work very well, like what's happening this case, very close to my face, I think that looks a little bit weird. What we can do is use the clone stamp instead this case and then we just going to sample again holding option this part and then with a different brush, with a much smaller brush. Now, make sure that the opacity is higher there you go. The flow is slightly higher than we sample this part and then you just going to paint on top. There you go. Again this part and stay here. This part, very nice. That's good. We're just going to blend it as good as we can and we click, "Common D" to see if we've done a good job. This is not really perfect, so either we go in manually. So we select it and we can go manually right here until we see that is perfect like so. And I think this looks pretty good. You can't really see, maybe if this is a little bit too dark, you can take a patch tool and then drag this one around and go in a lighter area. There you go. If you don't want to do it manually, we stay with the selection and then having these parts selected, we basically want to expand the selection so we can go one or two pixels within my face and then keep going with the cloning tool. So to do this, you just need to go in Select, Modify and from here, we're able to expand, contract or change the board over the feather off our selections. So in this case, we want to expand it. And maybe you want to expand it by two pixels. And now we can see that the selection has expanded from the outside has increased and then from here, we just need to use again the clone stamp and maybe going on top off my face, in this part that is a little bit bluish and this looks pretty good. And then same as before, you want to maybe click a mask and then go and select a mask to make this slightly better so we can smoothen it up. There you go. We click, "Okay" and then with the cloning option makes sure that you have the outer part selected. So we need to invert the selection in this case. As you can see now, the part of the selected is between this and this one. The inside is not selected. I'm just going to use a cloning tool and then, again, we're going to sample this part and just paint on this. There you go. Now the parts selected is much smoother than before and it looks pretty real. There you go. One more thing that you can do is just keep going and deleting all these little rocks to clean the image fully. We can remove these guys as well. Boom. Let's align this patch tool. Very nice. If this is not perfect, you can always make it perfect afterwards. Boom, there you go. Even this one I don't like it, gone and gone. This looks fine. Pretty nice. But there's one thing that I don't like is that this image is not really straight, so we need to straighten it up. To do this we just going to in crop tool. We need to click in here W, H, R and then we clear it. In this case we are able to just go in the original format. Very nice. And what we do is we just take outside these cropping tool and we're going to rotate it until our horizon matches the grid. There you go and this is straight, nice. Now one more thing that I want to show you, so I'm not really deleting this but you can do it. With just spot healing brush, you can just clean the image and go around all this rocks and make it perfect. Once we have cleaned the image and as you can see, it's already much better before and after. Look at the difference before and after. Huge already and cleaning the image is such a powerful tool, whenever you're shooting anything that is not really inside or is outdoor. You always need to clean the image a little bit, whether is apartment, whether is the grass, whether it's the beach, whether it's the sea, whatever you want, to avoid losing the focus off whoever is watching the photo. So now what I want to do is I want to use the Dodge and Burn feature, which is here. Dodge and burn to darken or brighten some areas of the image and make it a little bit more contrasting, more interesting. So I'm going to use the Burn tool, especially to burn this part that is here because I really don't like it. So I'm going to use midtones and try to darken this area. There you go. I think, it makes it a little bit more interesting, so the eyes is more focused on the center and on me. So we're going to increase the exposure here, so we make it darker, much darker. That's fine. We going to also affect the shadows a little bit too much. So here maybe let's leave it at 25. There you go. Maybe we dragged down the exposure and we work on the shadows. There you go. Click and I think this could look good and then maybe I want to highlight a little bit this rock. So I'm going to use the Dodge tool to increase the mid-tones of this part. There you go because I want to have it more. I will have it slightly brighter, because afterwards we're going to increase the sun towards this part. There you go. So I want to increase the edges tiny bit and maybe decrease that part because it's not really careful at the rash. There you go. Now, we have a smaller one and then from here we're just going to drag and decrease the exposure in this part, because it's darker. I'm going to create a little bit more contrast between this. There you go. Then eventually we can go and work on this part as well. From here I want to darken maybe this part where the grass is. There you go with the Dodge and Burn and maybe I want to highlighten the rocks, maybe this part here yet. Very nice. Maybe you want to darken a little bit, this part of the beach maybe affecting the mid-tones. Here it's night, but at the same time, I want to highlighten some other parts of the beach. So that's a little bit too much exposure down crazy and maybe here we touch and also here and there you go. Maybe also some part of the sky and the sea, so let's start by the sea here. There you go. Increasing a little bit the mid-tones and maybe the highlight, I think that could work. There you go. Look at the sea. There is really popping up a lot. I think here is too dark, so eventually we can use the Dodge tool to increase the highlights there you go. Now let's have a look at the before and after, before and after. Can you see the massive difference that there is when we're using and we create contrast in these rocks. Here's flat. Here is much more interest, there is much more depth. Because now what we're going to do is first of all, if you want you can keep removing the people. So these ones I don't like, let's use the patch tool in this case, there you go. I'm removing maybe, boom. If he's here is not fixed, you can always have a smaller one and fix it by hand. Done. That's great. If you want to keep removing these people as well, then what I want to do right now, I want to create a fake sun coming from this way. And to do this, you just need to open the file called Sun. Now, when we have these overlay, what do we do because everything is black? What we do is we just drag on Durdle Door. There you go we click "Okay" because the format is different, but it doesn't really matter. Now what happens because he's black. So what do we do when we have black, white or we have a different pixels combination? We just try and see if there's any blending mode that works. And I know already that the blending mode that works is screen, because we overlays when there is a black around, you want to use overlay. And in this case I'm just going to move this overly maybe right here. This is the final photo. The power of the overlay it's just insane. Look at the difference. You can make it bigger if you want, you can make it smaller, you can do whatever you want, you can create a mask on top of it. If you want to put it maybe here, there are a lot of options but I think in this place look perfect right here. This as the final result, we have the before and after. How difference is this? Is incredible. I hope you enjoyed this exercise and I'm going to see you in the next one. 46. Exercise 12: On this next exercise, we're going to have a look again at a lot of landscape photo and how we can improve it. In Photoshop we go in File, "open", and then we take "Seagul." There you go. As always, let's unlock the layer and "command J" to copy, and we name that one Efore. There you go. Now, what can we do to improve this photo? The colors are already adjusted. They look great, but there is something that I'm not a big fan of and this is the part of the terrain right here. There's a little bit too mixed. So there are white flowers there is the yellow, then there is this terrain right here. What we can do to make it better, let's try to eliminate everything to make it a little bit more even. In this layer, what we're going to do is we can pick whatever you want. I'm just going to go with the healing brush and then I'm just going to go around with smaller or bigger size and see if this could work. There you go. Maybe if this one creates some weird texture, then you can always pick any auto method that you'd like to use. Either is it Patch Tool or use this Cloning either it's whatever you want. I think for now is looking okay. Let's try Proximity Match and see what it does. I'm not a big fan of this. So to remove this one what I'm going to use is let's try Patch Tool and see. "Create" and boom, as you can see the Patch Tool creates a little bit better that texture because the Spot Healing Brush, sometimes as I said before, is not really good when we are working with these heavy textures. We can just go around patiently and delete everything. Now you just really need to keep going like this. There you go and we're going to try to make it a little bit more even. I want also to remove this part of the terrain because you're going to see it's going to look so much better. To do this I can just drag a big patch and see if this one works or not. Maybe we leave it here, there you go. Yeah, it doesn't look too bad. Eventually, I can try to do it again, this part, yeah. Let's see what happens. You can do it multiple times. There's no harm in doing that and see when you are happy with the result. I think here could look fine. I think we're very close to the final result. This one I didn't like, let's put it here. There you go and that's pretty nice. Move these. This one, I don't like it, so maybe you're going to move it this way. No. So maybe let's change in this case and let's go back to Spot Healing Brush and see. Yeah, this one looks perfect. This one doesn't work instead, and then we'd go back and get into the Patch Tool. There you go. Delete here, there you go, and here looks pretty nice. Let's see if I can make it better this part. I don't like this. We've got the before and after. As you can see, it's much less distracting. You don't have the eye that is falling in this part, which exactly what we don't want. Now the next step is to open a new file. Another overlay, this time we take sun again. There you go. Then we're going to click "Command" or "Control A" to select it all. Then "Command Control C" copy and "Command Control V" to paste it. Even in this case, what we want to do is screen mode in the blending site and then we put it wherever we want, like this. If you want, you can also increase it much bigger so you have a much softer effect when you are moving then to the other side. Here it looks good. If you want to make it harder you can always duplicate the layer in this, as you can see, it will make it harder, but in this case, I think we don't want them. Now, one more thing that I want to do because the sun is coming this way, I would like to try to create a shadow of the seagul exactly right here. A fake shadow and how do we do this? Well, first of all, I would like to create a shape exactly like this bird. What we do is we need to select the bird. How do we do this? Well, we have different options. I think in this case we can use the Object Selection tool and drag a selection around this object, then Photoshop will automatically find the bird. But this is a mistake and here is why, because it was selecting this layer so my mistake. "Command D" to deselect, we go back into previous layer and then we drag another selection around this bird. Let's see. Oh wow, this looks pretty good. That's pretty nice. What we're going to do now instead of creating a mask because the selection is pretty nice, then I can just click "Command J" to have another layer. Copy and paste this selection that we did before and in this case, what happens is that I'm just going to have this bird right here. Now, don't worry if the selection is not perfect, it's not smooth because what we're trying to do now is just create a shadow and put the shadow right here. One way that you have to create a shadow is that you double-click "Drop Shadow," then you separate the layer like we did before and so on and so forth. One more way is that we can simply create an overlay color. In this case, we're creating on top of everything. A color we're going to pick black. There you go. Then, because we have already a unique layer here, we're going to click "V" to move it around and we going to put it here. But now, obviously, this is a fake shadow and I can see that. First of all, let's try to fix the orientation and I think we should rotate it vertically this way because the sun is coming this way and then there's one point here, which is this one, then there is top here, the face which is here and then this one that you see here. It's actually perfect. Maybe we can move it a little bit towards this way and then what we do is simply put some blur, Gaussian blur on top of this one until we are happy with the result. I think I want to see it a little bit so maybe this one could work fine. We click "Okay" and then everything that we left to do is simply decreasing the opacity. There you go, then we put it here. I think the result now is pretty nice. Didn't do much, but a huge difference. If we want to make it even more focusing on a subject, we can use the Burn tool and then go in the layer below and start decreasing this part. There you go. Eventually, we can create also some shadows and reflection here in the sea by using again Dodge pattern. Here that we need to be soft, this is a little bit too strong. There you go. That's it. Now, what happens the cool thing is that we can customize our brushes. Eventually, if you have some cloud brushes, there you go. We can also create some darker part here on the sea, almost like it was a reflection of the clouds that is getting slightly darker. That's pretty much it. There you go. Now with the other tool, were the Dodge tool, we can increase certain part of the image to have a little bit more reflection, you see? This is absolutely not necessary. It could be something that you can implement in your photos. I think for this photo in particular, we can just stay with the flattened one. I'm just going back, just wanted to show that you could do that. All right. Cool. Now we can see the before and after. Little changes, huge difference. Especially when we're darkening this area. Then here there is bright and we've got another focus where we can look at, and this is the reflection of the bird on the grass. It's incredible, right? With the sun coming from the right and then the shadow that is casting on the Terrain. I think pretty great result. I hope you enjoyed the exercise, and I'll see you in the next one. 47. Exercise 13: In this next exercise, we're going to have a look at a multi-post on Instagram. Let's say you have a landscape photo and you'd like to create these seamlessly carousels on Instagram. Well, this is a technique that you can use, plus we're going to implement a little more tricks for having a beautiful text on the top of the image, in particular in the last slide. Let's start by going into Photoshop. We go in File, Open, and then we get Aurora. There you go. Now, the first thing that you want to do is that if you want, you can clean the image. As we did before, you can use all the tools that you want to remove all the unwanted objects. For example, I don't want this, boom, removed. I don't want it, I don't want it, boom. Maybe these are old guys that want to be removed. Let's see if we can do it once in one go, let's say. We create a patch around them. There you go. Release, and then let's drag it here. Boom, everyone is removed. Very cool. Then you can just keep going. But this exercise is not about removing objects as we did before. What we want to do now is just try to create a carousel. To do this, the first thing that we want to do is, we need to create a new file. We go into File, New. Then keep in mind that the maximum height you can use on Instagram feed post for now is 1,350 pixels, and then as a width, we need to multiply 1,000 times the number of posts that we want. In this case, we're going to try to divide this picture in three different boxes, and therefore, we're going to use 3,000 pixels as a width. As a resolution, doesn't really matter if you're not printing, so let's put 150 and then we click "Create". Now we've got this canvas, and then we want to drag this image by clicking "V" or Move Tool here. We're going to drag in the new canvas and we release it. Now we click "Command T", and with the Free Transform Tool, we're just going to decrease the image. Now, there is a problem. If I want the whole image in the canvas, well, it's a problem because we can't really fit the whole image in it, but let's say, I didn't know, we are missing this bit right here because I don't want these cloud, so right now I'm good like this, but then I'm missing this part. What I'm going to do is very simple. One of my favorite tool. We select the Rectangular Marquee Tool and then with the Feather, make sure this is set as zero. Then we're going to make a selection right here. There you go. Then we are going go in, Edit, and then Content-Aware Scale, which is one of my favorite tools in Photoshop. Then this rectangle box up here, we're just going to drag and see what happens. Boom. That's pretty magical. We just increased the dimension of the photo so we don't have to cut it. If this becomes a problem, don't worry. You can always do the same thing and just increase the selection. This is perfect, but there is one thing that I don't really like, is that Photoshop with AI made some very long stars. Not a big fun of this. What we can do is try to copy these stars into this part. First, let's try and see if the Patch Tool works. Boom. Done. Looks great already. We're going to just drag and see if we can make it happen just like so. Very nice. There you go. That's pretty perfect. You can keep going like this and trying to fix everything. If you want to remove some stars, if you want to add some stars, that's not a problem you choose. This looks pretty good, everybody. Now, how do we cut this image in three different parts so that then could be posted through an Instagram carousel. Well, first of all, we need to tell Instagram where to cut it and to do this we're going to use some rulers. We go in View, New Guide Layout, and from here, we can pick how many columns we want. Because we set this document to 3,000 pixel because we want three image, we're going to set number 3 columns right here, and then we click "Okay". Then we need to use the Slice Tool to slice them up. To activate the Slice Tool, we just need to go into cropping tool here and it's hidden below. We go in Slice Tool right there and then we can see this button slices from guys. This is exactly what we wanted, because we recreated the guides, now we need to slice them. Click it and boom. As you can see, you see Number 1 here, Number 2, and Number 3. This means we are good. Now we can just export this image if we don't want to do anything else, but right now, what I would like to do with you is creating a text and apply a texture on top of a text that will perfectly match the image. Let's see how we can do it. First of all, we add a text and we pick whatever we want. I'm going to use Montserrat as a font and leave it bold. Then we want to decrease until we can fix it, and then we're going to write maybe Northern lights. There you go. Then we're going to place it wherever we want, and maybe in the last slides only like here. Then we're going to place another text with the date. Let's say 31st of December 2026. Then we decrease the dimension. We make it look pretty, whoops, like so. Perfect, just like here. Then I would like to apply this green right here, exactly this texture on the Northern light text. How do we do it is, well, we need to create a copy of this layer, so of the background. We're just going to put it on top of Northern lights, and then we're going to create a clipping mask. There you go. Now, by moving the top image, we can see that it's applied only on the text below. Therefore, we can just move it around and pick where the green is. Then we can also increase the dimension so we can cover the whole green on the text. Maybe we can rotate the image like so, find it around, and there you go. We are very close, but there's also another way on how we can do this and let me show you. I'm going to cancel this layer. We click "Okay" and then "Cancel". I'm going to create a new copy of this one. We put it on top again. Then I'm going to click on "Northern lights" and this will make a selection of the text. Then I'm going to create a mask on this layer here. Now I can't see anything yet, but what happens is that if I unlink the mask here, I can move around this image, and again, I see the exact same thing as before. These are two different ways of doing this. I prefer this one because it's non-destructible and you can always move it around as you want. For example, if I now want to click it and link them all, I can move around this text. At anytime, I can unlink them and simply move the background image around and find the part that I really want to use. Let's go back on top of the previous one. Right now let's unlink and let's try to make it all green. I want to increase this image a lot. Then we're going to find green, rotate because this is vertical, so I want to rotate it and I want to use the whole real estate of the green and see if I can find it. There you go. I'm pretty satisfied with this. I really like it. We click "Okay". Remember, at any point, just move this one around and pick the parts that you prefer. Let's leave it like this. Now, I want to do the exact same thing, but with the text that is below. We're going to create another copy. We're going to put it on top. We're going to hold Command or Control, click on this text layer, and then the selection will appear and we create a mask on the image that we put on top. We unlink the image from the mask, and then we are moving around. This time I want to find maybe a white of the clouds. There you go. Maybe let's see if we can find a mix. That looks pretty cool. I think that's it. One more thing eventually, I could use this sea right here. I just need to move around and find it. Maybe the texture of the mountains. Let's see if we can find it right here. I don't like it much. Maybe it's better if we keep using the cloud or I actually like this one. It's probably around here somewhere, but I think I'm going to leave it right there because I really like it. That's pretty much it on how we do this. Next step will be just to export it. In order to export the three different images, we go in File, Export, Save for Web. Then here you put everything that you want, the quality, maybe you can leave it 100, the format, all the things, and then you click "Save", you give it a name, you put it in Desktop or wherever you want it, and then make sure it's slices, all slices here, and then Save. Now, you'll be able to have this folder right here called Images where there are three files, 1, 2, 3. Let's try to put them very close to each other and see if that works. Opening them. There you go. The last one is pretty perfect, the one we did with text. Boom. That's a pretty perfect image sliced in three, ready to post on Instagram in a carousel post. I hope you enjoyed this exercise. Thank you very much for watching. 48. Conclusion: All right guys, we've reached the end of the course. I really hope you enjoyed the exercises and you were able to get the result that is even better than mine. Now remember that Photoshop is a software that has millions of functions and many of them can be used to obtain the same result. So it's totally up to you depending on what kind of elements you like the most, what kind of tools you like the most. The majority of the time it's all about the result unless you need to cowork with the same file with other people. That time you need to be very careful with how many layers you use or what kind of position they I have and maybe rename this as well. I hope you understood also the power of Photoshop. You can literally do whatever you want. You have the world in your hands. Obviously if you enjoyed the course, I will be grateful if you could leave a review telling me what you liked the most about the video. If you enjoyed some certain point, if you enjoyed it and if you're bored and maybe in some others. This really helps improving the quality of my teaching, the quality of my future courses. Don't forget to check out all my other courses that I have here on Skillshare. In case you have any question, feel free to post them in the discussion and Check out also my social media where I post daily on Instagram and TikTok and weekly or bi-weekly on YouTube. Also, if you're an interested in overlays or presets or other digital resources, check out my website because I list everything that I have over there. Now once again, huge thank you for having reached this point, and I wish you the best of luck for your photography career. Thank you very much for watching. I'll see you in the next course. Chow. [MUSIC]