Learn Photoshop for Photographers | Toma Bonciu | Skillshare

Learn Photoshop for Photographers

Toma Bonciu, Landscape and Travel Photographer

Learn Photoshop for Photographers

Toma Bonciu, Landscape and Travel Photographer

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29 Lessons (3h 26m)
    • 1. 00 Intro

      1:45
    • 2. 01 Configuring the Workspace in Photoshop

      6:22
    • 3. 02 Layers

      8:38
    • 4. 03 Layer Styles

      8:22
    • 5. 04 Aligning Layers and Snaping Mode

      3:36
    • 6. 05 Blending Modes

      6:55
    • 7. 06 Masking

      8:11
    • 8. 07 Move Tool and Selections

      19:45
    • 9. 08 Crop Tool

      4:21
    • 10. 09 Brush Tool and Gradient Tool

      10:13
    • 11. 10 Clone Tool Spot Healing Brush Tool Erase Tool

      4:47
    • 12. 11 Dodge and Burn Tools

      1:38
    • 13. 12 Text Tool

      2:53
    • 14. 13 Adjustment Layers Brightness and Contrast and Curves

      9:13
    • 15. 14 Adjustment Layers Gradient and Solid Color

      6:44
    • 16. 15 Adjustment Layers Vibrance Hue and Saturation Black and White

      5:13
    • 17. 16 Adjustment Layers Color Balance Photo Filter Color Lookup Gradient Map

      8:33
    • 18. 17 Filters Blur Sharpening Lens Flare and Liquify

      9:56
    • 19. 18 Smart Objects

      3:10
    • 20. 19 Actions

      4:04
    • 21. 20 Free Transform Distort Perspective Warp

      4:51
    • 22. 21 Panoramas

      5:26
    • 23. 22 Camera RAW Plugin

      12:17
    • 24. 23 Exercise 1

      9:36
    • 25. 24 Exercise 2

      10:49
    • 26. 25 Exercise 3

      8:41
    • 27. 26 Exercise 4

      9:14
    • 28. 27 Exercise 5

      9:58
    • 29. 28 Conclusion

      0:27
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About This Class

This course aims to teach you all the tools Photoshop has for photographers. Photoshop is a big program and has tools for photographers, designers, 2d artists, concept artists and so on. There are a series of tools that can be used to enhance your images.

Here are the topics covered in this course:
- Configuring the Workspace in Photoshop
- Layers
- Layer Styles
- Aligning Layers and Snaping Mode
- Blending Modes
- Masking
- Move Tool and Selections
- Crop Tool
- Brush Tool and Gradient Tool
- Clone Tool - Spot Healing Brush Tool - Erase Tool
- Dodge and Burn Tools
- Text Tool
- Adjustment Layers - Brightness and Contrast and Curves
- Adjustment Layers - Gradient and Solid Color
- Adjustment Layers - Vibrance - Hue and Saturation - Black and White
- Adjustment Layers - Color Balance - Photo Filter - Color Lookup - Gradient Map
- Filters - Blur - Sharpening - Lens Flare and Liquify
- Smart Objects
- Actions
- Free Transform - Distort - Perspective Warp
- Panoramas
- Camera RAW Plugin
- Exercise 1
- Exercise 2
- Exercise 3
- Exercise 4
- Exercise 5

Meet Your Teacher

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Toma Bonciu

Landscape and Travel Photographer

Teacher

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Transcripts

1. 00 Intro: working to this photo shop class for photographers. Why don't you tell Mom? I'm a full time landscaping travel tower for and have more than 10 years experience as a full time photographer, But I'm working with photo shop, since I think 1919 9 was the first year that I got introduced to for the shop as a photographer you're using for the shop in a different way than a designer concept artist to G artist would do. Because photo shop is a very complex program, it can be used for different purposes. So in this course you will be introduced to the tools in for shop that are related to photography, and that can be used for you. As a photographer, I would present to you the workspace how you can customize your workspace. Basic concepts like layers, mast, smart objects, adjustment layers, how to edit a foot of non destructively, the toolbox that it's used for you as a photographer, and I will end the course with five practical examples showing you how I'm editing some of my photos just for you to have a practical application off what I'm teaching you. Throughout this course, every tool is gonna be presented by applying that tools on a certain image and obtaining an effect. But I think it's important to look at those five exercises because after you you learn about all these tools. It's not gonna be very intuitive. How can take all this knowledge and put it all together and applying and using all these tools to edit your photos? So I hope you'll enjoy this course and I see you again. 2. 01 Configuring the Workspace in Photoshop: This is how Photoshopped looks like when you're opening it for the first time and you will see a lot of tools, a lot of things over here. Maybe right now, you don't know exactly what they do. But there are some, um, some tabs here that you're gonna use and others that you're not going to use. So I will just show you what are the things that I'm using and how I will customize this work space because this is what it is. The visual arrangement off old to bar the property is the layer challenged everything. This is called a workspace in for the shop and we will set it up. And also I will show you the settings that I'm using from here added preferences. And let's start with General. Now, over here, I I don't have anything clicked. And here are these three. Basically, you're living it the way it is. There are some things that you're going to change an interface for. You simply don't change anything. Workspace. Ah, let's see. No, it remains the way it is. The tools. This is something that will come by default as all enable flick panning. I will disable it. OK, History log. I don't need this kind of thing. Fob handling a living like this, Export Nothing's changed. Performance is ah, place where you should, um, use your graphic processor. There are some things that for the shop Ah, that's better if you have this checked on. But if you see that after checking this on, things are working slower than you don't have the proper, um, graphic processor Teoh to use to be used by photo shop, so it's better off to have it off scratch disks. This is very important. This is where photo shop will save. Um, the fires that, um, temporary files were while you're working, usually, if you have multiple hard drives, you will choose the fastest hard drive. For me, it's the startup. It's the sea. Um, so this is the thing that you're going to do. And other than that, I don't change anything. Here. Maybe here in units and rulers had come and set it on pixels, the rules. But that's the only thing that I'm I'm doing. Okay, Now, let me explain what you see here. So you see the tools? This is a toolbar. These are the main tools and each tool when you selected it has a certain type of properties over here. But we will talk about, uh, what every tool does and one of the properties over here when we will have separate videos for that. So who had the toolbar? The properties? Over here we have another bar that it's customizable. We can add different other elements over here, but there are some things that you will not use because for the shop it's not only for photographers. It's also for, um, graphic designers or concept artists. Uh, and because of that, I will leave Only the things that I need is a photographer. So color I don't need on. Ah, right. Click and close swatches. No close radiance. No close pattern. Close the properties. Yes, I need I need it. Adjustments. I don't need it because I can access it from down here. Close. These are the layers. I will make it like this. And this one A little bit bigger. Channels and paths remain here. Learn I don't need this Started our tutorials from adobe. So right click close libraries Rightfully close now. You have a lot more space here and you go here in, ah, workspace. And whenever you want to reset the workspace to have it, as in the beginning, you will go here in just reset essentials. Now, what you're going to place here are all the elements from here. For example, the things that you're going Teoh need brush settings. This is from for the the brush. Every brush has some settings and you're going to see exactly what these are. Okay, character. This is for when you We are using text from here, we can customize everything. Okay? Character iconography, hissed a gram. This is something that is very useful. And we will click here on these lines here. Go on. All channels view first of all, and then show statistics and show channels in color. This allowed these three. You should have them checked. Okay, Navigator. It's good to have. Let's see what else in four. We don't need that history. We don't need that. Sometimes you will need actions. It depends. Uh, if you will do, I will talk about actions later, But basically it's recording a set off things that you do a lot and often, and you don't want to do that those things every time you open the photo so you can record in action and this can be extremely useful. Okay, libraries, measurement notes, paragraph. So this is the set up, the workspace, the initial configuration. Now that's moved to the the next video where we started. Talk about layers, which is the fundamental building blocks and when working with for sure 3. 02 Layers: we are talking about layers. As I told you, these are the building blocks, the fundamentals of for the shop and everything is built on the concept off layers. Now let's open an image. Um, Teoh just you depict into to show you what do you can do with layers on what is the concept ? We can go file and open, and I would choose a J. Paige and click open. Now you see, this is open and now in layers, we have this which is called background and it's also locked and the when, when this layer is locked. If you go here and choose this tool, which is the move tool and try to move it, you're gonna get this message that you can't you can't move this layer because it's locked is better. But you can convert it to a normal there, and when you convert it to a normal air, then you can move it, and you can do ah all sorts of things with that. Now, I would not go into this right now hearing layers. You have different different options. But you see everything is in gray, and the reason for that is because this layer is locked. Now, if you want to unlock it, there are a couple of ways to do this. You can double click on it. And this will prompt the this dialog box and ask you what is the name of this layer and you can leave it layer zero click, OK, and now becomes layer zero and you don't see that um, lock over that. If you want to lock it, you can lock it like this, But this doesn't create a background layer. This Onley locks the elements he wants. You make this a big round layer again. Then you have to click on this layer. Go here on layer New and what? See, they're new and go beg room from layer. And now you see it's background again. Now there is no really reason for which you would like to do this, but you have this option now if you want to convert this background layer for toe normal there just by you and you don't want to go through this dialog box, which is not interesting, then you can hold down old and double click this and this will automatically, um, transforming toe a normal there. Now, let me explain. Just a little bit these elements and these one over here. But we will go in deeper detail in future videos. Now, over here, you have, um, the blending modes, and we'll talk about blending mount in what they do for the knowledge of the normal capacity off this layer and fill off the slayer. They are different because you can double click on this layer and you have layer styles which we're going to talk about in the next video. And you can set up a style. And after that, you can make the layer transparent and the style transparent. But you can also alter the field and make on Li the lead transparent. But the opacity off the style will remain unchanged. Over here, we have different lark options. You can lock visibility. You can lock, um, this brush over here so you you don't draw on this layer. Sometimes it's useful. You can't move it, for example. You can lock it like here, or you can lock all the options with this lock. Small lock Over here. Now. I don't lock my layers. I usually paid close attention to what I'm doing so I don't lock my layers. What else is happening over here? Now you can delete this later because this is the last layer. But you have this option over here, which is going to create a new layer. But when you create this new layer, um, and this I is the visibility. If I make this base layer unfit, invisible, you see nothing, because this is an empty layer. The concept off layers, it's like onion skins. And if you have something on top, this will be visible. We'll have a priority in visibility over this one over here. So, for example, in layer one, if I go with a, uh, simple brush and do something like this, okay, and I create another layer and I paint in another color Now I pay I paint on top. This is very important to understand, and to also be careful when you're doing something to have the layer selected Blair that you want to effect Now, For now, I'm going to delete these layers so I will click on this hold on control to select also this one and just hit delete and I will delete them. Now you can duplicate this layer, and there are a couple of ways to do this. You can simply click and drag it on top of this icon, which is a new layer, and it will create a copy if you want to rename this largest double click here and say Yeah , for example Norway. Okay, just just the name now the next night and over here is group. You can have groups and I will show you later on when we're going. Teoh do some practical examples when it's useful to create a group. But if you have this last selected and you click group that now, you can move it to the group and you have everything in a group when you have multiple layers. When you do, you complicate edits on a photo. It's useful to have some some things grouped together in one group again, double click and set the name of the group again. Consent, capacity and fill. You can also apply a layer style on the group. Second you whatever you want. Also, let's drag this out of the group and click on it and deleted this next. ICANN over here creates another type of where which is called adjustment Layer will have detailed videos because these over here are the fundamental tools that you will use to add it. Your federals thes are going to the things that you're used in every in every moment when you're going to added the federal over here you will create, madam asked. Click on it and it automatically gets a mask. This layer again, We're gonna talk about that also in the future video For now, let's just disable or simply delete layer mask. And over here we have smother smother things that are related Teoh layer style. So what you have here is the same, like double clicking on the Slayer and have it over here Now, Um, what else can I tell you about layers is you will be able to have or to use blending modes and get different looks. But again, we're going to talk about the future video and remember that they worked like onion skin. The leaded on top has priority invisibility towards the layer that it's underneath that remember always to click the layer that you want work on. This is a very important thing. Many times many mistakes are made by beginners because they're not on the correct layer. And also, when you simply click on this and it creates a new layer, this layer is empty, doesn't have anything on it. And also here you make the layer visible or not visible. Now let's move on to the next video when I will talk about layer styles. 4. 03 Layer Styles: we're talking about layer styles now. I think that you have Teoh understand that layer styles are are not used for exactly for photo editing and especially, are not applied to an animal that looks like this. And let me show you. I will unlock this holding down the bulky and double click. Now, if I double click this one and I open layer styles, you'll hardly see anything. If I click stroke, you don't see anything. I can put it inside this. This is a stroke, and you can create something like this. But it's not something that you can use, even if you said it on white. Okay, you will say, Oh, that's an interesting way to create a frame, Yes, but you are taking space inside the photo, so it's not a useful way to create frame. After that, you can't have an inner shadow where there's no ah riel moment. When you would like this on a photo, you can have a color over way, and even if you all to rapacity or you change the for tourism here on screen, you will not do these kind of things from layer starts, you will use adjustment lands because there are first of all, they are easy to use and there are visible. Sometimes you may forget what that you applied as a certain course, certain style. But let me show you when this is useful. For example, I will use the tax tool from here said the color of the text White Click. OK, and let's click here in the middle and say Norway, for example. Now you have here can't the character and you will be able to increase the size. For example, of 72 you can also right down because you can select something higher. I will write down to hunger, for example. Okay, and now I'm having, um a big text would normally let's go, maybe hung and 50 and I put it over here. Now if I double click this now, there's a reason for for everything that is happening here. Drop shadow. You see, I have a drop shadow and it looks interesting. And here he said, the direction of the light, not the direction of the shadow, but the direction off the life. I prefer to have it from the left and now the capacity you can go like this, but it's okay to have it a little, Um with a slightly lower capacity here, you set the color off the shadow, the distance. You see how how it moves, usually somewhere around here, how much is spreading sighs if you go t zero decide. You see, the shadow is very clearly defined, and this is a very harsh source. Light that it's close. But if you want to simulate something softer, you go with something, something like this. What else? Outer glow. Let's set the outer glow to read. You see, that's the glow. And again you have all these other options the spread have and the size have lots of glow. If you keep the spread to a minimum, any increase the size you you get and me on look something like this, it can be various. Well, if you're interesting in getting in effect like that, you can add noise. You can create something like this pattern. Now, over here, you can apply a patent over over the the element you can scale the pattern, making bigger role smaller. From here, you will choose the pattern. All you can go here and click new pattern or import different patterns. Radiant over late is again what the name says. You take a greedy int and the plight over on top of it, and you have lots of options for different radiant here, said the direction after off the radiant. The scale color over overlay is the same thing only with color Southern. It's something that I never used. Inner glow. It's again, something that I never use its glow own inside. We'll have to set a different color again. It's not even that visible. I mean, just you see, that's that's the, you know, glow in the shadow. Sometimes it's useful if you want to create the feeling that the Texas cult it inside stroke. It's something that you you'll use pretty often. You can set the size and if it's outside or inside usually I said it on outside and you see here, for example, let me just take this text by the way, you move it with this to Moto, and I will drag it if I want to to drag it down here and I'll let said the color click over here, and I picked the color off the ice. Don't worry, I will explain later how you do this, But with this color picker, I picked the color of the ice quick. Okay, I want to have the text as the as the color of the eyes. And then I want to have a stroke around the stacks. That's the color off this red over here. So it's double click in Norway. Click on, um, stroke. Click on color. Take this color from over here. Click. OK. And now we can have a have this stroke outside with size of 13 pixels. And we had color off this now on the of the ice and then the color off the sun as a stroke . From here, bevel and emboss you create that this feeling off volume okay, blending options. We're going to discuss this in advance blending modes so will not tackle this right now. Let's click. OK, it's on. Click on babbling most quick. Okay, Now with this layers like the UCD capacity is hung percent and fillets hunger percent. If I will take this opacity down, everything is going down as capacity. But if I want to take the capacity on Lee off the layer and not the style, I can go here with feel and take the opacity down. I can go old way down And now I'm having just a contour off the ah, off the ladders and you can see everything underneath this. And you have an interesting effect where you have this tax and you can see everything underneath this. So that's everything about their styles. Now let's move, Teoh aligning layers and snapping layers together. 5. 04 Aligning Layers and Snaping Mode: Now we're talking about aligning layers and snapping layers in different positions. Have a simple background layer, which is the image over here. And then I just created taxed like I did in the previous video, now snapping. First of all, in view. You have this snap which is checked by default, and I recommend you to live it like this and let's click on the text lamb and just drag it and you'll see you see those vertical lines those purple lines that appear those are snapping lives. This means that it snaps here, Teoh this edge. Then you have the middle. This isn't right in the middle of the Fed. Oh, and if I'm going vertical have different snapping Ah, lines. Thank a, but sometimes that's for example. Let's just duplicate this layer, click and drag it on top of a new layer. No, it can snap together. Seeing now if I duplicate this again and I drag it, for example, you see, now you have the distance between the three of them and now you know that these are equally distance between one from another? No, Sometimes just sometimes you will need less was trying Teoh in position it here in the corner. Now you will want this to not be exactly in the corner, for example. And if you want the snapping not toe work you hold down control and now you can move it and position it exactly what I want. If I'm taking my hand from control, it snaps because it's really close. And as I said, snapping is really useful. Now, for example, I know it's these two are perfectly aligned. If I hold on control, I can move them the way I want to end. There is no snapping, but sometimes you need Teoh sometimes don't now another thing that you need to do is a line layers together when he had two layers aligned Onley If you have to move to activate it, you will see this option over here. If you don't have to layers selected, these options are agree. What do you have to wears? Selected was dealing one of the text. If you have okay, I just want to align this with this base layer. Now I can align it to the middle to the right or two left. I will align it to the middle and then again to the middle. So these are the simple way in which you can align layers and also used the snapping mode. Now it's time Teoh talk about blending modes for layers. 6. 05 Blending Modes: Let's talk about blending modes. Blend multi, very useful, and you need Teoh. Understand exactly one to use them now in order for you to be able to use blending modes you need, but least two layers. So let's just click and drag this layer and duplicate. Now. This photo is not additive. It's straight from the camera. And, um, when I'm setting the blend moan, I will set the blend mode off this layer, and this means the way it's gonna blend with this one over here. And let's just click here on blending boat. Now I have normal and dissolve, usually used only normal from this section. And then you have a section that by blending it's gonna darken the resulting image as the first name of the first blend. The moment it will imply. Then this it's gonna lighten, and this it's just gonna be a knave rich of these two layers. These are and, um, when you're combining two images, uh, usually you use one off these two sets, one of these three sets and then come some other smother ways of blending, which are sometimes used for technical purposes. And also this is the last the last section huge saturation, color and luminosity. And I will show you exactly when you use this in just a second. But first of all was just is just play with this with these one. So we have normal now. Darkened, multiply, color born linear, burn and the doctor call. Usually from this set you will use multiply. That's Quicken, multiply. And now we have this. This is the final results. So it's a way in which you can darken the image but listing the capacity to 0%. So right now, even if if we said that to multiply because your capacity of this layer it's 0% it has no effect. But let's just increase slightly. Okay, so now you're seeing a contrast result, and you can add it images by just using, um, blending modes, for example, again overlay. It will create a contrast e look, but also increased the saturation of it. Now let's keep this on normal, and I will just create a, um, hue and saturation adjustment layer, and I will increase the saturation of the colors over here. I will go overboard Just a point. Something when you use an adjustment layer and edit image and you leave it to normal. The the layer will affect the brightness of the image and also the colors. So when I'm using hue and saturation, for example, and I want to affect the color, I set the blending mode to color. So as you see, I only moved saturation. But if I'm going Teoh color, you see how demons change. Let's go to normal again. You see how the brightness is also increased and when I go to color on Lee, the color is being affected. When I introduced a brightness and contrast that I want to affect the luminosity of the scene, I will also affect the colors in this way because it's a normal. Let's just go overboard for for you to see. But if I go on luminosity, you see how things changed because I also affecting Onley the luminous, your normal. It's like this luminosity. It's like this. Of course, the I've taken these these adjustment layers far too much. And I've, um I've had a too much saturation for the vegetable pleasing to the eye, but I just wanted to prove a point and make and, uh, give you some hens when exactly you will use thes blending moment. So when you want Teoh, um, combined two images, you will use one of these three sections on, And, uh, when you want to adjust the brightness saturation, I will use these one a d end. Now. Another thing that you can do, for example, is let's say we want to add a Grady IntPap and let's just peek colorful one. And if I said it to you, Hugh, now I'm changing the hue of ah, off the entire image. I'm shifting the color of the entire image, and usually when you apply, um, a modification like death, you go here and you take your past the all the way down off the green young map and then you slowly increase the capacity and you're kidding something. You're getting a result now. I hope you understand the blending modes right now in how to use them. They're very useful, especially when you're using these type of adjustment layers. But usually when I'm editing, I'm not using these three um, blending modes. Usually, when I added an image I edited using adjustment last but in the practical session, I will show you a practical way in which you can use this by having textures to the photo 7. 06 Masking: We're talking about a concept that is very important in for the shop and that is masking. Now. There are different ways of masking, but let me just show you some examples. It's the best way in which you can understand. So I have to. Images opened here now. Would the move Teoh? I'll take one of these and track them and just release the mouse and position it like this . Let's assume that some of the of the of the areas of this for you don't want you don't want them to be visible for this is not a truly practical application, but just for the purpose of explaining the concept. Bear with me. So I have this layer. You can create a mask for this layer and this is this I can over here and now it has a mask . Now there is a chain over here, which means that the mask is connected to this layer. He had to be careful. When you want to paint inside the mask, you have to have the mask selected. Now, inside the mask, you can paint with white and with black and because you can vary the capacity of the brush , you can have different degrees of gray. A white mask means that this layer, the lead to which the mask is attached, is visible in all the areas. Hunger percent. But if I'm starting to, if it's like the A mask and with the brush and with black color, I'm starting to, uh, paint. Now I can make things not visible Okay, for example, a practical application for this. Let's undo this control Z and let's write some text. And that's right. Norway, for example. Now, if I hold down control and click on the icon over here, I will make a selection. Now if I close the visibility of the Slayer and then I select the mask, I can fill this with black and here in gray, in the gray, gentle. I have this paint bucket tool, and I can go in. Click here, and this is filled with black, and now you see the layer underneath. Now this can have multiple applications, but usually let's also let's like these two layers and close them. Usually this is very useful. For example, we want to ah ah affect only the saturation off this mountain. Every adjustment layer that is created from here will come with its own mask, hue and saturation. For example, I will explain every adjustment layer later, but I need to use different tools and Photoshopped just explain what? So, for example, I'm increasing the saturation. Let's go overboard with this, okay? And let's assume just assume that you like how saturated this, but you don't want to have anything else in the rest. Mild. Uh, a mask is white, Um, and if you hold down old and click on the mask, you're going to see the mask. Click again on the slate and you're going to see it again. Not to speak on the mask. You see, here you have two colors. This is the foreground. Color the black one over here, and then the white. It's the big wrong color. If you click on the Mass, you can very quickly turn it or fill it with one of these two colors. If you want to fill it with the four run color, go old and backspace. If you want to fill the mask with the bedroom, color control and backspace, you can also invert the mask control I and from why it becomes black. Now, if Damascus Black it means that this layer it has zero visibility. And now I can use a brush. Hey, soft brush and we can make it visible. But of course, if Damascus Black would have to paint with white, you can use this one over here and switch it toe white and let's just click and drag. And now if I clear old, click the mast. This is how the mask looks like. Okay, now, another thing that you can do with the mask is the following. Let's create another layer and let's create a color balance. And, for example, I want, um, in the shadows of the off the mountains. I want some blues. I go shadows and I introduced some blue. But I don't want this to be in the rest of the image. I just want the mountains. Now I know I have this mask over here, so I hold down old and click and drag this mask on top of this other mask. And now it copied Over here, you see, you have a blue tent over there. So as you can see the concept off the mask, it's really, really powerful. Now, Let me just, um, closed these to let me show you another thing. I would drag this again over here, and let's assume that you need the mask, but you want to be able. Teoh, move this layer and the mask doesn't move. Let me just show you what I talk when I'm talking about. Let's great the mask and let's paint in the mask something like this. If I grab the move tool growing the layer and move it, you see that the mask it's moving together with the layer. Now you can also click this, and now the mask remains over there. And, for example, I will move this here and that. I connected again, and now it moves again with the layer. There are different situations when you want to do this. Another way in which you can do this and sometimes it's very useful is when you create the mask on the group's off. For you have this layer, you create a group for this layer. You put this letter in a group and then you create the mask on the group. Why, you would light want to do this because sometimes you want a set of modifications to be able to be moved and the mask to not move with with those modifications. And in that case, you need to group all the layers together and apply one mask. Porter put the entire for the entire group. These are the things that I wanted to talk about masking. Now let's talk about the move, tool and selections. Even though we we have used move toe, it's time to be properly introduced. 8. 07 Move Tool and Selections: in this video, I'll be covering the move tool and ways off making selections in photo shop. Now the move tool is right over here in the toolbar, and what you can dio to access it quickly is to press the V shortcut. Now let's explain what what all these options are. First of all, I have to two images open and with the move till you can drag one image on top of the other all you can drag different elements from inside the same file. First of all, let's click and drag this image simply. Just click and drag it, and you drop it over here, released the mouth and you can. You can see the images placed somewhere where whatever you release the mouse button, let's hit the lid. And now let's click and drag. And while we are clicking and dragging, hold on shift. And even if the mouth is here when I release it, the images placed right in the center and this can be very useful Now, Um, what we can do is further. We can move this inside. Okay, right over here. Now let's make it smaller. Are recovering the this transformation tool in further video, but I just made it smaller. And now if you go over here and click and drag, you're still moving the same layer. So the move to with the current selections with the owner select off will move the layer that is being selected right over here. Now, I have multiple ways in which you can select what led to move. You can click here and try to move for a simple dislike will not be. We will not be able to move it because it's back on that and it's locked. You will get this could not move it. But we can, um, we cannot lock it. And now we can do whatever we want with this lab. You can also a select a layer by control click. You see how it moves here? Control, click. But on Lee, when we are in the with the move toe activated, we can do this, or you can have our order select, and we can order select layer or we can or just like the entire group. It depends on your choice. Now, I never leave this own because, um, sometimes, for example, I'm on the base layer or I'm with this layer. I know this letter selected. I just want to move it. And with auto select, it will automatically select aware that I don't want to move. Sometimes it's not that obvious that you're moving that that layer. So I'm keeping this off, and I prefer to make selections directly from here to use the control click option. When this is very useful. For example, let's create a new layer, and with the brush tool, I will just create the blob. Okay, nothing fancy. But now I will create several layers and create these blobs. And in this moment, yes, there are, ah little nonsense that I'm doing, but I want to prove a point. Let's click on the move till now. Try and quickly select the layer that corresponds to this blob. Over here, it can be a little difficult, but if I go control, click here. It's led five. Control click. It's last three. So right now and know exactly how to hurt you. Move it another way or another thing about the move toe. You see that while I'm moving, there are all sorts of purple lines that appear. That is because I have snapping mode activated. And for example, if I select this layer and I take it like this, it was snap and align it. You see it snaps and align this. It's aligning the layer with a layer underneath. Now, if you don't want this snapping to be activated all the time, you can't hold on control. And now you can see it doesn't snap, and you can move it very very. You can find to you its position without the other things that you can do with the move toe you can. Let's say we select certain layers holding down control, and we want to align them on Lee. When you select multiple layers and you have the move toe activated, you'll have these options are activated so it can align. All there's on the vertical horizontal. Now all theirs are in one place. Teoh. Even if I mean, if I movement like this are only they have together now. These are the things that you can do with the move tool. Now let's move on to selections because thes are other things are really, really important. Let's let's also tell it this layer and let's just duplicate this there. So I'm clicking this land and dragging. Get on top of a new on the symbol of a new layer, or you can quit on this layer Control J on the keyboard, and it will duplicate in this layer Now selections. We have these three tools over here that can do selections, and some selections are manual. Some selections are automatic on, and we can. We will also cover advance way off making selections. Now, for example, a selection. Let's click on the 1st 1 It's a square if you click and hold. You have different ways off. Selecting can use the rectangular, the elliptical or a single roll. Usually the single roll and single column they're not used for, um, photographers. Elliptical from time to time, usually if you want, just like something is photography. It's like with a rectangular toe or you specify some some path, or you do some some sort off automatic selections. Now went the marquee tool. You simply click and drag an you have. You have something that looks like this. If you want to constrain and make it square, you can hold on control, and now it's, um, it's going to strain and you could selected like that. So let's assume I made this selection. Now, another thing that is very important, as you can move this election, if you are with the selections, will activate it. Okay, well, you can move the selection. Nothing happens. And this election will affect on Lee the layer that is being selected over here. You can do advance advance selections on all the layers underneath. But for the moment, let's just stick with this. You can make of this selection, and if you go with the most tool, you can drag it. And you dragged it here now? Yes. You've made a hole over there because you drag that this this piece off layer, you drag it out. So you you made a hole over there to hide the selection. To exit the selection. You go control d on your keyboard, and now the layer looks like this. Okay, you can go and select this again in the fine way you have. Ah, we have no way of doing that. Now if it's like the electrical, okay, you do You do. And the lips. If you want to make it a circle, hold down shift and now it's a circle controlled deep. No, let's just deal it, Slayer. Activate this one and just duplicated another manual, which she do. Selection is using the lasso tool, which you will do something like this with the moms. Baden, something like this, for example. And when the move tool Now you can move this, or when this is selected, you can hit control J. And it will make a new layer based on that selection. So, yes, you can, uh, see selections can be very useful. Another way of doing selections. Polygon lasso tool. So you can do something like this. You have to make lots of clicks because line it's gonna be pulling in the when you decided what can't wanna stop double quick And you've made something like this. Now, as I told you, can heat control J and creates in your lab. But if you make this election and you create a new adjustment layer for the simple brightness and contrast, whatever it will create a brightness and contrast and the mask it will be automatically created like this. It will look like there's no mask, so this can be very useful, because in on So the mask says that my selected area will be affected by this brightness and contrast. So if I drag it, you see where I'm going with this. So you have a lot of control over different areas. Of course not in this way, which have a lot of control now. What are the other things? You can use the magic one tool, and you can set a tolerance here with the magic. Want Will you basically click on a point? And it will pick up the color off that point, and you can set it to continuous or not usually design this one tool. It's not a tool that is used often by photographers. If you want to increase the target, for example, tolerance off 50. This will pick up multiple values off the same color. Usually you use it with a talk with a higher tolerance and, um, Azaz, I said. Usually you don't use this tool for as a photographer control de to hide this selection. Now I will show you the the way photographers use selections. Sometimes you are using a regular marquee tool. Sometimes you create a map, a mask, but the important thing is When you use one of these tools, let's say, for example, I will use the lasso tool and I will try todo some sort of off of a selection off this mountain. Okay, something like this. If right now I will create a brightness and contrast and look at the mask. It has very sharp edges. You can go here and feather it like this and this is very important. You can feather this election, but I don't recommend feathering this election. Let me show you why. Let's hit. Undo. Now we had this election. Feather in this election means that we create like a blurry selection. But the moment that you're going Teoh fatter the selection you can go with modify and feather, you will say, for example, Okay, 10 pixels. You have no idea what this means and when you hit okay, you don't see any any change to this? Yes, it's feather because if now a created brightness and contrast and click on it. You see, it's slightly feather, but you have no real control. You don't know how Father is so the best way to feather this election. It's actually create that create the adjustment. There and then use it like this. If you're If you're not playing to use the selection for creating a mask for an adjustment layer, then yes, you can go and feather this election the way that I showed you. And I know that I fed it the selection I can bright in those mountains. Ah, a tiny bit, for example. So you can see I'm creating a little bit of a contrast over there. That's Quicken Dragons and deleted now. Usually the way I use elections is from here. Select and amusing color range. Now, when you're using this method, you have to be owned the land that you want to make this election and these are advanced selections. You go on color range, and you have different ways off doing selections. Some of the most important ones are these one you can select highlights the meat tones and shadows. Let's say, for example, we want to select the shadows, so we have the shadows with white, but we also have a range to include more shells until we select literally the entire image . We can go and select only dark, really dark areas, and we can also create this fuzziness. Remember where you have white? The that is where the selection will be and when you create an adjustment layer, that is the area that is going to be affected. So with the fuzziness, you basically create the feather. Okay, we can go really dark. That's something like this. So these are the most darker areas, and now we slowly increase. And let's say I want something only something like this that's hit, OK, and now we have this incredible selection that we cans you by hand, manually or even with one toe. So I will go here and create a brightness and contrast. And now if I take it down, you can see I can alter Onley the shadows. Or I can go with a color balance and I can make this shadows really blue again. I'm going overboard with these settings just for you to be able to see what it's what it's happening. And at the end of this course, we will have, um, some examples and practical examples what? I'm going to use all these tools to add it, and that is the place where we'll see exactly how to use them to edit your photos. But for the moment you have to understand how they work. So this is a way to do advanced selections. Let's go here again. Select color range again. You can also select different colors. You can also say that this team towns, but you can also sample the colors. So when you have this click, I can simple the car of these flowers that though control one takes me Teoh hung percent zoom and clicking. I've selected this whatever toe I'm having. If I hold on space bar, I will have this small hand, which is the pan tool, and I'm clicking and dragging. When I'm releasing the space, it will automatically return to the tool that I'm using. Now I want to add more more values off the collar over here. So I'm using this. Plus I'm whoopsie. It's holy had had only some some color. Okay, now I'm having this color off the flowers. Click. OK, we have this election. We can click on a hue and saturation, for example, and we can de saturate saturated. We can change the hue of these flowers so we can do a lot of things. Yes, we can. We can do a lot of things with these with these flowers right now because of the selection , or is there is one more advanced way to do selections, and that is the quick selection. And here in the one toe, you have quick selection tool. And this is a tool that is sometimes used for portrait's because you simply paint you start here. For example, let's try and select this sky and separated from the mountain. So we simply did this and we have a selection of the entire sky, and right now we will create a uh, that's a brightness and contrast. Yes, it's sharp, but we can go and federal adjusted little bit. Now we can brighten this car we conduct in the sky. You will see if you go extreme, you will see the father. That's why I don't like using it. It's more used for portrait's. Usually when you have portrait to have different things that you need to select, Um, but as a photographer, yeah, I like to use this tool with select and color range. For example, if I'm here on this layer, the color range will not work well, you have to be on the lead that you want to make the selection off. Now. Another way to do selections. ITT's away that it's not very used by photographers, but again, if you want, you can use it. You can use this to over here, which is the panto. Be careful that it has different options. You use the Pento overhearing. Simply click over here. If you just click and release, it will create a publican upon gun. But if you click and hold and then drag, it will start to create curves. Now you have to play along with these curves. And while you created this curve, if you hold on space, you can move the point. And when you want to close this, you can. You have to go over this one and you've closed this path. Now, if you want to transform this into a selection, you can make selection out of it. Makes election, and you can choose a feather off. Let's say 10 pixels click OK, now you have a selection made of this path. It's not the most common way to do selections. It's not that used this photographers, but But I think it's useful for you to know how to do how to use even this even this tour. Now we will move further and ah, we will talk about the crop tool and all the other tools here. And Tobar. 9. 08 Crop Tool: Now we're talking about the crop tool or the shortcut. See the crop tool? It's Zaveri used Tool as a photographer, and it usually it's used to straighten a photo. For example, if this photo would not be straight, you can hit the crop tool. And then you can use this over here, which you click and drag on the horn on the horizon or on on something that you know. It has to be horizontal or vertical, and, um, it will straighten it up. But let me just give you a simple example with the crop tool. If you go outside the crop, you can rotate. Okay, so let's let's rotate this image like this. For example. Let's say that I don't know you. You weren't thinking clear and you made the federal looking like this. Now, with the crop tool activated, we go with the straighten and we say that this horizon should be straight. So we click it there and drag it somewhere over here. So this line that I'm defining should be straight, and it creates something like this and now even double either double click with the mouse or enter on the keyboard. And now have straight photo, of course, that you lose, um, space within the image. But you've made it straight. Let's hit and do. Now the thing that you can do with the crop tool is, for example, have this option delete cropped pixels off. And if you have this off, then even if you coop, you can come back to the cropping. Why? Why you would like to have this? Because first of all, let's let's let's have it like this with nothing in these boxes because sometimes for for example, you would like to see an extreme crop. How how this image will look like this, control one to go home percent and the image will look like that. But at some time going to say, OK, this just wasn't a good decision to crap like this. I want to I want to go back. But if you have this delete crop pixel, turn on, man, you can go back. But if you have it off and you can go back simply, you drag this. Now you see, the entire image appears controlled zero to frame the entire image. And now you just go with the crop and you reach this place over here and you have the the image again. Okay, you can have it back if you want, and you can. You can do another another crop. Sometimes it's useful to have a certain proportion. For example, if ratio it says like this ratio. And there is nothing in these two boxes you can click and drag, and now you can crop using this ratio, this proportion how if you just drag this, you said, you see that it's not keeping the the racial aspect, but if you hold on shift now, it's using this. But if you want now, I'm, um, changing the size of the crop. But I'm changing it based on the opposite corner life. I want to use the center to the scaling while I'm holding down shift. I also want to hold down old, and now I'm doing something like this. So this is it is very useful. It It's used with all the transform tools and I used with photo shop. And when you get here, for example again and you go outside the crop, you can rotated and do whatever you want. Okay, so this this is ah, this tool, the crop tool. It's very useful now. We will move to the next video where we're gonna talk about the brush toe and the Grady int . 10. 09 Brush Tool and Gradient Tool: the brush tool and ingredient tool. So the brush tool is this one and ingredient is this one the Grady into? Now let's talk about brush. Well, first of all, that's good control and for new. And we just create a new document the brush tool pains with this color over here with purple. If you want to reset this very quickly, you hit de on the keyboard and you will have this black and white setting. So the brush tool right now is gonna paint with black. If you want to switch between these two cars, you can use this. I can old shortcut X. Okay. If you want to change this car, click here and you have this, um, this color picker, if you have any means, you can pick a color from man or you can use this color picker from hearing for example. Right now we are picking a hue, and then you can change the saturation of this. You know that we can make it less saturated and and also the brightness. We can make it a real bright car or a darker version off that color. And let's click. OK, now we can paint with this cult. You also have the capacity and flow and smoothing for this for the brush, and you also have a blending moment. As a photographer, I never used blending modes for the brush, but you can use it. You can do something like this, and I will show you a way in which you can use it in just a minute. Now we'll pass it that you have not 100%. You can set opacity by hand my manual like this, or you can click on the keyboard. You can click one and you have 10% click 112 very fast, and I had 12% clean 05 and now I have 5% click zero and have a hunger percent. So if I'm having a 10% capacity, the brush looks like this. But if I click again on top, it adds up. So in the end I'm going to reach 100%. It's very useful. You will see in in the actual addicts, and I will. I will do us some very quick ones here, but in the exercises I'm going apply this further smoothing. It's not used for photographers, but Let's say that let me just show you how you can use it. Let's say capacity. 100% right click with the brush here. Now the brush has hotness is 0%. And as if attire for this is the way you should use it. But you can go with a very hard brush. OK, this is the first thing now the size of the brush very fast. You can change it from here. You're going to go with size, which is not that useful, but with the brackets, right bracket less bracket. You make it smaller or bigger. Now smoothing is zero. Now let's let's try and make, um, a curve. You see how it looks? OK, now let's play use a smoothing off 50 percent and do the same thing. Yes, it goes slower, but it looks like this. It's sometimes it's useful, but, as I said is photographer, you're not using this. Also, another option that you're not using is this one, which is the symmetry again. You're not going to use this, uh, this symmetry. It's something that it's not. It's not used for photographers. Uh, okay, now let's go here because the things that I did here are not useful for years of photographer. Let's go here on an image and with the brush tool you can paint inside the mask. Same with Grady in tool. But let me just quickly show you with the brush. First of all, it was right. Click and make it soft with hardness is your percent. And now let's create, for example, a brightness and contrast. And I want Onley this area to be brighter. If I go like this, I increased the brightness. Now the mask is completely Why So the effect off the layer of the adjustment layer is made on the entire photo. Let's invert the mask, make it totally, completely black. Control I on the keyboard or click the mass can because we have black here. Old black space I've seen it is right now. It doesn't want to. So control. I just be involved. The mask Okay. And now with the brush, I want to bring back some of the effect of the Slayer. Right now it's black. I want to paint with white. Let's go opacity 30% and I'm adding a little bit of brightness in this area. So now you see a practical application off the brush you can paint inside the mask. Now, let's go here and let's fill this with white. We have white control back space. Yeah, right over here. It works. Um, and let's use the Grady in tow. The shortcut, his G and have different ways off doing the grading. So, first of all, you can have different radiance when you're using this, Grady, until you usually using it to, um, applied to a mask. But these Gedeon czar very useful. And I will explain why when I'm gonna explain this adjustment tool of Grady a map, which is ah, a little different, but it can bury their It can be varies for for editing? No. We have a black and white Grady in tool and we have this option over here. A linear Grady again can have on a pass ity again can have ah, blending mode. Usually you don't use them. So you click and drag and what you define here is the area where the gradation from black to white will start. And so let me be very protective aides. The rulers control hair and click and drag two rulers and now let's could create a great And if I click here and stop here by the way again, you can hold down shift and it will constrain it to 45 degrees or horizontal. So starting from here to let it's completely black, starting from here to right, it's completely white if I'm dry and from the rides towards left the Grady and will be created like this. Okay, Now, you also have the possibility to create a radio, uh, one. So you have and it looks like this. If you want to change colors, simply click reverse and you define the center area, and you will also have this option. These are the three that you're going to use this for. It's a photographer where you define half off the area. That is the great U S. O. Let me just so you find click it from here to up to here you have this area, plus the segment of the symmetry on the other side. Now let's use this on Ah, in a real situation, for example, I will create the brightness and contrast again and take the brightness old way down something like this and use as a blending mode luminosity. And I did this because I want this guy to be darker, for example. So I will come with a Grady in tool, which is linear and have I need to have black down here and white up here. So I'm defining the area that I want a transition to be. And I have. If you look, only the sky is getting darker again. Now I want to have this area brighter. I deactivated this one and now let's create another brightness and contrast and increase the brightness again, blending mode on luminosity and I will use a greedy int like this, and I need to have white in this area and black and all the other areas, unfortunately, is the other way around. So I click reverse so you can do something like this. And we just with these two layers I've made something like this, and now your attention states on the house a lot more so. Grady int the brilliant tool and brush. As for tire furs, you use it to paint inside the masks. And now let's move Teoh other tools that you can use as a photographer. That is the clone tool and spot. He'll brush tool and also the erase toe 11. 10 Clone Tool Spot Healing Brush Tool Erase Tool: Right now, we're talking about, uh, sport healing brush tool and clone toe and erase you. So let's let's just do a duplicate on this layer control J Control Plus to zoom in just a little bit It f on your keyboard and now with space bar, Hold down. We can pan this whatever we want. Now let's start with the clone tool with the S on your keyboard. That's the short cut as, and it looks like a brush again. You can, um, made the size smaller, bigger with the brackets, and you can by default. It comes with this option currently on currently and again have a capacity you can change, just like in the brush hitting zero. Then we make home percent. Now with the clone toe, let's say, for example, control. Plus, we're just control one to be but hung percent. We will. We want to remove these elements over here from the fare for from the phone and also this small element. If you click and drag it will say, could not use the clothes timeto, um, because you didn't define the area from which you're going to close. So this so works in this way you'll have to define from where you want to clone. And where do you want to put it now, right? Click here and use also a brush with hardness. 0%. This is a tip. Now hold on, old. And you get this target and you say I want to clone from here. And now when you go like this, you cloned. You took some elements from here and place them here and you see ah, let's let's just hit. Uh, Hold on old. Take it from here. And now, you see, this is what you're going to clone if I make it bigger. I made the brush bigger. You see exactly what you're going to close. Okay, Now, what I did was working on this layer. So sometimes you don't want that, because sometimes the elements that you want to clone are not that easy to remove. And sometimes you can You can make him steak. So you want to clone in a nondestructive way, and this means something like this. You create a new empty layer. So this is this is the layer where you you're going to store every every element. And with this leg selected have the clone tool and then sample from current and below. And this means that it was sample from everything that is visible. And let's just make an intention of mistake. There's just grab some sky from over here and try to remove this cloud. Okay, I just made a mistake. All the things I can do was is simply to deal it this layer or ago. I can go with erased O R E and have this you raised to Agana pass ity. We can have a passage. It's the same thing, like a brush, okay. And we can simply erase this and we have all the information again because I'm cloning and I'm storing all the elements on this new layer over here. So it is very important whatever edits your drink any further to be non destructive, so you can very easily go back and adjust it now for this kind of elements that are really simple, where you, as photographers were using usually the spot healing brush tool. If you here a j on your keyboard, this is the spot healing brush tool. And with this tool you simply click on this layer and you just make something like this, and Photoshopped does its magic, and if he goes away, wait for a little bit and it goes away. So for simple elements that need to be cloned for, Let's Say, for example, you want to remove this cloud. The simplest way issue used this tool for more complicate things that you need to clone out . You can use, um, the clone tool, but usually as a photographer, you will not want to remove a lot of things from your federal's, and because of that, he would mainly use the spot healing brush tool. 12. 11 Dodge and Burn Tools: we move now to burning and dodging. Then there are these tools over here so sort of thin stools over here dodge and burn. These are tools that are in, um, inspired by how photography was developed. So when they created for the shop, they thought about ending a tool burned that will, um, will make the the elements docker. It's just doing control, j duplicating his name. So we will make things darker again. We have exposure and another one does. It will make things brighter. Okay, well, the problem with these tools is that there are Those diesels are destructive. They are alter the federal. They all altered colors and also the luminosity and had no control on that. You can you can choose range, which you can alter the shadows, highlights whatever, but it the problem. The main problem is that it's destructive. So these days I don't think that photographers use this tool anymore. I personally don't use these these tools, but I just wanted to include these who's in this course because you may hear about editing techniques of dodging and burning, but they're done in a different 13. 12 Text Tool: We're talking about the textile right now And the text so is very useful because you will want to sign your federal hit T on your cable or selected from here. You have all sorts of options here that you can modify after you arrived attacks that you have. Just click here and now let's say copyrights at Toma. Okay, Now I hit on click on the move to and I can drag it whatever I want. Now you can change the opacity and you can also change what found family you are using for this Also the size the space Let's is just, um yes, men escape photographer. Okay. And now you know what? You can also do some spacing between letters. Okay, You can change, the paragraph moaned. And also you can change the spacing between rows. So that's going to text mold again. Click inside attacks. Click and select this and then you can simply go on this option here. But you can also hold down all and use the arrows on your keyboard, which is a lot more intuitive. Also, you can select, for example, this one over here and increase its size. Make this one bigger make, uh, the letters closer to each other. You can also change the color only for this, uh, this text over here. You can double click on it and had strokes. For example. You can do whatever you want with, uh, with the text. Now, you can also make funny things so you can click here and you can choose a style like our can do stuff like that usually as a photographer, you you're not into doing something like this. It's not useful. But if you want to use it, go ahead. So I just created something like this. You can place it, whatever you want and you can free transform this controlled t on your keyboard. And this works on every element in photo shop. And now I can make it smaller or bigger. Double click to make it like this and change the capacity, for example, make it look like this. So you have watermark or whatever. So the text who is Yes, it's it's ah, it's a useful tooling Photoshopped for photography 14. 13 Adjustment Layers Brightness and Contrast and Curves: in this video, I'll start talking about adjustment layers and adjustment layers are extremely important because these are the actual tools that we're gonna use. Edit your photos. There is another way in which you can apply the same effect but its destructive. If you go here on image adjustment and all this, if you go, for example with a hue and saturation and you do something over here you affect the layer underneath, Which is not is not something that you want. You want to do the adjustments in a nondestructive way, so adjustment layers can be created from here. So have a whole range of adjustment. As you have simply ways off filling the space with a color. You have adjustment layers that deals with the brightness and the contrast of the image. The color off the image can be changed through these, and then you have some other, um, its mother adjustment layers in this lower part of the image. I want talk about the adjustment layer that I use for my for my ad it. So I will start with this section over here with brightness levels, Kurds and exposure. Now let's create the brightness and contrast. As you can see, it's a new layer that that's why it's called him just Milan and also has a mask attached to it. And you already so me using the this adjustment there during the course because I wanted to exemplify different, different things. So with the brightness and contrast, you'll have properties with each adjustment. There, you'll have properties so you can adjust the brightness separately and also the contrast. Now the default blending mode is normal, and I think this is a very important aspect to take into consideration. Let's go with with the brightness some somewhere like this. Now, whenever you're using an adjustment, there are normal you're affecting, even if it is just the brightness, you're also affecting the color. So I want to change from normal. When I used brightness and contrast, I know I want to change the luminosity, so I'm changing the blending mode to luminosity, and there is a ah, very a very subtle change. Look here on the color of the tower. If I go on normal, you see it becomes a darker orange pecan luminosity. Its changes. So you have to do this manually, but it's very important because this way you will have a more natural look. Now there's the name. As the name implies, you add or decreased brightness, and you can also add some contrast and with the mask you control where this leads should be taking the fact. If you if you want Onley certain areas to have to be affected by this layer, then you can paint inside the Mass by using a brush or a greedy intell. Now let's move on to the next one levels. This is something that I don't use, and I think it's country counter intuitive to use this layer dis adjustment layer, and I suggest you Teoh suggest that you will use curves. It's a much more controllable and much more. Um, it's an adjustment that that you can understand very easily. So let's just go with curves. Well, Curves has a lot of options. The first of all, it's this RGB is this little hand. Is this graphic here? So this gray area over here represents the brightness off the image. It doesn't represent the image from left to right. It represents values in the image. So from this graphical representation, we see that there are few areas of the image that are really bright. For example, these are the highlights. These are the mid stones and these are the shadows and the points are complete. Wipe complete black. And, uh, if you go with this hand, you can go here. And you see, this place is represented in this area from the from the line. Now what? The Kurds What you can do, You can add, for example, contrast. We can place a point over here and we made the image brighter. And then we can take the shadows and we take them down and we add darkness again. We are on normal right now, and if we switch to luminosity, it changes. Ah, a little bit normal to luminosity. Sometimes the changes much more visible. But I prefer to to be to use the exact blending mode that I I want. No, If you want to delete these points, just click and drag them out Off this out of the image you can use, um, the curves toe to do color adjustments. For example, if I took this photo and I also would have had a great card with black white, pure black, pure white and pure grain and in the shot and I could go with these color pickers. For example, if I used this one, I can go. It's 100%. And let's find an area that should be white well in photography. The reason. No element that it's completely wide. But as I said, if you let's assume that you would have a great card and we will peak because that great card But it's very difficult like this. That's just, um, hold on old and move the slider to the left. So what I'm seeing as the church over there is the brightest area. There's double check with this one. Yes, so we can pick an area from from here. You can go really close, and we can say this should be white, for example. But he said it looks it looks odd. Strange because right now have really white areas in the photo, and this should be used on Lee. If you have a great card and you can pick on pure white, let's undo this. Uh, what else you can do besides, uh, affecting the brightness and the contrast of this? Um, if this is used or normal. You can also go on channels, for example, the Red Channel and you can take away red. And now you're introducing side and in the federal. And you can have the image looking like this hurricane. Go overboard and have the image looking like this. Or you can go in the into the Blue Channel. You take how blue introduce yellow. Okay, you introduced me and you can also introduce more blue to the image. For example, if you go with red is you can put some points over here to keep this curve in place, and you can introduce this blue Onley in the darker areas or only in the shadows. So you have a lot of control with the cubs. But you kind of this if you have, if you have it on luminosity because you know luminosity you affect on Lee the luminosity. So I need to have it on normal, or you need to have it on color. If you want to change this now, let's talk about the next two, which is exposure. This is something that I don't use in my head. It's exposure can effect as it says the exposure, but it's not something that you will use very often. So from these adjustment tools, I use brightness and I use curves. And I think you can do a really good job with with these two. Now, I will show in the next video I will talk about these, um, these adjustment layers and what is the adjustment land that I can or you can use as a photographer? 15. 14 Adjustment Layers Gradient and Solid Color: Now we're going to talk about these adjustment there. So let's start with the solid car. You click here and you choose what color this lead should be. Now, First of all, let me just explain in which way you could use this as a landscape photographer was there or as a photographer. If you want to, you introduce a core cast to some regions to some areas of the photo. Um, I know, for example, that see if if we can make this area Livermore greenish okay, you can introduce a solid color and you can pick up a green, which is obviously to to green. So let's go. This is the hue. And now let's change the saturation of this Hugh somewhere around here and then the brightness because it's in the distance. Let's go with that somewhere around here. Okay? And now we can put this, uh, on soft light and we can click on the mask and inverted control. I, too have it black. And now, with a brush with white and lo opacity of 10 what can slowly introduce a little bit off green in this hair? So I made an error a little bit greenish. This is kind of like kind of the idea of how you're using this. I have to admit that I'm using this. I don't know, extremely, extremely rare. But for interesting effects that can be different. You can use Grady int. This is different from grading map. Grady int creates Grady in so you can you can use it. Usually I use it on radio and I'm clicking here and I'm creating my radial thinking about light. So, for example, I could do Let's go, Hugh. And let's ah, make it from, uh, from a color that looks somewhere like this Click OK, and then it moves to complete white. Now, these swatches down below control color and you can also add as many as you want and you can dragon down, they disappear. And these up here control capacity your taste and again can move there. Click OK now you can also have scale and you can move this Onley when have this option activity. So if I click ok and used to move toe, nothing happens. So I have to double click this and have this, um option window open and then I will move there so Let's move this. Let's scale it first. This is a practical win which came, used is and I'm introducing, kind of like a haze in the image or something. Make this quick. Okay, you can heavy like this and then with the opacity, go all the way down and just added slowly. Or you can go with soft light and have a hint off of what is happening. So this is This is a practical window in which you can use this. Usually it's used in portrait's done in nature to simulate a NIF effect off light coming from a certain area and also a little bit of haze and Teoh Adam or a more romantic feel. If you want Teoh the image, you can use it also in a landscape photography to control different and, um, different areas. Let's, for example, Hughes Linear one, and it's just scaled to to see it. So now it's it's from above. Skated just a little bit like Okay, place it on normal just for me to see what it's happening now because it's in the upper part, I will. I wouldn't use a blue. I think this with a lower saturation click OK, and then in here because it goes down, it goes down. Let's go with a Hugh. Let's see you off black. OK, but the opacity of here is 0%. Because I don't want to have something looking like this, so I just want, like, something like this Click. OK, and now I'm positioning this right here. So right now I can create in the distance that feeling offs mark if you want or or really dance atmosphere. Yeah, I can also place it on, multiply and create a darker area on overlay. It's also a bright, brighter in with some contrast, all you can go with soft light and you can have something like this You can change. Basically, you can change the colors off different areas. So I hope this short tutorial, um show you how you can use this Grady and feel, which is a lot more useful, Dan, the solid Colors or Grady. And yes, it's something that it's useful and you can use it there, and it can be very useful now. It is just moved to this set off, um, of adjustment layers 16. 15 Adjustment Layers Vibrance Hue and Saturation Black and White: Now let's talk about the A decimal layers that control color. Talk about vibrance in hue and saturation. First vibrance, which is really straightforward. You increase the vibrance over your increase the saturation again. If you live this on normal and you go hold the way, it will look like this. But if you go and change the blending mode to color, it changes as you can see so normal. It also increases the Contras hand luminosity on color and Onley changes the color, so this is very straightforward, but this is also the one that you will not want to use. But Hyun saturation, this is the one that you should use as ah is a photographer, so you have lots of options again. What I'm doing is changing the blending mode to color, not saturation, because sometimes you also want to change the hue, so I would just choose color as blending mode. Now, with this, you can do saturation on the entire image, off the saturation on the entire image or from master. You can change different cars for him, for simply can change their Onley, the reds or yellows or greens. But sometimes you can't think like that that I want to change the greens. Sometimes you think as a photographer, as I want to make this more saturated. So for these cases, you have this new hands have click on this hand. You click here and now take a look at what? What's happening over here. So yes, you have. Um this is the color that you picked and also a little area for the faded. So you can also include more off this area if you drag this. But I will just keep it like this or click and drag. Chill. Right. And now you have. You're increasing the saturation for this particular color. Now you can see there are also other areas that are affected by this. But the beauty is that you can just click on the mask, fill it with black so we can control I to invert the mask. Or we can, because we have black. Here is back home background controlled backspace. Fill it with black. Now this there has zero effect. And with the brush with white capacity hunger percent the brush soft heartedness 0%. We come and paint this church And now we have affected on lee the yellowish orange reddish tones off the church. So, um, the hue and saturation is really, really powerful. And it's something that I'm you're always going to use because you want you effect and change the saturation off your, um, off your image. Now let's continue by speaking about black and white, and I will leave co balance and the others for another for the next video, because this is also an extreme on extreme change in the color. So if you live it on normal, this is the way it will behave. It will change the image to black and white, and then you will affect the luminosity off. Let's say yellows. You can make him brighter or darker. Be very careful not to go overboard with this, especially in the sky, because you can have strange artefacts. For example, you can already see these artifacts, but if you go overboard, you will have some problems. Now there are also some presets. Sometimes they don't work that well. They produce artifact now. You don't necessarily need to know exactly what these names mean. You just quick, and if you like the effect, you just then say Okay, I really like this one, so I'm going to keep it and work with it like this. You can also add a tent. Yeah, you can change. Tend, you can make it after the image what color you want. Usually it's sepia that you will go with a tent. If you want to do this now, let's just do this and let's create again a black and white and now supposedly been I don't want it to affect the color. I just want to effect the luminosity off each individual car so you can place black and white on luminosity. And now, when I change yellow, I simply increase and decrease the luminosity off this of this cover. So this also can be an interesting way aff using this late. 17. 16 Adjustment Layers Color Balance Photo Filter Color Lookup Gradient Map: Let's talk about now about color, balance and federal filter color balance. It will change the color in mid owns shadows and highlights. Now, usually the way I use this is affecting the shadows and highlights and a very important thing. For example, I'm going in the shadows and I'm introducing some science. And some blues is Do not leave it on normal because you see how dark everything went well. This is normal. And if I change the blending moto color, this is how it looks. And this is how it should look because image this is the luminosity of the image. And this is just me introducing some blues and sands in the shadows. I don't want to effect luminosity if even though you have this preserve luminosity if you leave the blending mode on normal, you will get that look. That doesn't it's not that interesting. Of course you don't want to go overboard with this and this. These sliders are very intuitive. So the minutes you, um, want to remove blue, you will introduce yellow, and this is something that it will always happen. So it will take away the blue and introduce the yellow Now um, the other adjustment layer words photo filter. And this, for example, uses an orange one, and it's not very visible. But you can change this to, for example, a cooling filter. And I have it like a blue feeling. Click on the mask quick on the Grady and select a linear Grady int. And we can have a blue sky. Or we can have some blue fog on this village so you can use this very creatively. For example, in foggy forests, you can have ah, blue fog in the forest. You can have different. You can use this in in different ways again. Can live it like this, or normal. Or you can change it only to color. Usually this one, I use it on normal. I don't care that much about the brightness, and sometimes I don't even use it in the past, he hung percent. I take it down. Ingi just introduced just as much. Um uh, just the the amount and I really want. And now in the next video, we'll talk about color. Look up. And now let's talk about also color. Look up here. Now color Look up is ah, these are just lots if you want. These are just, um, color profiles. So you have different different profiles. You can create your own profile or you can import different profiles. For example, it's like this. You you had this look. Now the profiles won't affect the luminosity, and contrast will only change the color. So it's just select some looks. If you, for example, if you if you like this one over here, you can say OK, but I don't like it like this. Let's change your passage. Let's introduce just just like I I just want to see it like this or this one. It creates a great contrast, but the contrast is too big, so there's just take it all the way down with the capacity and you introduce it slowly. And for example, right now we can stop and we can have it like this. So there are different looks over here, and you can also load other other looks. And if your drink and editing, for example, let's say I'm with a color balance and I changing no shadows to blue into an image. Let's assume that this is my my look that I want to have for the for other images. I can select this or you can select multiple layers and then you can go file. Okay, Uh, let me just say he export and go cool or look up tables and you will export one of one of these. So usually I export only three D l and Cube and greet points. You can go with high quality on 64 click OK, and then export a lot, lot. And when you go with the color look up table, you will load it from somewhere. Here. This one loads, I I see. I mean, I c c and this one those loads cubes. So you need to know what type off what you have in, or it's you be able to import it. And once you important, you have it over here. It's not something that I use very often. I don't like to have pretty fine loose. I just want to evaluate the photo or each photo individually. I want to be able to have made decisions on my own. But this can be a good starting point on moments when you, for example, feel that your stock and you don't have inspiration So now let's Ah, let's prepare and let's talk about the radiant map, which is the final adjustment here that I'm using as a photographer. It was just quick D's and delayed them and create a Grady in map. Now the greedy in map. It doesn't work like a normal Grady in what it does. It maps the darker areas off the image with this color and the brighter areas with this color and then everything in between. It applies everything in between. And that is why you can use this to create a simple conversion to black and wide. Four. Let's see if we can find neutral a pastel. Let's see if we can do something like this blue in the shadows, but not that saturated and a bit darker. And in the highlights, Let's, uh, let's introduce an orange. Okay, something like this. Okay, not having this. Let's go with your past it down. And then I'm slowly introducing this, and this creates this faded look, for example, or you can have it hundreds and capacity and let's put it on overlay or soft light. And now you have this contrast again. You used the capacity to change and alter. Yeah. Now, you can also use this on Hugh and can have this crazy look, for example, where you change the hue off the entire image. Sometimes it looks good. You can use this in forest, for example, you can have a really crazy look. Maybe will do an exercise that will use this technique. But this is the way you're going to use the Grady in map. And, um, now that we are done with adjustment layers, we will move on to talk about some filters from here that I'm using as a photographer. 18. 17 Filters Blur Sharpening Lens Flare and Liquify: Let's talk now about filters and what filters can be used for you as a photographer because there are a lot of filters over here. So the things that I'm using a lot are mostly blur, sharpen and ah, lens flare and sometimes sometimes liquefy now blur. It's really intuitive. It creates a blur. But let me show you a few things or in a few ways off using Blur to actually added the fellow. So I will just duplicate this base layer, and I will go filter, blur and let's talk with a motion blur. Now I'm doing it is conceding this direction in the vertical direction, and you mount, you specify determines the how intensive the blur is. So, for example, you can do something like this, hit okay and create a mask for this layer. Use a Grady into linear from black to white and drag it from down to up. Okay, the other way around. Let's do the radiant area higher, and you get something like this now. You can also go further and decrease your capacity, and you get an interesting result. Let's deal it this. Duplicate this layer again. You can go, Ah blur with just a simple goes on blur where simply blood of the image, for example, something like this hit okay, and then it can blended on overlay or soft light. Let's go, for example, and overlay decrease the opacity to 0% and now start increasing their past until the results you're seeing it's pleasant to you. So you have this kind of like, um, a fairytale. Okay, A glowing look. It works OK when the base image. It's not that contrast. This image already has a little bit of contrast in it. And if this effect works better on images with even lower contrast, let's see again blur. You can also check out radio button blur. It creates the spin, or it creates the zoom effect. For example, it can do this with your lands, this zoom effect. You see it over here, or you can do it in post like this. You have a lot more control in post so we can go again. Let's do again the radio blood because you can set the point off the zoom hit, okay. And it was zoomed somewhere around here. So as you can see, it's an interesting an interesting In fact, you can also go with lens blur. This will simulate, in a way the, ah, the radius. And you can also create a depth math map for this, and you can use a layer so you can do some some some interesting stuff with this. But it will not look, Um, I mean for for for a trained eye for a photographer that knows what he's doing. Applying the lens blur will not look like a lens blur. It will be obvious, um, from Blur Gallery. I'm often using Chilton shift. You can also try path blur, for example, and you define ah, a path here. And the cool thing is that you can add points and you can do this looking really, really strange. And in a way, the size of this curve dictates kind of like how ah, intense it is. You can increase the speed and you get a result like this. I didn't use this until now, right? There are things that are not that interesting to use as as a photographer. Chilton shift. It's It's okay. You basically defined defined an area where there is, um, sharpness and then areas off gradation from sharpness to blur and then the intensity off the blur. And you can do things like this. You can also rotate this. It can be useful sometimes, usually when you want to create that toy effect. That miniature effect again. It's a type of blurred that it's used at least four for by me very, very rarely. Now what I what else I'm using? Sharpen and I'm usually sharpening using, sharpened and sharpened. And, uh, this works well for lower solutions like 2000 pixels. But on high resolutions, I don't I feel it's not working that well. You can use on shout Mask, but I prefer to do the sharpening. Didn't common a role or light room. It's much it works much better and sharpening. For example, that's resize this. For example, let's go with 2000 pixels. Okay, this is a hunger percent. This is out the images viewed even though this video it's full HD. My monitor is a four K, so a 2000 pixel image looks like this on my monitor will go control plus ones more and apply filter sharp one. So you saw the sharpening taking place here. If I apply this again it looks It looks a little bit too much. So let's go back to the full resolution. Okay? Now, um, you can go with a lens flare, which is you can find here in render again. It's Ah. Um it's an effect that, in my opinion, it's it's not that interesting. Sometimes you you may use it, but on Lee and I repeat only if there is a true visible light source already in your foreign, you want to slightly slightly increase what you're seeing, what you're what is already happening because otherwise it looks fake. So this is my personal opinion. I may be wrong, but I'm not, um, when When you say you're doing photography. I'm not about doing heavy manipulation, but, um, I I agree that you can do something like this. I also I'm also doing something like this. Sometimes you can also use liquefy says there be another filter that I'm using and liquefy . You have to use it very carefully. Basically, for example, using this forward warp tool Okay, you are changing the space around some elements. Sometimes when you're using this, your making more damage. So it's not a tool that can be used easily. Sometimes you can use this to Teoh. I don't know, maybe emphasize something that it's already there. But the changes that you're doing has to be really sorrow, not things like this, because from here to here, it looks a little strange. When you have, for example, trees that are off already, you can go and tweak this a little bit. But for example, here it looks really, really strange. It go, it works OK. Usually it's used on portrait, but I would I would advise you to I don't know B B A. 200% careful when you're raising using this because it's not. It's not that user friendly. You can do more damage, and usually when you have a face, you will quit here on the face. Will there no faces in the image, but the face fool? Will Kameli identify the eyes and identify different elements off the face and we'll be able to do some modifications much more, much more easily 19. 18 Smart Objects: I will talk now about the concept off. Smart object. Now, um, for example, when you have a letter like this, an image like this and you want to do radical changes on this image, but you want to be ah, and also scaling changes because the other changes are already nondestructive nondestructive because you're using adjustment layers. But if you want to do also some scaling and you want to preserve the original image, you can convert this image to a smart object. Now, when this image is converted to smart on toe, a smart object you can do cloning on this. This is something that you you need to know, and you can't paint on this. But, um, let's say, for example, we apply filter. So yes, these are, um these are non destructive because each adjustment that comes with its own mask and it's separate, but filters apply directly on the me. So let's go here on the smart object layer and apart apply, for example, a blur and goes on blur. Now let's say what is like this Well, as you can see it right now, there is a mosque for this filter, and you also have This goes infielder, you can deactivate the filter, and you can also double click it and change it. So if you want to use filters heavily on a layer, the best way to do this is by converting that layer toe a smart object, because otherwise, um, when you're applying the filter is gonna be destructive. This way you have a lot of control. And I can, uh, also deactivate all the filters. Also, if, um if I'm scaling down the image to this size, I'm still retaining all the information so I can go and I can, um, make the image bigger. GAM and I didn't lost any information at all so that that's that's how Ah, that's why using smart objects, sometimes it makes sense. But in my personal opinion, it makes sense. Onley when you're when you're thinking about doing this Ah, this much filtering or applying lots of filters on your on your image. When you do something like this, it's best for you to have a smart object. And after you've done with this, if you want Teoh converted to a normal there right quick and arrest arise layer and then everything is collapsed and now have a normal layer again 20. 19 Actions: Let's talk about actions right now, actions are very useful when you have a set of steps that you apply to and a large number of photos. And you don't want to do that manually with each photo. So window actions, you see them over here. Ah, few actions and you can try to see what these actions are. Um, or you can create your own set of actions. Usually you create your own set of actions because you know exactly what they're doing. So let's first of all, create and you set and let's say tomar or Tom, this is my set of actions and for example, ah, here I will create in action in set Toma, you can also a sign of ah, function key, but I will not assign something like this. And the name of the action would be, uh, color shift 01 And when you hit record, you see this red thing over here. This will record whenever you do something on them. It's so the first thing I'm gonna do is create a color balance, and then I'm gonna put it on colors, blending mode and shadows. I would make them blue and then I will also add a curves and I will father the really dark areas of this image, something like this. And for example, this is my action hit. Stop. So you see here it made some changes. It's recorded some changes. Now let's open an image. Let's see, that's let's open this image. For example, What is okay? Toe landscape and let's go here color. We click on on color shift and we go here with play and we wait and we have this layer applied on color with the changes in the shadows. And then we have this curves applied to the image. It's useful. As I told you, when you encounter situations, when you have lots of images to process and you need to do the same thing, Teoh every image, it's okay to have an action, you click on it and you just have everything here in place. And from here you start. You start working. You can also, if it's useful for you at the end off before stopping the recording of the action, you can click these layers and group them and calmness. Color shift 01 action and a D end of the of the action, you would have this. So now it's very useful because you know exactly what a certain action did. And now if you say this control s and you save this has a PSD file. This is the decor, the default, um, format, photo shop. When this format, you would preserve all the layers, All the elements here. Now, you know when you open that filed. Okay, I've applied this action to this, and then I have all sorts of other layers and modifications did too done to this image. 21. 20 Free Transform Distort Perspective Warp: Let's talk about free transforming and let me show you what it is. First of all, you can't apply transforming on the land that it's locked. Let's duplicate this, and you can hit control t on your keyboard or go at it and use here free transform. And you have these over here now, sometimes it it's constraining the proportions. But if not, you hold on. Shift in this situation when it's constraining the proportions. If you hold on shift, it will be free to move again. Find if it's constraining the proportion I'm hitting old and I'm holding down old I'm going to scale it, Um, from the centre off the layer. Now you can do something like this or, for example, you can right click and have different elements. You yes, you can. You can rotate it, controls it, want you or you can go on distort. And now you can take, um every corner and do whatever you want with. It can go with perspective like that. You can even go with warp and you're driving this image and you're doing all sorts off things to it, and you can you can flip it horizontally more vertically all rotated and you can go back to free transforming double click Teoh exit so free transforming its very useful. You'll use it a lot to resize different element. It is better to retain controlled t Teoh Um, to activate it. Now there is another tool here that it's very useful, which is perspective warp. But to show you how or where you can use this because on the landscape it's not useful. You need a building. So I'm having this image with this facade and let's go Did it perspective. Okay, let's duplicate this go edit perspective warp and with the perspective warp, you're basically dragging some Grieg's So I'm drinking this grid can This goes all the way down here? So you see, I'm I'm having the store aligned discreet. Now I'm creating another grid for this other area and I'm gonna snap it. You see how the lines became thicker? They're going Teoh, um, stick to each other, okay? And then I'm gonna create another one. This this one will be somewhere like something like this. But this this should be something like this to match to match this line over here and now it it glued to this one over here. Okay. At the end, Right now, I'm pressing Enter. And now I have this map in a way that I can I can control what it's happening over here, so I can I can do things like this. I can't change the perspective on things I can, uh, I can basically or either adjust or change the perspective and the way an image fields. And at the end, I pressed enter again. So this was the image, and it changed this. And now it it looks like this is much, much closer to the camera, and the plane goes in that direction. You see, you can do some interesting things, but usually Well, I'm using this to correct the perspective, not change it. 22. 21 Panoramas: it's time for the first practical exercise. So we will. I will show you how to stitch panoramas. Now, if you have a photo shop and usually you need to have the latest version off Photo shop if you have a newer camera when you're going to open the row files is gonna open. Ah, camera row. So there are two options for you to create the panoramic. You can need a stitch. The row files into another role. File into a DMG file in camera roll, or you can open the the images as separate layers and stitch them that information and I will show you both methods off For now. Let's just take a sequence of photos that I taken. Ah, with the purpose of creating a panorama, I will not add it. These photos in Ah, because I just want to show you the stitching part so I will just click this shift. Select old images go right click, and from here you can much to panorama. We will also do a merge to HDR. I would show you what happens when you do this. But first of all, let's go much of panorama and it's merging the preview, it will show me a preview, and it's very, uh, it's very useful. You'll see exactly why you have a slider over there. This boundary war. It's very useful. I usually click this off auto crop, and this boundary warp extends the image, and it's it doesn't do any cropping. And now I'm hitting merge, and it asks me what I want to save this That's saving here. And it's a DMG file. And this is Ah, the file is being created over here, depending on how many images you have and how powerful your computer is. I'm now on my laptop. I'm recording this course with my laptop. So, um, laptops are had that fast, even if this is ah on Intel I nine laptops are not as fastest. Ah, PC. Okay, it's finished. Now we can add it. This image over here and we can add this added this as a row file. We still have control on the white balance, and we can do all sorts of things of this. But if you want to continue the editing in further shop, we will click open, um, open image. We wait for a little bit and Yeah, it takes. It takes a little of it open, especially because I saved this on a wireless network. Um, if I would have saved this on my local local hard drive, it would have been a lot faster. But in this case, I'm waiting for the fire to be transferred from my server to to my computer. So we have this and this is a almost 10,000 pixel horizontal and 5000 pixels in height Resolution naming. So if we go hunger percent on this yes, it's this is it has a lot off detail again. If you don't remember to have. Whenever you have a two activated just spreads space bar, keep it hold down. You have this little hand, which is the panto activated. You click and drag with your mouse button, and when you're finished, you release the space bar and get back to the tool. Now controlled zero frames that image control plus zooms in controlled mine ISMs out and control. One goes directly to 100% or one by on, and I recommend you to always you create the panorama like this because because you you will create a profile and DMG file that you have a lot more control. Now there's a thing I didn't show you, and I will open the panorama again. Now I haven't converted and this already has some head. It's on it. But, um, when I wanted to point out, is as's shot is that you can do all sorts of things. And don't Don't forget before closing the camera, plugging to remove for my collaboration and enable profile corrections and do all these all these things. These are powerful modifications. I will also do a short video where I will present this plug in every file that you open as a zero file will open automatically trigger the camera roll from photo shop and you will have this open. So in the next video, I will present to you everything that camera or does in a very quick way. And you will know exactly what to do when you open a file here 23. 22 Camera RAW Plugin: and this year I will present to you the camera roll plugging. So here there's, Ah, profile a C or to toe profile from Chennai India salons. So I'm just click and drag it in photo shop, and when you drop it here, it will automatically open camera rose. They need to first open this. You can do no modifications. You can do nothing on this file and just click open image. But I don't commend you to to do some things because this is where you benefit from the power of a row five. So let's start with the beginning. Over here you can apply a different a certain profile. You can added the federal in color or in black and white. You keep it in color if you click here, you have different profiles. You go in modern. You have different looks. If you want for this image and get apply that look like this and then you can change the intensity off this look you can change. The temperature of the image of the federal can make it look colder or warmer, and here exposure, it makes it brighter contrasts. It affects the contrast on the entire image highlights you. For example, You look over here with the most brighter highlights. You recovered those areas shadows. You can push the details up in shadows. Whites is what the name implies and blacks picture clarity and hes thes three sliders have to use carefully. If you add too much texture. It looks strange. Usually I don't add texture to the image Clarity. Yes, you can add some clarity, but again, if you go overboard, it looks strange again. The haze Usually you use it when you have a foggy situation or a Mr Situation Want more clarity in the image, but not like clarity. This clarity, it can damage the image. So again, use it very carefully. Vibrance and saturation increase the saturation and you get the more, uh, interesting look curves you have it. You have, uh, curves a simple curve, just like in ah, photo shopping and create a I contrast. For example, if you have it like this, I don't want to use it like this. I have it on point here. You take care off sharpening light from automatically adds this 40 valued sharpening and you have this masking. You have to hold on old to see this. And while I'm dragging the white areas are where the sharpening happens. You don't want to have shopping on all on the entire image. For example, not in the sky. And you have it like this. If you have noise in the image, for example, you look at 100%. And if you see some noise again, hold down space bar. If you see some noise, you can go here in the limits and add some luminous to correct it. Let's fit in fitted in view. Okay, We have saturation, hue and luminous and for example, we can change the huge off the oranges to be more towards red and the yellows. And then we can increase the saturation of those through and we can decrease saturation the blue and we have this look, for example, here we can do split, toning and split Toning means that we are including way are making the shadows. We're shifting the color of the shadows and the highlights. And to see exactly what colors you choose hold down all began and change the hue. Nothing will happen on your photo, for example. I want this dark blue. I'm taking my hands off the old. And now I'm increasing the saturation and making, um, the shadows more towards blue. So in a way, I'm getting that teal and orange look. Now, if you want to include something in the in the highlights, it's okay, lets let's make them read. So we we've made it. Something like this here is very important. It's a very easy tool to remove from and collaboration and enable profile correction. And I highly recommend it to do something like this. Ah. Ah, Here. Yes, we can add some grain. I don't like to do that or do some view netting again. I don't like to do that. Ah, here. You can do some changes. Usually the change that you do here is to get that orange until look by shifting the read the the blue primary tours left, it's you and then the saturated a little bit and then the saturated with it the red Just that have it, um, like this. So, um, this is the basic. These are the basic panels. Now, what are things you can do? You can do cropping. But again, I don't recommend to crop your image from here you can do straighten. And the most important other tools are these three brush greater filter and radio filter. All those elements have the same settings. And now I'm creating a Grady int. Nothing happened. But now I can do some really powerful stuff. And if you hit, um, here to see the mask. This is this is how this ingredient works. You have a hung percent over here, 0% over here, and he'll have the area off the great. And you can also have a different color off the mask if you want. So you conduce him some really, really powerful stuff. You can also use, for example, a radio and include some light over here. So you and click where this, um, this filter should should have effect outside or inside. Usually well, you'll always use it on inside with a higher feather. You also have a range mask. Range masks are pretty interesting. For example, uh, let's increase the exposure over the top. Something like this. Let's assume that I want this to be applied only to this Ah, this area. Now you can go with the range mask and choose color, and then you can sample the color drag, small rectangle. So now everything is placed there. But I don't like using this because if I'm looking at 100% you can see where the what the filters stopped. So I before not to use down that that's range mask again. You have a brush, and there, there, that differences is to show you, um, the bloodiness off the feather. But the very nice thing is, if you go again on this you see, here you can take this. You can hit none. You can deleted. So while you are, um, while you are working here inside camera roll, you can do all sorts off all sorts of things, all sorts off powerful ad. It's because you can benefit from the This is the original image. And this is how I've edited really fast. You can benefit from the power off the role file, and now you can go in open image and you wait a little bit and you have it in photo shopping from here can go, um, file. Ah, save as And you can choose a. J. Paige and on quality hit here 12 to have the maximum quality hit OK and I have a J pack of the biggest quality that you could have from Europe from your profile. So I hope this video was very useful for you to understand how this very useful plug in works. Now there's another thing that it's very Yusof. Let's say, for example, you did some things over here. You did something like this and the brightness can doing some random changes just for the sake of it. Now, you wanted to some You want to continue this added again in camera. Oh, well, you can merge all these layers and go something like this controlled shift old and e. And now you have a new layer over here. And with this layer you can go filter camera, roll, filter and you're opening camera roll again. You don't have the all the options overall file, but you have camera roll and for example, you want to work on the shadows. It's very easily boom. No need to do advance selections in photo shop. It's very easy to do some some things over here. You need to apply radiant. You apply greed and very easily again. No need Teoh to go and do some advance masking and photo shopped to do this and then you click OK, and you have these modification. And now you, for example, you can continue editing, but you have to know that you have this option now. Another very important thing that you can use ah is too have, for example, a profile that's let's take this Row five, for example Dragon and photo shop on Let's say I've edited this this fire If when I before clicking open image I hold on shift It says open object And if I click while I'm holding down shift, it's gonna be a smart ah, a smart object. And why this is useful. For example, I'm doing a brightness. Okay, I didn't do it. Something like this. Now I can double click this layer. Whoops. Double click here. And when you this double click this, it will automatically open again camera roll and you will do the changes. Okay, I'm taking down the exposure and the high nights. Okay, click. OK, preparing smart object. Double click again. I'm having these changes saved. No, it's not okay. I have to do this. Something like this maybe click Ok. Why? You would want something like this. Maybe you have a certain look that you want, and that look needs some tweaking in the base layer. And those tweaking Czar, easy for you to be done in camera or rather than Photoshopped. You have multiple options, and you need to know about those those options. 24. 23 Exercise 1: I'm starting the first practical exercise with this sunset from lawful and islands. The settings for this photo R F 11 208 seconds. Eyes off 50 24 millimeter lens Now, Yes, I have a few bean getting here. It's because of the filter holder. But if we go here into lands correction and this is the camera or plugging by the way I showed you this in a previous you. So when you drag your role file inside further shop, it will automatically open camera. Also, during these practical exercise, I'll show you some edits Mawr, um, oriented it with towards using camera roll and others in other photos. I would use more for the shop so he removed from and collaboration enable profile correction. We kind of lose some of the vignette ing will have to deal with this later in Ah, photo shop. So what I want to do is have a much better visibility here in the mountain. And of course, don't here on the rocks. So what I'm gonna do first issue, add a radio filter and I'm checking inside and a feather off 97. Just crease. Increase the exposure on this the saturation and the clarity. Yeah, let's go 1.5 plus in exposure. Now let's do the same thing that's click here new. We have another radio filter. Lets reset, double click on the slider, Siri said them. So I will use another greedy oh radial filter position like this, and I'll increase the exposure again for this one. So right from the start, we have a much better looking federal. It's increase the contrast and the saturation again, and I will go hearing HS adjustments. And in the hue, I would change the hue. 40 oranges, slightly to the left and yellow, slightly to the left and then saturation. I will saturate the orange a little bit more, and the yellows have a lot more saturation here and at this point, the editing in camera. It's done, and I think it's time she opened this photo infomercial. But first, let me just show you This is the before image, and this is the after with Onley would what we did in a Camero, but let's continue the everything open image and hit F on your keyboard. First of all, let's use spot healing brush to and just ah correct the corners. Now what I want is a much better luminosity here on the rocks. So I will add a brightness and contrast used as a blending mode luminosity and increase the brightness. I'm looking only at the rocks down here. So some somewhere on here. And then I met in an out of brightness and contrast again, the blending model luminosity. And I'm decreasing the brightness and increasing contra something like death. Now I'm gonna use a brush. Uh, a brush that is soft. Ah, smartness on zero and 10% capacity. So with this brush, let's just start and ad some luminosity here in this area. I'm painting with black in the mask here. Okay, then I'm trying Teoh read into great things and I'm moving more towards the rocks over here , and I'm emphasizing mawr. This center rock also includes, um, luminosity on these other rocks. But my main focus is is here on this rock. Now let's go control miners. Let's take a look if if there are things that looking that are looking strange. Okay, now, I think this is a little bit too bright here, so I will go with brightness and just that he take it a tiny back control I to invert the mask. And now, because the mask is black, I will paint with white and a pesty hunger percent. I would get control one on Cuba too. Give 100%. It acts to paying back with black just to remove some areas Cam holding down space to have this panning tool activated. I think I should, um, should paint here. So I'm coming back to this brightness layer clicking on the mask and okay. And I also go on the base layer, use the spot healing brush tool again just to get rid of this small spot. Okay, Now, at the end, let's do a little bit of saturation, hue and saturation. The blending modes collar. Okay, I'm looking up different elements, so I would stop somewhere around here, but I will click the masking control lie to invite it. Use a brush pink with white on the passivity. Opacity, maybe 20%. Okay, so now it is just starting and paint the mountain in the background a little bit on the on the snow and then the rocks here to have a little bit of color caste Now I want to have a better separation. So I want more blue in this area. I will use a cholera unbalance color balance adjustment layer. Put it on collar and going to the shadows and introduce him blue and some say in and on the mask. Click on the mask. Hit J on your keyboard to have the greedy in tool use a leaner Grady in tool from black to white and the mask if you're holding, not old and click on the mask. The mask looks like this. So this, uh, this letter has no effect in the upper part. Just just a little part. But now I'm going. Teoh, take your past the old way down and I will stop to slowly increase it. I think somewhere on here it's OK and all. Let's create a curves, put it on luminosity, has a blending mode and put a point over here for the highlights. And around one in this region for the shadows. The highlights, I think are okay the way they are. If you go up, you see, they're kind of blown up in that area. So I will leave the highlights over here. Take the shadows just a tiny be down and they raised the black point only a tiny bit. So let's just check the image that came from camera, which was already much better than the original. Hold on old and click here on this icon. So this came from camera roll and this is the final added where we emphasize the mountain in the background some more. And we had some more live here on this on this rock over here. 25. 24 Exercise 2: and it's what I would use more photo shop. But there are some things that you should. You here in camera raw, and the most important thing is here in lands. Correction to remove from that collaboration in a neighbor profile correction. And also, if you wanted to the sharpening Hold on old and click on the masking Teoh. Create a mask suitable for sharpening. You don't want to have sharpening on spots of color like the sky if it doesn't have details . But, well, if you go too much to the right, end up on Lee with the finest edges and you don't want that you want something in in between something like this, and I will go with a 60 value off 60 and from here, and seeing that the Red Channel, it kind of gets overexposed. Probably it's about this area over here, so these are the things that you want to correct here in camera, roll or light from If you're using light room because, ah, it's a role filing has much more information in it. So let's come down here and let's see. First of all, let's just drag the exposure to see exactly what is happening. So the important thing is that there is a lot of detail over there. Double pictures said the exposure. If we're driving down the highlights, we're kind of losing the some something from here in the grass if you're looking. So I'm gonna leave it like this in use ingredient, filter and dragons from top to bottom. Someone like this and I'm gonna use Let's see what looks better dropping down the exposure or dropping down the highlights or a combination. Maybe. I think this this works batter. So now that we fixed everything, we will move to photo shop, click open image and hit half on keywords to go to your full screen like this controlled zero to friend. Entire. Now we have here another tripod. So control want to go 100% and J on the keyboard to activate the spot healing brush toe. So it's just starting. Remove this tripod. There were other people there with me. It was during one of my workshops in Tuscany. Okay, so now that we don't have anything else in the frame, the thing that I want is to emphasize mawr, the poppies and, of course, a little bit more the property over here. You don't want to go overboard with this because it's already, um, in a silhouette kind of kind of shape. So let's let's first deal with the poppies. So I will add a brightness and contrast. Just add some brightness. Living on normal has been you mold quick on the mask inverted control I This way it has no effect. And with a brush with a wide brush, harden is 0% and 10% opacity on the brush. Let's start to paint the poppies and is you can see I'm starting to paint here in the center. I'm kind of taking the brightness all the way down here, and after that I'm slowly moving, uh, to the sides. But I'm not going in this area. I want to have a little bit off darkness in this area. So let's paint here and now we're having the poppies look a lot better from here to here they are. Ah, there are catching your eye. So now let's deal with this. And the the shadow, the missed in the distance. So I create another bride in some contrast, increase the brightness somewhere on here, right and again involved the mask. Now control. Want to give 100% with left and right brackets, I will control the size of the brush and with a capacity off, let's say 20% click ones here and then hold on, shift and click here. And don't let go shift and go from left to right. This way we create a straight line between these two points. I want to emphasize only the the area where there is messed. And again, I'm working more towards the center of the images you can see because I want your attention to be in that particular area. I don't want your eye to escape basically in the other areas of the photo. So let's Yeah, I think it looks. It looks already. The image looks nice. Looks OK now sometimes when you want to emphasize two regions through areas like in this situation, I have the red poppies that I have some grass and then I have the property. Maybe it's time Teoh saturate or to create kind of like a path off saturation if you want. So let me show you what I mean. First of all, I'm using a hue and saturation adjustment layer going on color. Click on this little hand quick here in the grass and drag the saturation to the left. So if I'm going all the way to the left, you see the grass becomes almost de saturated, so I want to be somewhere around here. But then I will click the mask of this and wet because the mask is white. I will have to paint with black with a brush capacity or 30% and here I will pay the the center here. Okay, so whenever you do something like this, even if it's just with a a small difference, you don't need a huge differences between the elements. Otherwise it will look strange. So I think it's It's okay, Teoh toe working, very fine details and very slight differences. So I have just a little bit more saturation here than the other areas. Now I will add a curves and I will go with luminosity with for the blending mode and increase the, um, overall exposure and then dropped down the shadows to have a much more powerful and contrast the image. And now let's come back with Hyun saturation and place it on colors, blending mode and just saturate the entire image. Thanks. Somewhere around here, it's OK, but it's it's not OK for what is happening over here. So let's just create another one and use the small in hand and just started. De saturate these areas a little bit. Yes, so let's check the the munition, the first version of the image. It was this one and way enhance it some more. Now what we could do is to add a midpoint, because we only have this area and this area, and we could had some more light here on this tree or these these three trees. And you just add the brightness and contrast and increased the brightness somewhere around here, and then click the mask and invited control I with a brush paint with white and a pass ity of 10%. Let's add some brightness to this area here has to go even 5% and now let's go controlled zero to see the entire image, because you sometimes, for example, right now we've we have to blend everything together. Otherwise it will look strange. Yes, I think I made a good call with this, and now you you. You see, there are two areas. This is this area over here and then have this middle ground and then the background, the property over there and silhouettes. I think right now it looks much, much better. Yes, but what I have to do right now is to continue a little bit this in this area because it looks strange as it is right now. So again, I'm using 5% capacity, and I'm just going in that direction and also a little bit in this direction. So let's check it out once again. Original image. And I think this is the final version. 26. 25 Exercise 3: for just exercise. I will show you hungry. Added this federal using textures, textures, and I'm gonna use out these two. You can buy this type of textures, or you can go around with the camera. Just go into your town and photograph stonewalls and different other textures. But if you if you are doing your own textures, remember this don't you don't need to have really big elements in your textures. For example, Over here. If there would have been a big nail or some other big element, you can try an experiment to see what works and what doesn't. But usually these type of textures work the best. Sometimes I use them in color like this, but sometimes I use them in black and white. I convert them to black and white just because I don't want to affect the color off the image. And this is the way I'm gonna use today, at least this first texture. So I have this image over here with house with the entrance, and now I'm activating the visibility for this one. Now let's quickly convert this texture to a black and white, but I don't want to do it destructively I want to be able to get back to the texture and color so I will create an adjustment there of grading map. I will use a basic black to white, but for the moment, this grading map affect all the layers below it. So if I want this letter to affect only this one, I have to hold on old and click between these two it until you see this, I can. And when you click, you see also this small like over here. And this says that this layer effects only this one. Now. Another way to do this is too quick on the grading map, and you have here this I can, and when you click it, this layer will affect on Lee the layer that it's right underneath it. So you create kind of like a connection between these two. And now let's click on Texture one, and let's see if multiply works okay, and it works also. Sometimes I use overlay and soft light thes these other three ah blending modes that I use , but let's start with multiply now. Let's take your past the old way down and slowly increase the capacity I'm looking here, the the wall. I think something like this works. Okay, now let's add this second texture that I will leave it in color for the moment. There's to see what's happening. Multiply overlay. This one works better than overly, I think. And again, let's take the capacity old way down, and it it's likely increase it now for the texture. Number two. You create the mask, click on the mask and use a brush paint with black capacity 30%. I want to remove the effect, uh, off the texture from the door from the window over here and this green window. Okay, maybe a little bit from the stairs. And now it's time to do some edits. There's just had the brightness and contrast living on normal as blending mode. Just increase the brightness, and then I have another brightness and contrast and just decreased the brightness and increase the contrast. Have a really dark image, but click on the mask and use a brush capacity off 10%. And now it's paint on the door here and then continue down the stairs, have a lot more brightness here near the door and have the base of the stairs a little dark , but not completely dark. Add some more light here on the plans and also to the right. And now I'm continuing to the other side to the to the window. And then year where in in the the up the the other side of the wall now control minus just to have the image move small. Yeah, I think. I think the you may just coming along nicely. Control minus several times just to see it small like this. Sometimes it's it works best to see the areas off light and darkness. Okay, Now let me show you what it would happen if I will. If I would add a simple Grady in map Did your black and white conversion It always looks good when you're using textures from this image of this one. It has a lot more character, but I will not, um I will not create a black and white image. And then now I'm gonna add a curves and had some more contrast to the image. And now let's use a color balance. Put it on color as blending mode and introduce him Cyan in the shadows with just a tiny bit and just a tiny bit of blue, and you already see a separation that works. Really well. Now I like what is happening here. I don't like when it's happening over here. So what I'm gonna do is at a hue and saturation and simply de saturate the image while I'm looking to this wall and I'm clicking the mask control, I t involve it. And now, with a white brush capacity of 50% just paint this wall and I'm having I'm not having that color cost right there And what I'm gonna do his, um, create another hue and saturation places color be saturates slightly the entire image because I want to Then saturate Onley this area. And now I'm adding the other hue and saturation again on color, where I'm increasing saturation a lot more and I'm inverting the mask this way. It has no effect. And within the past year off first of all, 30%. Because I want to paint here in, uh, on these plants and then on the door. But then without on a pastie of only let's say 6% for for the wall, some areas I want them to be more saturated in some areas. Mawr de saturated Mikan more the the passage of time. And now I think I had another brightness and contrast and put it on luminosity. Just increased the brightness and increase the contrast. Let's take a look at the original image was this one, and this is edited with textures. This way you add a grungy look grungy feeling to, um, image. 27. 26 Exercise 4: for this exercise we have. That's really beautiful. Ah, stream off water Inside forest it was automatic unsee settings are f 11 10 seconds exposure I soul 100. And I got this forced perspective by using 17 minimum and over 17 to 40 millimeter lens. Um, because it was an extreme position and I was inside a water. It was difficult. Teoh, position the camera well, so you can see that the image is a little off to the left. So what we need to do is to straight and name it. So this is this line should be straight. Okay, Right now, it's just removed from Isaac aberration and your neighbor profile correction. So what we need to do is to focus your attention from this rock to this area of the forest , but also create a better separation between the rock and the rest of the vegetation. Because right now, because the vegetation is yellow and orange, everything is ah, 10 tinted with this color because off reflections and because of the light that it's reflected or filter from ah, the forest. Now let's see if we can do something here in camera. Wrong. Let's see if we can apply a color, uh, costs to the shadows. So I'm holding down old and I'm changing the hue and you're holding down all justice See the value off the hue. So somewhere around here, I think it would work, OK, And are nothing happened? It was just a visual hand. I'm will track the saturation. Yeah, in a way, I like what's happening in this area, but I don't like that the rest of the forest is affected. So I will do this in ah, and photo shopped to have a batter result. Now, I see here that just a tiny bit of, um history Graham his far away to the right. So I will take highlights down a little bit. Well, I will also decrease that contrast on this image just to have better shadows. Let's take a look with hunger percent. Okay, so let's just open the image I hit f on the keyboard. First of all, let's just take care off adjusting the different areas off a luminosity. So first of all, I'm gonna use a brightness and contrast to increase the brightness more. And then the second brightness contrast to take everything down This is a very simple way in which I'm simulating Ah, the process off developing like it was in the old days. So right now I'm using a brush. We're on and I'm painting with black capacity, 10% a soft brush. So I'm starting here on the rock and then working my way up to, uh to this part of the forest, creating kind of like a knowledge. No, Let's go with a 5% capacity, and I'm bringing back some of the other areas of the photo. As I said previously, the differences between areas should should not be t big or too obvious, or they have to look natural in a way. Okay, so now let's just kill with a color balance and put it on collar has a blending mode and go with shadows and color tint. I think this this this is what I wanted. But let's just invert the mask. And when the wide brush and a passivity Ah, hunger percent. That's paint. Okay, so I want this these areas to be like this. No, What I don't like is the color cast that the water. God, I don't like it like this. And I dont like it like this either. So what? I will try to dio iss go for a neutral so I will have a hue and saturation Put it on color and just pinkness value and d saturate this area now with this with the mask I would paint with a brush, no pink, my rock back and these rocks. Okay, now let's add another hyun saturation and put it on color again. Just increase it like this because I was interested on Lee and, um in the leaves. Now what I will do is to also select the leaves. Let's see, probably these are just I'm going to shift the selection a little bit to the left. Let's see Yes, it's so care like this. Let's just see if we can change the huge a little bit to see how how everything looks. Well, for the moment, I will. I will shift it. But not I would have, though something like this, I will not go all the way, so I will just I'll just go slide to the left, minus five, and that's it. Now let's add a curves and I I added a point over here for the highlights and also increased the black points for this one. But you can see it's very it's very small and I was added Some contrast Now I will take the black point really down. I would put it back. Where? What? It waas So this was the original image and this is what we have added? No, I will come here in this brightness Ah, lab and make it less visible for the transition check out again the original? Yes, and now I think it looks OK. 28. 27 Exercise 5: this photo, I will aim to create a lot more contrast in the image to have a much more dramatic look of the image on and to emphasize the mist and to put the church over here in a better perspective. Now, what I don't like is this area off the fertile, so I will just, ah, crop it. But if I'm thinking maybe I will crop it in Ah, in us in a format that it's pretty finds maybe a 19 by 16. So in 19 a nine by 16. Sorry. Okay. Somewhere like this. Think this works. Okay. And now we have the church in the in the left third area, and we also have a little bit of 41 element. That kind of creates a separation between these two plains that's removed chromatic aberration and neighbor profile correction for dance. It was dropped down. Uh, the exposure and increase the contrast of the bed. I would use a radio filter. Lets reset thes sliders, and I will I will increase the whites to have the mist pop better Teoh have the missed more visible and also increase the clarity for this effect. Right? Click on the on the radial filter and duplicated, duplicated move it here and rotated a little bit and then duplicate again and move it here and make it better. Now treat another one. This is four. The light that it's coming from this area, so rotated like this make it a little bigger for this one. Just increase the exposure and introduce it a bit off warmth in the image. Okay, so I don't want to like to be like this. I want you to have the feeling that the lightest is having a direction. That and comes from, comes from here. That's added a bit of clarity and Seok and drop down the shadows a little bit. And the blacks okay. Now let's move to curves and create this contrast, a much bigger contrast. Now let's go into the basic pal and preserve the highlights of a bit. Okay, no, I will open the image like this. Let's hit F controlled zero to see the whole image, and I will try Teoh cholera to introduce some color in the shadows by using color balance. Let's his shadows and see. I will go a loom a little bit overboard with this, but I will. Uh, we'll see exactly why. So I'm introducing Blue. Then I'm adding a in saturation on color, and I'm selecting that blue and I'm de saturating it can. And I'm selecting that orange red, and I'm increasing the saturation for that. It's include the also the yellows in this. So this is a way in which I wanted to create contrast. So the image came like this and I made it look like this. So it came like this and I made it look like this. And I'm trying Teoh de saturate shadows. But in order for me to be able to de saturate the shadows, I introduced some blue in those shadows. We could have also made a selection from here. We had color range and made a selection on the shadows and then Judy saturation. But sometimes I prefer to do like this. Okay, now let's let's add a curves and and a little bit more contrast to the image and in my opinion, the image loose. Okay, The way. Liz, I don't need to do any more added things, but let me just show if how you would have selected the curves. Let's click on the background. So you need to have the layer This letter with the actual image selected. Let's go here, select color range. And from here will we will select shadows and you kind of see here the shadows. So if you want Teoh to select these shadows, this is the range where you can go more down If you want to select only areas that are really, really dark And then you will have this fuzziness this bloodedness if you want, like a fade area and hit OK and now you have only these areas selected. Okay, control de to be select when we could have went maybe a little further somewhere around here click Ok, let's let the activate this hue saturation and let's create another hue and saturation right now And because of that selection Hold on old and click the mask You see that the mask looks like this right now. So it's also, um take the visibility off from Qallab from this color balance and hue saturation. So I used these to to color the shadows and then de saturated shadows. And now I've made a selection on the shadows and add a hue and saturation and would just There's just de saturate. So you see, in a way, you kind of get the same effect. But in a way, you don't So and also this, um here saturation can be used on Lee For this for this thing to de saturate the shadows. If I want to continue with saturating these areas, I would have to create another hue and saturation. So you end up again with two layers. That's why I think it worked. Okay, like this. So the image that came from, um, camera was this one which was a lot better than the original that had almost cereal contrast. And now this is the final result. I think it's a little It's over too much over there in saturation. So sometimes sometimes my advice is to to do some modifications and just let the image sit for a while. And then you take a look at it and evaluated again. Maybe maybe what? What looked OK, You You think it's not that good after a few minutes or a few hours or one entire day 29. 28 Conclusion: now that you're finished my foot a shop for photographers. Course. I hope that you have a better understanding off this software. It's a really powerful one and a top before. I think you can benefit a lot by using this software. And this will allow you to take these photos. Teoh, basically the next stage. So, um, thanks for taking this course, and I see you on my next course.