Photoshop 2020 for Cat Lovers | Maya Sky | Skillshare

Photoshop 2020 for Cat Lovers

Maya Sky

Photoshop 2020 for Cat Lovers

Maya Sky

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28 Lessons (2h 35m)
    • 1. Intro

    • 2. Open, close and arrange images

    • 3. A first look

    • 4. Workspace

    • 5. View

    • 6. Layers

    • 7. Blend Modes

    • 8. Adjustment Layers Brightness

    • 9. Adjustment Layers color

    • 10. Crop

    • 11. Move Tool

    • 12. Free Transform

    • 13. Color values

    • 14. Colorcast

    • 15. Brush

    • 16. Eraser and history tool

    • 17. Gradient

    • 18. Camera raw

    • 19. Masks

    • 20. Black mask

    • 21. Marquee

    • 22. Lasso

    • 23. Quick selections

    • 24. Color range

    • 25. Select and mask

    • 26. Adjusting a mask

    • 27. Matching colors

    • 28. Shadows

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About This Class

I wanted to create a fun, has-on photoshop course, and nothing is more fun than cats :)


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Maya Sky


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1. Intro: Hi, my and this is my co instructor and use snow skiing. I first learned Photoshopped over a decade ago, and since then it evolved so much and I wanted to create a fun course that's really hands on. And nothing is more fun than cats, right? I don't know if you find yourself watching endless hours of cat videos. I know I have. So the idea was to create a casual, fun, active pores that gives you a good idea of what Photoshopped can do. We're gonna have a total cats doing all kinds of things. We're going to learn how to fix images that what, taking with phone or a camera, we're going to learn how to adjust brightness and colors. By the way, that's not color editing my cat. Is that wise? Yes, you are one thing to notice. I'm using a Mac. You might be using a PC so all of K means option Key. Enter means return. Command means control and delete means backspace both in the PC and a Mac. Photoshopped does some amazing things. So without faded lay, let's start 2. Open, close and arrange images: In this video, we learn how to open, close and arrange images inside Photoshopped, so this is the whole screen. By default, the home screen is going to appear any time. No images open inside of program. You'll see thumbnails for your most recently opened files, and these are going to be up to 25 by default. You can take the number up to 100 by changing the preferences, which will talk about later. For now, all you have to do in order to open one of these files is just to click on it, and they'll go ahead and open the image. Inside Photoshopped, you can always bring up the whole screen again by clicking on this home icon on the upper left corner of the screen. And so notice can be I have a single image. Open is indicated by the single titled Tab at the top of the screen. If I were to close this file by clicking on this X on the left side of the title tab, then I would see the whole screen again. And now let's say you want to open some other image that you haven't opened in the past The simplest way to work is to go up to the file menu and choose the open commend. Then you just need to navigate to the folder that contains the file that you want to open. You can also open an image file directly from the Mac Finder or the Windows desktop. Some image formats, such as PST documents, are associated with photo shop, which means you can just double click on the file and the finder in order to open the image in foot shop. However, most image formats such as J Pack will probably open in other applications, depending on your system setting, in which case, instead of double clicking on the file, it's best to right. Click on it and choose Openwave and then choose Photoshopped from a sub menu. You can pretty much open as many images you like. Depending on your system's memory. I'm going to open a total of three images as represented by the three title tab up here, the top of the screen and you can switch between images just by clicking on a title tab as you see me doing right here. Or you can go forward through the images by using the keyboard shortcut of control or command. Tilda the T lucky being the top left key on the American keyboard just above the tab. Key and below Escape if you wish to go backward through the images just at the shift key. So I'm pressing Shift command Tilda. That's shift control. Tilda. On the PC, you can only work in one image of the time, and that's going to be the image with a highlight. A title tap? No, that said, you can view multiply images at the same time, and so I'll go up to the window menu, choose a range, and then you have a bunch of different options for viewing multiply images. At the same time, I'm going to go with two up horizontal. And now we're seeing the image down here and all the other images of crowded into this top window, allowing you to switch between them like so, and you can move thes tabs back and forth, you like or, for example, I can drag this title tab and move it over on top of the other title tab until I see this thick blue line and then I release, and now we're seeing the image down here. If I move the image away and just drop it in place, I end up with a floating window. As we're seeing right here, I could move it into a second monitor. If I happen to have one or just drag it back, let's say I want to consolidate all the windows together once again. Then you would go up to the window menu, choose a range and choose consolidate all two tabs. Now I'm going to make a very subtle change in the image. Like so and now I'm looking at a modified file with unsafe changes, and we can tell that's the case because there's an asterisk up here in the title tab. If I go to close this image been, Photoshopped will tell me that I have unsaved changes. Now. If you want to say the changes, then you would click on the save button. That's going to be the yes button on the PC. Then he chose the name, the location and the formats. We will talk later about the various options for saving and exporting images. For now, The best format for you for saving your work is the native PST or Photoshopped format. But I'm going to cancel because I decided I want to close all the images together, and I can do so by going up to the file menu and choosing the clothes all command. At this point, not only do I have the option of deciding whether I want to save my changes or not, but also I have this apply toe all check box, which allows me to say the changes in all the images and these are just some of the ways to open, close and arrange images inside a photo shop. 3. A first look: your screen probably looks different than mine. And that's because photo shop offers countless ways to customize your workspace, and I'll show you soon. How for now we're looking at the menu and the options bar up here the top, as well as the title tabs along the top of the screen toolbox in the left side of the screen and the right side panels. We're seeing the image inside the image window. If you zoom out, you will be able to see the entire canvas, which is this rectangular container that contains the image itself, as well as a dark gray paste board outside the canvas, have a vertical toolbox and noticed that almost every icon has a tiny triangle in its bottom right corner. That tells you that if you click and hold on the tool, you're going to bring up a fly out menu off one or more additional tools. Now, each and every tool has its own keyboard shortcut, and it's listed here when you hover over it. And so, in this case of the return of a marquee tool, the shortcut is M. I can press shift em to switch to the additional tool, which in this case is the elliptical marquee tool, and then pursuit em to switch to the re tangle of murky tool. Once again, you can also switch between all tools inside a tool slot by pressing on an option key and clicking on battle notice up here in the options bar. As I select different tools, the options change. That's because the option bar is context sensitive to the A selected tool and notices. We have two panels off write columns. This foul right column contains the expended panel. And but if all the next column has collapsed, if you want to expand this column, all we have to do is click on this title double error icon to collapse of column. Go ahead and click the double air icon again. You can also bring up a single collapsed panel just by clicking on its icon. Right now, we only have this guy, which is they will history. You can have over an icon deceits name, and if I were to click on it, I would bring up the history panel, which we'll discuss later. You can make this panel toller just by dragging this horizontal bar. All right, I'm going to go ahead and collapse this panel. If you drop down to the bottom of this toolbox, you'll notice this icon labeled change screen mode. If you click and hold on the item, you're going to see a fly out menu where you can switch to one of the full screen modes and I went to work. It's the take advantage of the keyboard shortcut F for full screen. The first time you press the F G, you're going to enter that full screen mode that gets rid of the image window and the title tab. And then if you press the asking again, you will switch to the absolute full screen mode Notice. If I move the cursor over here to the left side of the screen, I will bring back my toolbox, and that will allow me to switch to a different tool if I like. Then once you have the Tooley want, just go ahead and move the cursor away to allow the toolbox to hide, and you can have under the same for the right side panel. If you'll press the F D 1/3 time, you'll return to the standard screen mode, complete with all panels and windows. Now, if I were to press shift F, I'll go directly to the absolute full screen mode. So we're seeing nothing by the image by itself, and that's a very, very useful shortcut. You also have the option of showing and hiding a interface elements by pressing the tab key soon. Notice the first semi press the tab key. We lose the toolbox, the options bar and the right side panels to bring them back. Just press the tab key again. If you're breast shift tab, you will hide the right panel. But you'll have a wider screen in which to work to bring those panels back, press shift up again and these tough keyboard shortcuts also working a full screen mode. 4. Workspace: you can arrange the panels according to your needs, and that's what's known as a work space. You can switch between workspaces that any time you like by clicking on this icon up here in the top right corner of the screen and choosing any of these pre defined options. So you've got graphic and rev photography and so forth. No, Jessica, you and I are on the same page. Go ahead and choose essentials. Now that's going to show my last version of this workspace, which have customized. So it's a good idea to revisit this option and choose reset essentials. Jesse and I are seeing for the shops most recent factory defaults that brings up the learned panel, which takes a lot of room on the screen. So for the time being, go ahead and grab it, learn panel dragon and drop it into some other region of the image so that it becomes a free floating panel and then close the panel and I might hide the library Panelas Well, for now. So, Jack, drop in close the library paddle. If you ever want to come back to those panels, all I need to do is go to the window menu, which contains a list of every single panel available in photo shop and choose the learn and libraries commands. Do not use the command, however, if it has a check mark in front of it, because that will go ahead and hide the panel, and we will bring up more panels as we go for now. I want to make room for the Layers panel, which is the most important panel in all of Photoshopped. And so I'm going to grab the suggest Mints tab, and I'm going to drag it and drop it into this thin column right here so that I'm adding this panel as an icon and I will do the same with the Properties tab. And so now I'm seeing both the adjustments and properties panels represented by icons. We'll be learning more about those panels in a future video. At this point, I just want to make room for my layers panel, and if you're color panel is too tall, then you can drag this horizontal border line upwards so that the color panel is a small is possible and the Layers panel is its biggest. It gets you have the option of moving either of these panels, which could be useful if you're working with more than why monitor. And so, for example, notice over here in the far left side of the options bar that we have the serious of tiny lines right here. If you drag that edge, then you will move the options bar to a new location, at which point it becomes a free floating panel. To put it back, drag this dark bar right here until you see a thick blue line above the title tab and then drop the panel into place To move the tool box. You can drag on its tiny lines located above the move tool. And so, for example, I could move it to this location, at which point it becomes a free floating panel. You have the option of expanding the toolbox to a two column layout, as we're seeing right here, and you do that by clicking on this little double era icon. Click on it once again in order to switch to a single column of tools. I'm going to go ahead and take the tool box and put it back over here on the left hand side of the screen. It's a good idea to save your panel grouping as a work space, and you can do that by clicking on this icon up here in the top right corner of the screen and then choosing new workspace. Let's name it cats. If you want to update an existing workspace, you choose new workspace and then you once again and to the same name. So I'm name it'd cats again, at which point you will be prompt to save over the previous workspace. Web spaces do save whether panels are expended or collapsed, and they save the size of the panels as well. It saves the way things look. The last time I used the workspace to reset things, just click on the icon again and choose to be set to change your system preferences. You go to the photo shop CC Manu and drop down to the Preferences command. It also has the keyboard shortcut of control or command K. You have many preference options. For example, remember the 20 files we saw inside the home screen? You can take that number up to 100 if you like. By switching to the file handling over here in this left hand list and then dropping down to the sky right here. Recent finalists contains up to 20 files. I'm good with 20 so I'm not going to change the number. You can if you like. You may want to turn off those rich tulips. That's the animation you might be seeing when you have over your toolbox, we do want to see a tool hand that tells us the name of a tool and the keyboard short car. But an additional Imation can be distracting. So choose tools from the file menu and then notices Check box right here. Use rich tulips. Go ahead and turn it off. Now what have the change? I want you to make quick work space over here in the left hand list and turn off the large tabs check box, which controls the size of the title tabs. So they shrink to fit the words and that saves you a lot of room. And so I'll go ahead and click. OK, no workspace. Changes will take effect the next time you start photo shop. So you have to quit the program and restarted in order to apply the changes before to crash at this point that I would lose all my preference settings. So what you need to do is to go up to the photo shop CC Manu, And she was the quit command that's going to be accident on the PC. Or you can just press that keyboard chose cut off control or command cute. 5. View: up here in the view menu. You have many options. You can choose fit on screen, which has the keyboard shortcut of control or command zero, and you can see your resume percentage value here in the bottom left corner of the screen. That's going to change depending on your screen resolution. You also have the option to zoom all the way to 100% by choosing 100% from the view menu. It also has a shortcut of control. Commend one, at which point I can see one image pixel for every screen pixel, making this the most accurate version off my image possible. I can zoom in by going up to the view menu and choosing the zoom in command. Or he's the very useful shortcut of control or command plus, and I consume out by pressing control Command minus. And now, if I want to continue to press the shortcut command. Plus, I would do mean in increments of 100%. Any time you zoom possible hand percent, you're not going to see any greater clarity in your image and said you're just going to see bigger pixels zooming feather and you'll see this pixel grid. You can also dialled your own custom zoom value in the bottom left corner of the screen to select the value. Just go ahead and double click on it, and then I'll die. Let's say 200 then I'll press the enter or return key to apply that zoom. If you work with laptops and tablets, you can also pinch your fingers together in order to zoom out like so and UNP inch to zoom in. And he was doing in respect to the center of the image. If you have a mouse with a scroll wheel, it can zoom in by pressing the all toe option key and schooling upward. If I press the altar or option key and move the scroll wheel down, then I will zoom out. And then, of course, we have a dedicated zoom tool. Let's say I want to zoom in on the cat's nose. In that case, I can go ahead and select the zoom tool by clicking on its icon down here at the bottom of the toolbox, and then I will just click inside the nose. And no, this is each time I click, Photoshopped goes ahead and centers that click detail, which is on the magnifying glass cursor. If you want to zoom out, just press the Ault or option key and noticed that the cursor changed from a plus sign inside the magnifying glass to a minus sign, at which point clicking will zoom out of the image like So you can also click and hold in the detail you want to zoom in on like so I notice that you get this very slow. Continue. Assume. Once you like what you see, just go ahead and release the mouse button. Tis him out. Click and hold inside the image and then add the also option key. Notice this check box right here, up here in the options bar. Scrappy Zoom. That's the option that allows you to drag right ism in or left to zoom out. That's a quick, random zoom. I can turn the checkbooks off and now notice what happens when I drag with a tool. Instead of zooming in or out. I'm marking this guy's face and so I can see a daughter boundary in the shape ovary, tango. A. Soon as I release, I will zoom in on that market area the zoom tool is a shortcut z key for Zoom. That's how I'm using the word tangle over a key tool. I can click Z in order to switch to the zoom tool. Or I can press and hold the Z key in order to take advantage of what adobe cold spring loaded shortcuts and noticed that gets me the zoom toe on the fly. As soon as I release those icky I returned to the previously selected Tool. And so if I went to Press and Hold Z notice that the options bar changes and all the zoom tool features are temporarily available to me if we then click on the cat's eye, I was zooming like So effort, which I can release that Z Key to return to the retailer marquee tool. If I want to zoom out, then I would press and hold is icky, followed by the auto option key. The order is important. You want to press and hold ozeki and then Old Key and then click to zoom out and then release the also option key and then releases IKI trying not to release these two keys at the same time, or you might get stuck with ISM tool. If you're working on a laptop, a track pad or tablet, then you control using justice, such as two fingers drag up and down right and left like so. If you're using a mouse, which is equipped with a squirrel wheel, you can move the school wheel up in order to scroll upward inside the image. Or you can scroll down as well with the control or command key down. If you score up, then you move to the left. Any for school down, you'll move to the right. Another way to work is to take advantage of the hand tool, which is located down here just above the zoom tool at the bottom of the toolbox. Or all you have to do is to press and hold the space bar and notice. With a space bar down, I get a handle cursor, which allows me to drag the image directly to a different location and then notice when you release the space bar you returned to the previously active tool flick. Penning is when you press the space bar in order to get the hand tool, and then, instead of dragging it around like so he toss it and that it continues to move to a different location. And the harder you toss, the further it's going to move. The handle has short cut off age, and if I press and hold the H key to temporarily switch to the Hendel, I can also take advantage of future cold the bird's eye view. So I pressed the H key and then click and hold, at which point you will zoom all the way out and you'll see a re tunggal that represents the visible portion of the image. And so I could move that rectangle anywhere wanted, for example, to the cat's eye right here. And then, as soon as I release the mouse button, I will zoo in to that specific location. Um, al, just go ahead and released the H Key in order to return to the previously selected tool. You also have the option to rotate the view of the image without rotating the image itself , and you do this by using the rotate view tool. If you click and hold on the hand tool, you went to bring up a fly up menu, which includes the Rotate View tool, which has a keyboard shortcut or are to use that tool drag inside the image window like so , at which point you'll see a comp Astros, which is showing you the angle of your rotation. When you want to switch your view back toe upright, just go ahead and click on the reset button up here in the options bar. No, I noted those of you who are working with the track pads, especially on the Mac. It's very easy to accidentally rotate your view by pressing down two fingers and then rotating their positions even while using other tools. Don't freak out. All you have to do is press the escape key. 6. Layers: and this we're gonna learn how to turn this clean, peaceful office into this chaotic scene by adding the skit cat a glass of water in a sticker. Some cats like to drop things over, and we're just gonna let this kept do his thing. First, we're gonna exit the full mode by pressing the F key. And I want you to notice this layers panel. We have a total of four layers, including a background there. And if you're not seeing the layers panel, go ahead and bring up the window menu and click on the Larrys command. Money's only opened. As you can see, I have this check mark here, so we're good and you can customize the Layers panel by going up to this size menu. I come in the top right corner of the layers panel. Let's click on it and choose panel options so you can choose the thumbnail size. It can choose non or you have different sizes. I chose the largest one. You have some checked boxes here. If you want to avoid clutter, I would turn off the use default masks on Phil airs and ad copy to copy layers and groups we're gonna learn more about it later. For now, if you want to avoid more clutter, just turn off these checked boxes and click OK, now I can close this document because I'm going to create one from scratch. So here I have the office document. It's a J pack format and, as you can see, chose as background because typically when you open JP image, it's just going to shows. A background background is just the flat image. It's asses bigas the canvas, and what you see is what you get. You can convert the background there into a regular earlier by double clicking on it and then rename it and choose OK, and then you can move freely. As you wish. I'm using the move to right here, but I'm gonna press command Z two under the change because I'm actually happy with it being the background. I'm going to add more images to it, and so I'm going to click on the naughty Cat folder. And as you can see, this is a PNG format. PNG format supports transparency so you can actually see the canvas behind the cat. And there are many ways to copy a layer from one document to another. I found the easiest way is to just use the keyboard truth Kat clicking on layer and then press come N c and then go to the background there and press command V and our cat is massive and it's kind of floating in space. So I'm using the move tool. You can access it by clicking on its icon, and I'm just going to move it. I'm just dragging the corner in order to scale it proportionally. We're gonna talk more about this to later, but for now, I just want to make it look as realistic as possible. And then I'm going to press enter to apply my change. Now, Right now, this cat does not look very naughty, But we're going to add a glass of water. That's all it takes. So this again, a PNG format. So it supports transparency. You can see the canvas, so I'm going to drag it this time. So I'm just clicking and dragging its holding, holding, holding and just dragging it to the office one. And then I release. So basically you dragged the document to the title tab and then you release and Now let's scale this one. Just drag in a corner right here. Let's make it smaller. Great. No. Any copy and paste an image. It's always going to be on top of the layer that was selected highly like that, because it makes it look like the glass is just about to fall from the table. An accident waiting to happen. But if you don't like the order, you can just drag this there of the cat and put it on top of the stack. And now the cat is kind of pushing it towards the back. Another way to work is to use the keyboard shortcut of Commander Control and the right left brackets, right brackets to send it forward and left record to send it backward. And so I like it forward. That's actually name it. You can double click on it in order to rename it, so that's going to be cats, and that's going to be glass. And let's select the cats and I'm going to go to the hoops document. I'm going to press, come and see or control see, and then I'm going to go to the office. Documents who noticed the cat is selected the cap very selected. I'm going to press command V, and now it shows not on top of the stack, but it actually shows on top of the cat there, honey, copy and paste an image. It's always going to be on top of the layer that was selected. It doesn't really matter, because it's going to be way about the glass. Um, so again, just scaling it down and basically putting it here. I'm going to click outside the image so that no Larry selected and this is the final result we have, which is kind of cute. If you don't like seeing this sticker, you can just click on its icon right here. And then it's hidden or click again to show it. If you only want to see the sticker, by the way, you can just press the old key and then click on the I, and it's only gonna show the sticker so we can remove all this chaos by clicking on the icon over the background. First, I'm going to press and hold the Alteon that I'm going to click on it and yeah, everything's gone and all have to do is press and hold the old key and click on it again and everything is back. You can also hold the mouse and go up and down in order to show all these layers at once. And as you can see, the background comes with the lock icon because it's the background. We don't want to move that, but even knows that they're the same for a regular layer. So, for example, the cap player. If I'm going to click on this look, I come up here in the layers panel. It's going to lock the layer, so now I can't move it, and I'm going to click on it again to unlock it. Have a fun thing you can do is you can duplicate Lehrer once again, using the old key and clicking on this layer and just dragging it, and that's going to create a copy. So now I can move this copy over here and now we have two stickers. If I don't like it, I can express the elite or return key and it's gone. You can also marriage there, so let's say I like that it cat and the glass together I can choose the kept there and press and hold the command key and choose the glass layer and then use the keyboard shortcut of command E. And now it just one layer. So if I move it now, I move both of them at the same time, and that's how you work with theirs. 7. Blend Modes: in this video, we're gonna learn about blend modes, so notice I have the glass Larry selected, and I'm clicking on this pop up menu that right now it says normal, and you can see the various blend modes. We're blending the luminous levels off the active layer with colors from the layer below. The opposite of luminosity is color that goes ahead and mixes in the color valleys from the layer with luminess levels from the letters below. And if that sounds complicated, no worries. You don't really have to remember it. You can just hover over the blend modes in order to see the preview, and now we're seeing it on the fly. Look the glass. We've got several sections of lead modes. These are all the darkening moments right here, and these guys represent all the light in modes. And then this third group represents the contrasts modes. Right now, I have normal selected. Normal is equivalent of turning the blend mode off. There's no special math, all the pixels of either fully a pay core fully transparent, and you can change the pixels ratio by adjusting the A pass ity value over here, see a pass ity. Right now, I haven't had 100% which is fully opaque and opaque. Pixel is one you cannot see through at all. I can take it down to 0% and now the glass is fully transparent and transparent. Pick. So is when you can see through all the way. Anything in between is considered to be translucency. If we want to see in a passage value of, let's say, 50% we can either drag it or we can select the layer and press five, which is the keyboard shortcut for 50% capacity value. That's a little bit true transfer. And for me it's great that they were seeing the plant, but a little bit too much of it. So I'm going to press eight, which is a keyboard shortcut for 80% and that looks much better. There's much where we could do with blend modes and to show you how. I have three words for you. Cats, pizza and space. Seriously, just Google cats pizza space. There's over 100 million results. It's kind of psychedelic artsy trend that doesn't seem to go away. And I thought, What better way to learn blend modes them designing our own cat floating on pizza in space . So this image is kind of interesting. It has this interesting blend between the layers and it craze, this cool, artsy effect. But in reality it's done from pretty standard images. Not so interesting. We have space distant JPEG image of space. We have pizza, which is a J pig image of pizza with white background, and we have a ginger cat with black background, just a J pic image and then a PNG file of Planet Earth. And so let's start by copying the pizza, so we're gonna double click on it, call it pizza in a press commence ET to copy and go to space and press commend V to Paste. And now it covers the background. There we can scale it down, and I'm using the move tool. This image has a white background, which I want to get rid off. That makes it a great candidate for the Dark in Glenwood Group. That's the first group of the blend modes that starts with dark in and ends with darker color. What happens is the active layered darkens the one below it, and that's true, too. Every single pixel in the active layer, with the exception of anything that is absolutely why that becomes invisible. So as you can see, I can hover over the names off the blend mode in order to get a preview on the fly and in each one off the darkened blend mode group. We're not seeing the background because it's white. However, in the other blend mode, groups like The Light and the Contrast, we're going to see the background. So let's go back to the dark in back Road group, generally speaking, multiplies going to deliver. The best result multiplies cold after its math because the pixels are actually multiplied together and what happened is we get a much smoother result. I could also use Dunkin to make it more psychedelic. It's really up to I'm going to stick with Multiply for now, to keep it a little bit more realistic. As realistic as it competes, a pizza in space and the next group of blend. Mood begins with lighten and ends with lighter color, and it's been a while since we've seen the captain screen. So let's go and bring up the ginger cat. I'm going to double click on its layer and call it a cat press. OK, come in, see and make sure that my pizza Larry selected so I can press command V and see it on top. No, let's Scalea dumb place in the middle. I'm using the move tool. I'm going to rotate it a little bit because it's not really straight perfect. So now we need to get rid of this background Now. The docking blend mode is not gonna work in this case because it's black. So notice if I try the dark blend modes it doesn't get rid off the back on. It actually gets rid of the cat that is bright, so the next group of blend modes is cold lighten, and it starts with leaden and ends with lighter color. Here, the active layer lightens the one below it, and that goes for every single pixel on the active layer. Except for the one, they're black and they become invisible. So we lost the background, which is great. Now. Each of the light A mode has an opposite mode in the dark and group, so in other words, lighten is the opposite. Off dark him screen is the opposite of multiply and so on. The screen mode is the go to light and rode inside of Photoshopped because it produces softer transitions. But in this case, lighter color blend mode works well. That keeps the brightest color pixels either on the foreground or the background layer. So we typically end up with these harsh transitions. But in this case, it creates this artistic effect. Now we haven't been able to use the next group of blood modes, which are the contrast modes, beginning with overlay and ending with Hard makes the all increase the contrast of the composed image. Most of the motor combination off a darkened and light and mooned working together. And so, for example, overlay is a combination off multiply and screen working together, and it's the most useful off the contrast modes. But in this case, we have a background. I want to get rid off so over there is not gonna work. So we're going to keep it a lighter color, and instead we're going to bring a PNG image that doesn't have a background. So I'm going to double click on it Cool eight earth and commence see to copy and click on that kept layer. So it's on top of the stack, and I'm gonna press commend V and I will use the move tool to re scale it and reposition it . We don't have a background to get rid off, but I don't like the way it looks because it really takes away the focus from the cat. I kind of wanted just to blend with the background. Any of these blend modes could work. Like I said, Typically, overlay is the most useful of the contrast modes. But here it's effect is to Sado. So I'm going to go with hard lights, which does what overlays doing except upside down. And in this case, it works better, and you can just keep on playing with the blend modes and just see what works for you. Blend modes of really useful when you want to quickly get rid all the black background, white background and especially useful when you're applying them to layers that are used to create an effect, not the image. There's themselves but adjustment layers. And we're going to talk about these. There's in the next video 8. Adjustment Layers Brightness : in this video, I'm going to show you images that I took with my phone, and the phone doesn't always do the best job. That's why it's great to have these options to edit your photos in post an adjustment. There is a really great for that purpose. So this is a picture I took of my cats. New faking. It was a beautiful sunset, and Michael, um, did its best to capture both Snoop Gin and the Sunset. But unfortunately the light was behind him. And as a result, we don't see a lot of the colors of the sunset, and we don't see a lot of snuff king. That's okay, because I can create an adjustment there and have many types of adjustment. There's I can create adjustment. There's are always nondestructive, so you never permanent the modify single pixel inside the image. They generally fall into two categories. Either you can change the brightness of an image or its colors, and I guess in this case we definitely have a problem with the brightness. I can access the adjustments later panel by clicking on this icon right here. If you're not seeing it, go up to the window, Manu and Schuth E Adjustments Command. And that will bring up the independent adjustment panel, which you can just collapse and drag over here. And so you always have it available to you Before we do anything. You might want to go to the fly out menu icon here and make sure the ad masked by default option is turned off. So, as you can see, I don't have any check mark next to it because it's off that way. When you create a Qala adjustment there, you want to certainly get in there mask each and every time, which again will lead to less clutter inside the lair panel. Let's go to the adjustments panel, and we can hover over the icons to see what they do. I'm going to go with brightness and contrasts, and I'm going to click on it and noticed that as soon as I click on it, it opens in the properties panel. The adjustments Fennel only lets you create the adjustment there. It does not let you modify it that is rather job for their properties panel and so basically does what it says it does. You can adjust the brightness and the contrast, it typically one. They use legacy check box to be off because it brightens the heck out of it. And it clips a lot of White SA's well, and I can try the auto option and see what Photoshopped does. Give it a few seconds, and the result is okay. It's not great. Second adjusted, I actually prefer to take the contrast value Don all the way down to minus 50 and make it a little less writer so we can see the clouds in the background and you can have a second adjustment there for additional contrast, which is what I'm going to do. Just click on it again. And now it created a second there, and I'm going to add even more contrast and a tiny bit more brightness and notice. We can change the blend modes of the adjustment that is as well, and this can create some really cool blending effects. I might twos lighter color for this one and noticed that you can keep adding those layers so I can hide the first adjustment there and reveal it again by clicking on the icon. And I can do the same right here, reveal it. I can double click on them and the properties panel opens again, and I can keep adjusting it if I want. That's what I mean by nondestructive. You can keep changing it as much as you want, but we're going to add a destructive modification to this one because we're going to take advantage of a very, very powerful adjustment feature. As you can see, we lost a lot of the highlights here. What we really need is to adjust the shadows and highlight, and it's available in the image adjustment menu. But notice it right now. I can't access the adjustments. That's because I have an adjustment there selected. You can deploy adjustments on an adjustment layer, so I have to click on the image layer. Then I go back again, go up to the image menu, and now I have the adjustments option available to me. I notice here I have shadows and highlight. This is not available as an adjustment there. Unfortunately, because it compares neighboring pixels, it is a destructive modification, so that means you have to be deliberate about your actions. So I clicked on it, and the first thing I'm going to do is, I'm going to increase the highlights and I can choose show more options and over here I have more to play with. In general, you want to increase the radios to, let's say, 200 both of the highlights and of the shadows. That's going to get rid of any halos you might have as a result of the shadow and highlight . And I'm going to increase the highlights again. And I think I can increase the color value a little bit. Not too much, but somewhere right here you have the option to save it as default. So whenever going to use this command is going to show the same values and I'm going to click OK, and I can go back to the adjustment lives and adjust them a little bit. I'm going to double click on it. It is a need to be as bright, and I might need a second adjustment there. One is good enough and that's the results. We got pretty good. So just so we seeing the changes we've made, this is the original image we had. And look, that's so just some changes in the lighting helped us get very far. And in next video, we're gonna learn about adjustment. There is that work with color 9. Adjustment Layers color: so he will have a nice picture that was taken with the phone off a cute cat named Alex. You could see all these plants and the leaves, and some of them are red, but it's kind of heart notice because once again was taken with the phone and start well saturated. And when you're dealing with under saturated image, you can use hue, saturation layer and then use a vibrance layer. So we're gonna use multiply adjustment layers in this one. So let's start by choosing our adjustment there, which is huge saturation right here. Click on it. And now we're looking at properties panel. You have various presets. You can choose that will give it different looks. You can create your own custom as well, but we're gonna go back to default. We can choose to work on the master, which is old shades in the picture. Or we can choose the red shades, yellow shades, greens and so on. And we have the hue value, the situation value and the lightness. Lightness is basically how bright it is. Saturation is how colorful it gets, and you is the type of shade you're dealing with. So if I move it a little bit to the rights. Each pixels hue value has increased by 26. And that gives us some strange colors. So I'm gonna press Command Z to undo that change. I can also choose colorize. If you turn colorize on, you're going to colorize the entire image with one pair of you and saturation values, which is not what I'm going for in this picture. And actually, my favorite way to work is using the targeted adjustment tool. This one right here, use it by clicking on a car spot on the image. I'll choose this red leaf right here and drag it right or left to increase or decrease the situation of the color. I really like those red leaves, so I'm really focusing on the Reds right now, so I'm dragging it right and you can see that I have a plus 22 in the saturation value and Photoshopped was able to tell that we're working with the Reds because I was pointing at a point that was read. I'm going to do the same with the green, so we have a good contrast. So I'm going to choose a certain green. I like and drag to the right, and that was you see, we're working with the greens and we added 35 points to the saturation of the green, and I might as well work with the yellow is. Well, just drag it a little bit to add a little bit more color. Now, if you want to work on the U value. If you want to change the U value of something, for example, that's focused on the cat's eyes and I want to change Star Qala. Then I can present hold the command key, and now we're changing the you. So I'm dragging its right, and now we got this crazy green color. The problem is, he changes. Also colors in the rest of the picture, not just the eyes. So we're going to press command Z. What he did is he changed all the yellows in the picture, and that's not what we want. In fact, I have a little bit of too much yellow, so I'm going to once again choosy of spot and drag it a little bit to the left to reduce the saturation of the yellows in the picture. And now we can click on this double air icon to collapse the panel, and I'm going to click on the adjustments I can, and I'm going to choose vibrant. So I'm adding another adjustment, their vibrant, saturates colors according to their needs. So if we're working with low saturated colors in the first place, then cracking up the vibrance will increase the saturation off those old saturated colors. So once again you have saturation. But I'm more interested in the vibrance, which is all the midterms, and I'm going to crank it up. And this is how it was before the vibrance there. And this is how it was before the hue saturation there. So this is definitely helping us to get more color. And if you want to really focus on those mid tones and be really specific, we can choose another adjustment there, which is the color balance right here. And this one really allows us to focus on colors in either than me tones or the shadows, which are the darkest points and the highlights. Rich are the brightest points. So, for example, I can tell that some of my shadows are a little bit blue, so I'm going to go to the shadows and drag it to the left, so there's a little bit more yellow. Unless Blue and I can also tell that my highlights are a little bit yellowish, so I can go to the highlights and drag it to the right this time just a little bit. So Alex doesn't become too blue. I also would like to go with the Mate, owns a little bit more red to sell a bit more redness, just a little bit. And once again, I'm going to return to the highlights cause they feel they need to be a little bit more blue. OK, so I'm going to press and hold the old key and click on the icon of the image. So you see how everything was before all of these adjustment. There's and I'm going to click on it again to show you the difference. All these layers affect the background, but what happens when I'm adding another image? I wanted to choose the black and white cat. It's a PNG documents, so it doesn't have a background, and I can just click on it. Commence E and copy it into this image. Command V. I am going to reposition it using the move tool, Drag the corner to make it slightly Laja and position the cat next to Alex. Now notice that this cat doesn't quite look like Alex. They have different colors, and I can solve this by adding an adjustment there just to this layer. And I can do this by clicking on the adjustment there Icon and I'm going to once again true the color balance, because that gives us the most control. And this time I'm going to click on this icon down here. I'm going to click to clip it to the layer, and I notice there's an arrow here that shows that this adjustment there is clipped to this layer only. So it's gonna affect only this layer so I can go to the highlights, which are the most problematic. That's where the white is, and it needs to be a little more blue, and that gives us a little bit of purple. So a little bit more green and also Dragic again portion and this again is only working on this layer. If I were to click on this icon again, then it will affect the whole image. Now it's not clipped to this there. But I want to work on the on this image, and I might as well work on the shadows a little bit. That's all the black parts over here, and you can keep working it it as much as you like. You could, of course, change the blend mode in order to create different effects. Choose lighter color and we can press shift F to see the image. And this was just a few of the adjustment. There's, as you saw there, plenty to work with, and there are a lot of fun. 10. Crop: in this video, we're gonna learn about the crop tool. So I'm going to press, commend zero or control zero in order to fit the image on screen. And as you can see, we have this cute little kitten and a whole lot of grass. I want to see more kitten and less grass. And the great thing about the crop tool is that you can frame the image in Khost. I'm going to go ahead and select the crop tool. I can click on its icon in the toolbox or I can use the keyboard shortcut of sea. And now we're seeing the crop boundary as well as Thehuffingtonpost. And every time you drag a corner you modified both the height and the width value and you're cropping with respect to the opposite corner is you see the opposite corner does not move. If I drag the side handle, I cropped with respect to the opposite side. If I want to crop with respect to the center of all I need to do is press and hold the option key Alty. And now we're cropping with respect to the center. If you like to constrain the aspect ratio which is the relationship between the height and the width value press and hold the shift key. You can create your own custom aspect ratio. Appear in the options bar by typing values off the height and with. Or you can choose from these pretty find ratios. I want to go with five by seven and I were looking at a vertical crop as opposed to a horizontal crop that we saw before. You can switch this by drinking the corner until the values change. You can see here in the options bar they have changed. You can change him again by clicking on this double error icon, appear in the options bar or been in the ratio altogether by clicking on the clear button. And now I can crop freely. Now, if I like what I see, I can press the enter or return key, or I can click this check mark. I come I can't bend in the crop by pressing the escape key or clicking this no icon, and there's another way to make it work. I hang click and drag to create a crop from scratch, and I can person hold the space bar in order to move it around. Then I released the space bar and I released the mouse, and I will have this crop, which I can still at it. Now I want you to notice this check box up here in the options bar. Delete crop pixels by default it's turned on, which means that all of these pixels that are cropped are not just going to be hidden. They're going to be deleted for good. But what if you change your mind? You know? No. In that case, it's best Teoh term. This cheque books off and no notice. I press enter and let's say that I changed my mind. I want to see more grass. In that case, I click on the image again, and I still have all these pixels available to me so I can drag this corner to include more grass and then click enter to accept change. Now, what about rotation? Well, let's look at this image. We have a beautiful bangle cat, but the background is a little bit tilted. So with the crop tool, if I move my cursor outside the image, it turns into this rotate symbol, which means I can rotate it on the fly now, every time where you rotate an image, Photoshopped softens the details a little bit. The reason is because pixels are square and foot shook basically has to rewrite every single pixel once you're rotated. So if you rotate, it's better to only do it once and be really deliberate about your actions. In fact, I'm going to cancel by pressing the escape key because there's a great tool I can use to straighten this image. And it's called the straight and tool. You can click on it here or whenever I use the crop tool. I can press and hold the commander control key, and that gives me this straightened sub tool. Now I'll try to identify in the image on ultimate vertical or horizontal straight line. Typically, it's best to choose the horizon, and I have this line over here, and I'm going to drag it from the left side, over to the right side, my great here and then I'm going to release and Photoshopped automatically rotates it. Now it's looking really great. The only thing is, I lost a lot of the background in the process. For example, I lost a lot of these red contrasting background. That is really nice. And I don't have a lot of negative space here, but the tail and then they do world. My crop would be like that. But you know, if you can just make up picks is no, not there, right? Well, actually, Photoshopped can and he does it pretty well. That's a very exciting feature. Photoshopped has an AI that schooled, content aware. So if I click on this check box in order to turn it on and then I press the enter key photo shop is gonna take a few seconds to analyze the image and then it's going to come up with this background. So all of this grass and this right here was not there before Photoshopped basically created it from scratch just by analysing the image and fighting pixels that could match it . Just that we see the differences on what a press command Z toe undo my recent straight in crop tool. So this was before, and this is after pretty cool, huh? And that's how we used the crop tool along with the straight and sub tool and the content Aware feature 11. Move Tool: in this video, we're going to learn about the move tool, and it's almost Christmas. So I thought you could do a little bit of, Ah, Christmas themed video. So let's start off with a move to Let's go to this branch, PNG File and Press commence. See? Go back to the Christmas document and press comment V to paste. Now we have this branch over here, so I'm using the move tool to bit and you can access the move to clicking on its icon or is in the keyboard shortcut of Command V and notice this check box up here in the options bar out of select. What it tells me is that I can click on any layer and it's gonna automatically select it. So I'm selecting the background there, here in the layers panel. But I can click on the branch there, and then it's automatically going to select this layer, which we're going to rename and quite branch. However, if I turned this checkbooks off and I'm gonna once again choose the background and the reason I'm going to the lair panel to choose the background is because it's a background, so it's locked and Now I'm trying to click on this branch there, but it wouldn't let me until I select in the layers panel and now I can choose it. So I like this auto. Select checkbooks on can choose whatever works for you. I also like this cheque. Books on the show transform controls. It shows me around. That's selected layer. You can turn it off, but yeah, I like it on. And then you have all these options for aligning. If I press the command and click on the background layer and press and hold the Quran, choose the branch and then choose one of these icons. For example, this one line left edges. It's going to align it, and so it aligned it to the left. But I could choose the center one, and then the branch lair is aligned with the center off the background. You can also play with the height. In fact, I'm going to move the branch. Old is higher. You can also rotate by clicking outside the image and dragging. I'm going to press command Z, and that's one way to work 12. Free Transform: and that a way to work is to use the free transform mode. I don't have to use the move tool to access the free transform. Let's say I use the tangle of murky tool. I'm going to have the branch, they're selected, and I'm gonna press keyboard shortcut Comment T That's all I need in order to enter the free transform mode. And free transform is very similar. You can also press and hold the option key in order to scale with respect to the center. And that's because I have the center selected appear in the options bar. If I chose the top left corner as a reference point, the reference point is here, and I pressed the Olt or Option Key. Then I'm scaling eight with respect to the top left corner. I'm going to click on the center again to make sure it's my reference point. And if you're not seeing the reference point, click on this check mark right here, and every time you apply free transform, Photoshopped rewrites the pixels, which means it's destructive. So try to apply for transform one and only one time to any given layer, and I'm scaling proportionally if I want to click non proportionally a person. Hold the shift key, and then I can do whatever I want. As long as you're inside the free transform mode, you can right click inside the image. That's a right click, and you have this pop of menu with more transformation commands. You can rooted 100 a degree or 90 degree clockwise, or you can flip horizontal and flip vertical. These are very useful commands, and I went to use flip horizontal because I actually won the branch to come from the same side off the tree. Other options that are available to you are skew and distort. So I'm gonna choose skew, which will switch me to the dedicated skew or slanting mode. And so if I were to drag this handle, I would end up slanting the image. If you want to distort free form, that is, without any constraints, right click inside the imagined choose distort, and now, if I drag a corner handle ah, move it without any constraints whatsoever, right? Click inside the image once again and choose perspective. In which case, if I drag this button left, handle a move. The great handle in the opposite direction toe, but a very basic perspective. Distortion. Let's say we want to restore the original scale. Go after the option bar, make sure that your width and height value are length and choose AH, 100%. And that's going to restore the original scale. I still have all this distortion, so I'm going to cancel. I want to press comment, T toe. Enter the free transform again, and I want you to notice you have access to the warp icon in the options bar, so I'm going to click on it. And now I can reshape the branch. You can drag on the image itself, like so all by dragging the corner points inward or outward, just trying to make it the shape of the cats. You can also drag these round control handles for a more pronounced wave, and I'm just dragging like so to make it kind of the shape of the cats. Do you also choose from a variety of presets? Right now, it says custom, but I can choose any of these preset shapes. And yes, I want to perceive. Now I have an arc shaped branch, or I can use the flag or inflates raise. And if you want to change the direction, click their orientation. I come on the options bar to change the direction, and that looks really weird. So I'm going to go to art again and once again change the orientation and you can just the handles. I'm going to click on the war Pichon again to return to the free transform mode just so I can rotate it a little bit. And I'm going to resize it and rotated again. And now I'm going to until the war mode again by clicking on its icon. And I can drag it here in order to change it a little bit and once again exit this mode and rotated until I get something I like. I'm looking for, uh, half heart shaped, and I'm going to press enter to apply the changes, and I'm going back to the move tool, and I'm going to press and hold the option key and click on the branch, and that's going to create a copy of the wrench on the Fly. And now I'm going to press comment T again to enter the free transform mode again and right click on it to see the pop up menu and I'm going to choose flip horizontal and that's start to look more like a heart. I'm going to the walk icon again and I'm going to click on the corner and changed a little bit. I don't want to symmetrical heart. I want a little bit more interesting heart and where you apply the changes and I'm gonna go to this one over here comme nt again and click on the Warp icon and this year and press enter. And if you want to go full Christmas Madness, we could do one more thing. We have this decoration over here. This is a PNG file, so I can just copy it by pressing commence see and going back to Christmas and pressing Command V. This is way over the top. Let's go the Christmas spirit. So I'm going to resize the layer. I'm hunting too much of the cat, and the problem is, the canvas is just not big enough, so I'm gonna press enter to apply the change. I'm going to go to image and canvas size and Herrick in see the size of my canvas, and I'm going to change it 2% and I'm just going to add 20% more to my canvas both in the width and the height. And I make sure the relative check boxes on my anchor should be the center. So if a clip of any of the corners it's going to crop it according to the corner. So I want to make sure that I chose the centre and I'm gonna press okay, That gave me a little bit more room to work with. Just a little bit more canvas size. And now I can increased the layer to the size of the canvas and you can still see the cat. And the last thing I'm going to do is I'm going to drag this layer so it's behind the heart . So, yeah, you get ah, lot of Christmas over here. While celebrating Christmas and cats, we have learned about transformation in photo shop 13. Color values: in this video, we're gonna talk about color. You want to make sure you can see the color panel on screen, which you can get by choosing the Qala command from the window menu. Notice that I'm currently seeing my RGB values and RGB stands for red, green and blue. I do have other options to choose from and I'm going to choose age. SB Sliders Ages B stands for hue, saturation and brightness. The hue slider goes from 0 to 3 60 every value on the slider represents a different shade. So we're going from red to yellow to green to blue, purple and then red. Again. Saturation allows me to change, however, the calories from zero for white all the way up to 100% for a vivid color. Brightness goes from black all the way to the saturated color so I can choose. Various colors from here have the ultimate white and the ultimate black that has ah hue, value of zero saturation value of zero and brightness value of zero. Of course, white is similar with Hugh value of zero saturation value of zero and brightness of 100 as high as can be and here we can see the foreground color and behind if we see the background color. Those have very important functions in photo shop, which will learn about later. And that's why you can also see them here on the left side of the screen. In the toolbox, the foreground color and the background color, you can switch them here. You can also choose the ultimate black and white. In this way you're getting black as a foreground color, and white is the background color. You also have a shortcut for that D for default and ex switches the foreground color in the background color. I can also click either here or here in the color panel, either on the foreground color of the background color to bring up the color pink hair. And he tells me that now I'm looking at my foreground color, and here I can see all the values of my Karen color. I can choose a color from here. Let's say some kind of purple, and then I can choose the specific shade from here, and it tells me what color I'm using and gives me. All the values have huge value saturation and brightness red, green, blue, luminous and so on. It tells me that my Karen calories white, but the new color about to choose is pep. Oh, I can also add this to my swatches, which means I can save it for later. Safer click ETS watches, and I call it per phone and click OK. Not only did it change to this purple color as a foreground color. Now, if I click in my swatches, it's right here. And if you're not seeing this watches panel, go after the window Manu and choose swatches. What's click on color again Now A very, very useful tool is the eyedropper tool. You can access it from the toolbox right here by clicking on its icon. Or use the keyboard Truth cat of I and I think, like anywhere in that image, and that's very to choose a new foreground color. So instead of simply a color from here, I'm sampling colors from the image window so I can click inside the eyes and that I'm getting a more bluish hue value, and it's pretty bright at 63% or can click on the hair right here. That gives me different values. My who value is 25 which is pretty brown, and it's not as bright at 47% your own and select the background color. Instead, I press and hold the old key and click, and now, as you can see, we're changing the background color. We can change your settings in the options bar, and I have more options here that tells me that I'm sampling one point in the image window . I can choose to simple an average of an entire area. So instead of one point, maybe three by three points, five by five or even 100 and one by 101. So let's see how it works. I'm going to choose 101 by 101 and I'm going to click on these eyes that are greenish blue and look, the valued gives me is pretty brown. This is the color I'm getting. That's because it's sampling not just the eyes, but it's samples they had of the cat that is more brown than blue. Let's go back to the most accurate sampling, which is point simple. I can sample from the Karent lair or all there's or Karen and below their various options. I only have one layer, so that really doesn't matter. And that check box determines that I'm going to see the sampling ring. This is a sampling ring. The some bling ring shows the Karen color and the new one. And again, if you holding press the altar option key, it will change to the background color. 14. Colorcast: we're measuring the car cast is concerned. You want to see a very low saturation value. Something like 5% or less can use the eyedropper tool to click on white or neutral gray spot in the image. If I click on the white I C. Zero. So we're doing pretty well here. But if it starts going higher than about 10% you're very likely to have a problem on your hands. So let's look at this image. This is a picture of a kitten cold baker Lou, and he's gray. The rocks are gray, but for some reason everything looks blue. In this picture. I want to click on an area that's supposed to be wider, neutral, gray, like this rock down here, and it shows me 12% saturation, which is not great. In fact, in certain areas, I'm seeing 15%. This gray over here shows me 19% so this is not great, but we can change this now. You don't always need to create an adjustment there. Sometimes all you need is a quick fix for an image, and then Photoshopped offer some auto options, and we can fix it pretty quickly with one of the auto options. So go ahead and go up to the image, menu and sea. You have three different options out of tone, out of contrasts and out of color. Baritone is really good when you want to remove and undesirable color caste like in this case, and I'm just going to click on it, and Photoshopped will automatically do its calculation and come up with this really great result. And now it's not just blue. You see differences between the great concrete and the great cats. I'm going to press Command Z to undo my changes so I can show you the auto contrast comment I don't trust takes the darkest pixel and makes it block. It takes the brightest pixel and makes it white, and it stretches out all the other luminous levels in between without changing one channel differently than another. Which means this common never effect the color caste. So in my case, it's not very helpful, but it's very helpful. In other cases, I'm going to press command Z and go up to the image menu and shoes. Now out of color and out of color locates the darkest big selling the composite image in terms he two neutral black. Then he locates the Bryants color in the composite image and turns it into a neutral white . And then it does its best to locate the most representative mid tone pixel and turns it into a neutral gray, which is fantastic in our case. And now let's simple the rock over here and I have 3% saturation value, which is great. That's a huge improvement. It's a destructive mortification. Photo. Shope rewrites the pixels, and I can switch the effect on and off, And that's how you work with the Eyedropper tool and the auto commands to fix the code cast . 15. Brush: in this video, we're going to learn how to use the brush tool. This is a photo. It took off this cute alley cat. The other cat is looking pretty good, but the wall behind it, I feel, could use a little bit more Teal c. So we're going to start things off by selecting the brush tool right here. This is it's icon. Or you can use the keyboard shortcut B and the brush is going to paint with foreground color. She's currently green. I'm going to choose yellow from the color panel. So what I'm gonna do is I'm going to create a brand new layer that's going to be dedicated to my brush worth. And I can do this by pressing shifts, commend in. And I'm going to name this Barash and I'm gonna press OK? And now I have a new there over here and now I'm going to be painting and notice. If I click on the icon over here, then the pain is gone and I still see the background were imitating graffiti. So don't feel like you need to be super accurate about your actions. When you're painting over here, we're imitating spray paint. In fact, we even have an airbrush style buildup effect, this icon up here in the options bar, and in order to show its effect, I'm going to change the capacity to 100%. And I'm going to choose red. And, as you can see, it quickly can hold inside the image. I'm building up the brush. It's growing larger and larger, and then when I drag, you can see that it's a little thinner. And once again I stop and it builds up. And this is what's long been known as the airbrush mode. You can turn it on and off by pressing shift all to pee or just clicking on this icon. Now I'm going to press Command Z to undo my changes and noticed that can change my smoothing value and the flow. And I can even change my blend modes that's going to affect the next time I use the brush. Here, you can select various types of brushes that will give you different textures, and we can zoom in to see the effect. Let's go back to the original, and over here you get the brush settings where you can change the size of the brush and their hardness, so hardest value of 0%. He's going to give me a very forgiving brush notice right here. And if I change the hardness failure and I can do this by right clicking, I don't have to go up to the options bar. I can just right click inside the image window in order to bring up this papa panel every time I use the brush tool, and I'm going to take the hardness value to 100%. It's not as forgiving. Now I want to zoom out. Funny enough, my design over here resembles the original design that was actually in the street. But let's remove my designed by pressing Comm NZ a few times. I only painted half of this girl's hair. I want to use the same yellow they just right to do it is by pressing a holding the option or all key. And then I get the eyedropper tool on the fly so I can choose this yellow and you can see my foreground. Color is yellow again in became spent inside, and like I said, this is a graffiti, so he doesn't have to be super accurate But if you want to get really ec arrayed to get better details, you want to change the brush size, and you can do this by using the keyboard truth, cots, the left and right brackets, right, Breck it to increase the size of my rash and left bracket to reduce the size of my brush. And so I'm going to choose this white color over here. I'm going to press Ault and click to sample this color, and then I'm going to go to the eye and paint inside. And now I'm going to reduce the size of my brush by clicking the left reckitt and brush inside, and I'm going to simple that flew over here that was used on the wall. I'm going to right click on the image and change my hotness value into 30%. Click inside image again and at Cem highlights over here and almost over here t 80. I think a much more appropriate graffiti would say See, 81st. I'm going to simple this black over here by pressing the all key, and this is not quite black. This is better, and let's try and turn the STI into a C for using the brush tool. This might be a little bit too strong, so I'm going to chamber capacity to 50% not sick if it to 90. I wanna have a straight line going from here to here. And the easiest way to do it is clicking and then pressing the shift key and holding it. And that's going to give you a straight line for the point he began to appoint You ended. I'm going to do the same year a little bit more here so we can really see the cat writing. And I'm going to simple this white over here. And I need this one to be pretty visible soul to get all the way to 100% right click, and I'm going to choose 80% and I'm going to increase the size of my brush. And distended do here, like I say, doesn't have to be accurate because we're imitating graffiti and that's pretty good. I want to still leave a portion of the world revealed. Now I want to reveal a bit. Move the wall. So one way to try and work is to change the blend mode for the entire layer I'm going to leave it at normal. Then of course, you can change the capacity. But nothing seems to give me quite the effect that I'm looking for. So we need to raise some details and we gonna learn how to do this in the next video. 16. Eraser and history tool: in this video, we're gonna learn how to use the razor tool and the history brush tool. That's why it's greatly used a separate layer, because I can take advantage off the eraser tool right over here. That has a shortcut of E. And I need to make sure that my brush there is selective and I can just go ahead and bring back that wall. Bring that those details and the razor to also has flow and smoothing values capacity. You have different modes brash pencil block that, as always, right clicking is the simplest way to get to where to really need, which is the size and the hardness. And in this case, I'm going to take their hardness down to would say, That's right, 25 percents because I want to reveal a little bit off the wall behind it. But not all of it. As you see, this is a little bit too much. So once again, I'm going to take the hardness value all the way down to zero, and I'm going to set the capacity at 25%. So let's see what that gives us. Yeah, this is a much better effect. We need to increase the size by pressing on the right bracket and just go over the brush tool just to reveal a little bit more off the wall. But here revealed too much, and I can choose the brash tool and paint over it again. But there's actually one more painting tool that's available to me, and that's the history brush. And so basically, I want to raise my razor. I don't want to cancel my razor action because I liked over what you did. I just wanna remove this little part over here, and that's where you can use the history brush. The history brush is available over here, and it has a keyboard shortcut. Why go up to the window menu and choose the history command right here? Now you see the history panel. It allows you, for example, to take a picture of your Karen condition. So I just created a new snapshots and I have it over here, and this shows me all my history, and I can click on each one of these steps to go back in time or I can click on the snapshots by default. I have the original image and then I have the snap show that just created So I can always click on the little camera icon to take a snapshot in the history panel, and then I can click on it to go back to that stage. I can also selectively ease modifications using this thing called the History Brush. Notice this little brush with a revolving air around it that tells is a source state for the history brush. You wanted to be the state right before used that unwanted tool. So I'm going to go back to right before the razor right here. And I reckon, switch to the history brush to which we've already selected by using the Y key, and it lets you paint back to the way things were at that state. All I want to do is just spring back that part of the sea that I you raised all the way to here. That's great, that's who, mouth, and I'm going to use it a little bit over here because this little part needs to be hidden . And that's how you work with the razor in the history tool 17. Gradient: in this video, we're gonna learn about Grady Ends. I looked this beautiful cat. The cat's eyes really stand out. I think it's perfect just the way it is, but we're gonna add a little bit more color to it, and specifically, we're gonna add some Grady end to this image. One way to do it is going up to the letter menu, choosing new Phil Layer, and here it can choose solid color Grady in Pattern. We're going to choose radiant and click OK by default. It's grading ingredient that start as well pay and becomes transparent. And those type of grade ends air really good for oversaturated images, especially if you change your color to black. So let's say you had a source of life. It's coming from here and creates a lot of clipping in the picture. That's a kind of radiant you might want to use, but in our case, we just want to add some color to this photo. So let's start off by clicking here, and this is a great and tramp. There are a passage he stops up above. This is okay and this is transparent and these are color stops down below it starts at white, it ends it white. And the reason why it's wide because this is currently our foreground color. If I had Green select that, it would have created agreeing radiant On the far right hand side, you'll see that it's a pass. Ity is 0%. We want the entire Grady in two b o pe, and so I'm going to grab the capacity stop, and I'm just going to drag it upward to get rid of it. And now we have a great end that is entirely opaque. You can select that first color stop below the ramp and double click on it to bring up the Cup Viqueira Dialog box. Our truth, maybe some interesting green. And then for this one, we're going to choose some interesting blue, and I can add more stops if I want. This is the exact same blue, so if I drag it towards the right side, I'm going to see more green. If I drag it over here, I'm going to see more blue in my image window, and I also have these handles to help me to find it even better, and I can add more stop and I can have this one be even black or more subtle. Blue and press. OK, keep dragging it. So that's one way to work. Another way to Ricky's to use any of these presets. And I'm going to go with greens and I'm going to choose that interesting one over here. And as you can see now, I have solid. But I can use noise, and that's going to create that interesting fact which I can play with here. I can choose randomize, and it's gonna give me different options. Just friend of options. Let's go back to solid and I can save it by creating in new radiant. But for now, I'm just going to press OK, and over here there's yet more things for me to play with. I can change the radio Grady int and and go reflected. Oh, that's pretty diamond. I want to go back to reflect it because that's really nice and I can change the angle as well as the scale. And if I don't like all my changes, I can just click on the set of like mints and you can reverse the effect di fare. Where did choose non and I'm going to press, okay? And right now it's completely hiding my cats. But I can choose any off these blunt modes. Teoh, try and create these cool effects. And so you see, the not very colorful cat suddenly becomes quite colorful. I really like color burn, so I'm going to choose that. And I want to change the opacity value to 85. That's given recent interesting colorist. The only thing is, I really like the cat's eyes, and now they kind of disappear because of this effect, and I can try and use the razor. But here s a does not work here. And neither does the history brush. If I click on it to conceit, could not use the history brush because the content of the layer is not directly edible. Let's hide a scraping Phil and instead we're going to create a new creditable layer, and we're going to use the great and tool for that. So first I'm going to create the layer by pressing shift command and call it radiant. And I was just clearly there, but I want to select the Grady and Tool right here that has a keyboard shortcut of G and I'm going to drag in order to create a line of the great, and he's gonna go accordingly. If I were to create the line like this, this would be my great aunt. The line defines the direction of my Grady INT, and the reason why it goes from white to green is because these are my foreground and background colors. And so this is good for now, and I can click on the radiant in order to change the colors. I'm going to change this color, stop to something a little bit more interesting and press OK, so I'm going to drag the Grady int again and once again play with my column. Odes overly gives a pretty cool effect, and you can see how it goes from blue to green very smoothly. Now I can choose their razor, and I'm going to reduce the size of my razor by pressing the left bracket key. I'm going Teoh change your passage 200% and I'm just going to drag over the eyes to reveal the original color. And that's how you work with a Grady in Tool 18. Camera raw: in this video, we're gonna learn about camera raw. This is a gorgeous picture that my sister Jordan was taken with her DSLR camera in raw mood Remote is available in many cameras, and I highly recommend using it because it allows you more freedom when editing the photos . We're going to get much, much better results. And that's because we have more data per pixel toe work with. It's available in many cameras. You do need 1/3 party up to capture a raw image with an iPhone. But if you don't use camera raw, you can open any image in photo shop and apply a camera raw filter. To do so, go up to the filter menu and choose camera raw filter that will bring up the camera raw dialog box. Be careful. This filter Pemon theme modifies the pixels inside the image. Unless you apply it to a smart object, you can click on this icon right here in order to Tuggle full screen mode. Notice that it has a short cut of F for full screen, and this gives you most of the options you would get when you are working with raw. If it was taken in care a raw in a format such as D and G, you could just double click on the file, and photo shop will automatically open it in camera raw mode so you can see here many familiar tools. The zoom tool, the hand tool, the Cal assembler and so on with a zoom to hear, you can hold the command key and mark et area you want Teoh Zoom at. It is a gorgeous picture, and I would love to see more details off this cat. I can start off by using the white balance stool and this eyedropper automatically. Color balances the image when you click on an item that should be a neutral gray such as this, and you can drag it if you want to sample more than one pixel at a time. I noticed the values off my temperature intend to change. Temperature goes from blue to yellow tints from green to red, and it definitely gave me warmer colors with the auto bottom right here, photo shop will automatically modify the values from exposure all the way down to saturation, and this gives a pretty good results. I'm going, Thio added. It a little bit more so Exposure primarily affects the mid tones in the image, and I need more of these. So I'm going to take it up to 0.65 I'm going to increase the contrast a swell up to 52. And I'm gonna dock in the highlights till my highlights are now at minus 100. And the shadows are pretty right. 45. I'm going to live the whites at zero, and I'm going to take the blacks all the way to 100 and that reveals a lot of the cats. I'm also going to take the vibrance up to 18 and I think this is too much saturation. So I'm gonna take it down to zero. And now we're seeing those beautiful details off the cat on the flat menu. By the way, you can zero out the modified values by selecting the camera raw defaults. If you want to place settings you applied previously, choose previous conversion and you can also save your settings and later load your settings . I'm going to exit and you have other interesting features such as texture, clarity and the A's high clarity values increasing the contrast between neighboring pixels . Notice if I take the clarity value down. I don't so much reduce the overall contrast of the image. Instead, I reduced the contrast between the neighbouring edge pixels and as a result, we get this kind of overly smooth, dreamy effect. But I'm gonna keep it natural, so I'm gonna keep it at zero. And you have many various features. One to notice is ages L a just man and we have three tabs, hue, saturation and luminous, all of which include the same color sliders. So very similar to the use situation adjustment there. But we do have a couple of additional color ranges, oranges and purples, and I can adjust them here. There's not much purple and my picture, so it doesn't do much. And just like the Hugh adjustment there, we also have a targeted adjustment tool up here in the horizontal toolbar, you can click and hold on the tool and then choose hue situation or luminous, and then dragged the image to affect the specific color. So let's say a dragon Saidi I and I can drag right or left and effects both yellows and greens because those are the colors of the eyes. I'm gonna click on default to return to the default settings because this color is pretty well balanced and there are many more features you can use here wanting to know when you had often image from camera raw two Photoshopped. By clicking on that open image button, it's going to open in the flat background, and so when your problem to say the image, be sure to give it a different name, and that's a quick look at camera raw. 19. Masks: in this video. Gonna learn about masks, then? Emma. Claire. Masks are great for refining selection. This is an absolutely non distractive operation because every luminous level in the mask has an exact opposite. The important thing to remember is black equals transparency and wife equals capacity. So we have an image here of snuff King looking very handsome, and he's already looking pretty sophisticated, but we're gonna have him play the violin. So I have this PNG document over here of a violin with transparent background. I'm gonna press command, see and go back to the snow frickin image and press commend V. And I'm going to reposition the violin and I'm going to drag a corner to re scale it and position it about here. Now, at this point, we only want the violin. We don't want the bow itself. We're gonna add one later. And so what we're gonna do is we're going to create a mask, so make it through the valley and there is selected, and I'm gonna go to the end there, mask icon right here, and click on it. If I looked like nothing has happened but in fact we created a mask And as you can see, the mass is completely white. And like I said, white equals opacity. That means that the entire layer is opaque, but we're going to change that. So I'm going to choose the brush I pressing B and I'm going to bring out big, brash Benno over here, and you can see we have a nice type facing value of 10%. You don't want to be more than 10% when working with masks, because what it means is there's going to be spacing between the brush strokes. Let's have it a 10% again, and I'll close the panel and I'm going to right click, and I'm going to take the hardness value up to 100% and increase the size to, let's say, 185 and then Ohio the panel. Once again, I'm going to press D to make sure I have the default back one and four grand colors because I want to make sure that I have the ultimate black and the ultimate white, which is typically the cause you want to use when you using masks and black is going to hide the portion of the layer and white is going to reveal it. Right now, it's all white, so it's all revealed. And that's why I'm going to press X to switch the foreground and background colors. So now my foreground color is black and I'm going to be painting with black. And I'm spending away the bow because right now we don't need it to see the masked by itself breast the option or old key and click on that layer mask thumbnail appearing the layer panel so you can see that black portion that hides the bow. But there were times when you want to see the RGB image rather than the mask. And so I'm going to option click on that layer mask someday once again in order to see the image itself. Make sure that mask is still selected, though, cause notice. If I click on the layer thumbnail and I'm brushing, I'll just be brushing with black, some with a press command Z to undo my changes, and I'm gonna click on the thumbnail of the mask again and with my foreground color still set to black, I'm just going to paint away some details. I'm going to start with revealing Snoop kin's hand over here. To make things easier, let's reduce the A pass ity off the violin there and make sure the layer mask is still selected. And I'm just bringing back sniff gains. Hand over here, and I'm going to press X to change my color toe white, and I'm gonna reduce the size of my brush, and I'm going to bring back more of the violin, and I can right click to change the hardness value and reduce with size to add some softer edges. Let's see how it looks like pretty it. Now, if I click on the properties panel and change to mass mode here, you can see your density and feather values. Any time you see the word feather and Photoshopped, it means Blair So and Chris, the feather value and now sniff kin's hand is more blared. You can also change the density, which is more or less the opposite of the opacity value inside the layers panel. In other words, instead of making the layer more translucent, it makes it more opaque by reducing the impact of the layer mask. So notice if you take it to zero, the mask effect is gone, I'm going to take it back to 100%. Let's close the properties panel, and once again I'm going to reduce the capacity to 20% so I can see the details and decide what portion of the violent and want to hide and which portions of snuff can. I want Teoh reveal, and I'm going to make sure my layer mask is still selected and I'm going to press X to change my foreground color to black. Let's start with a big brash now I'm going to reduce the size of my brush to reveal more details and thats increase the capacity and what breast X? Because it is a little too much over here and I'm going to great click to take down their hardest value and just create smoother transitions with a very small brush. And that gives a much more realistic look of snuff game playing the violin 20. Black mask: in this video, we're going around how to use at Black Mass? My, I said this is a non destructive modifications. You can always shift Click on a Larrys thumb Now in order to disable it Or if you want to delete it completely, just right, click on it and choose delete layer mask. I'm going to shift click on it again because I like the way it waas. But now we need a bow. So I'm going to press, come envy it once again paste that violin And once again, I'm going to re scale it. Reposition it. Okay, now, typically, if you want to reveal more than you want to hide your creating a regular white mask. But in this case, we want to hide most of the layer. We don't want to see the violin. Well, would he have one? We just want to reveal the bow so I might as well choose a black mass for reverse mask instead of clicking on it. You want to alter, click or option click on it, and that is going to add a black mask so that little about this mask is visible. So once again, I'm going to select the brush tool and my foreground color is white and I'm going to increase its size by pressing the right bracket. I'm also going to make sure that my hardness value. Is it 100% And it should be around here? Yes. So I can also click on the mask to show you what we did. I just painted this white. And because the bow is positioned here, it revealed the bow. This is a PNG file with a transparent background. So I knew that by just brushing over this area, I will completely reveal the bow and nothing else that's all to click to reveal the image once again. And now, of course, I could use a black brush to hide that portion of the bow where snuff gamely supposed to hold it. But I'm going to show you another way. I'm going to use the retailer marquee tool, which has a shortcut of AM two Marquis. The area a sniff Kin's hand is I wanted to look like he's holding the bow and noticing my background color currently is black and I'm going to press command delete. But she's going to be controlled backspace on the PC and what he does is it filled the market area with the background color, which is currently black. So if we're going to press all and click on the thumbnails off the layer mask, you can see So the bows around here, it just created a black Re Tunggal. So let's go back to the image, and we're going to learn much more about this very useful tool in the very next video. But before we go, I just want to show you a nice little trick we can do with a black mask. So let's rename this new fucking and I'm going to crates at duplicate their of snuff Keen. And I'm going to call it eyes and I'm going to add a you saturation adjustment there. So I'm gonna make sure it's clipped to this layer. So I'm going to take down the saturation of the yellows and in the master, I'm going to change the hue value into something more bluish. Right now, this effects the entire image, but we can change that. We're going to create a black masked by pressing the option all key and clicking on the other icon. Now all we need to do in order to reveal this effect is make sure that we have the mask selected. Choose the brush tool. We're going to reduce the size. And I'm going to press X to make sure my foreground color is white. And now I can just reveal this effect. I'm going to alter click on the thumbnail of the letters mask to show you were basically just revealing the eyes. I'm gonna press shift f and this is the result. We're getting snuffed skin with blue eyes playing that violin. 21. Marquee: in this video, we're gonna let a brother Rita angler an elliptical marquee tools. Over here we have quite a few selection tools and we can combine them. The most basic tools are the return glowing marquee tool and the elliptical marquee tool and have a keyboard shortcut of em. And because the basic very fast and very useful and they're gonna be perfect far cause, which is we're going to create a mean So this is a picture of Alex. You've seen her before in the garden of them playing in the garden. Her favorite thing is to play with twine. She's crazy about trying. Look at the space. In fact, kind of reminds me of this cat emoji over here. I mean, the resemblance is uncanny, right? Look, So we're going to select the cat emoji, and we're going to use the rectangular marquee tool for that. All they have to do in order to use the tool is just to drag, and that gives you a selection. If I drag inside the selection and this is Drew and you using any selection tool, which you'll do is you'll move that selection outside to a different location. If I drag out science election, then I'll begin a new outline and I'll wipe out the old one. And you can hold the option key in order to start from the center. So I'm starting from the center of the cats, and I'm going to add that shifts key because holy shit ski will allow me to create a perfect square. And I'm going to use the arrow keys to move it a little bit because it's still not quite center. Um, I like what I see. So I'm gonna press, Come in, see? And I'm going to go to the Alex shocked document. I'm going to press command zero to fit on screen, and I'm gonna press commend V to Paste Notice that I only pasted my selection bring to use the move tool to maybe placed it here. And that's a nice start. Now, Alex has this fine over here. She's obviously is very excited about it, but we're going to take it to the extreme. After all, we're dealing with a mean here, so it doesn't have to be realistic. So we have this drying over here. Nothing too extraordinary about it. But we're going to turn into a perfectly rounded, massive twine ball. And for this we're gonna change to the elliptical marquee tool. And just like with the other one, I'm going to press all. So I start from the center and noticed. Now it's an elliptic tool, but I'm going to add the shift key to create a perfect circle it. Once again, I'm going to press the error keys to move my selection. Now that's I want to increase my selection outline. And by the way, the selection is represented by this thing called marching ETS. Because it kind of looks like marching ants. You can hide the marching ants by pressing common age at any time, and it's still being selected. But you get to see the image without the marching ants. Let's press command age to bring them back. And let's I want to expand my selection if I'm going to press the in order to ease the move to or even comment e in order to use free transform in both cases, If I were to drag this corner, it's going to re scale that portion off the image that was selected. So that's a great way to re scale objects on the fly without affecting the whole image. But that's not what I wanted to do. I just wanted to re scale my selection outline, so I'm going to press command Z. Let's go back to the elliptical tool. I can go up to the select menu and choose transform selection, and that allows me to transform. My selection would press command Z and show you another way. I can go up to the select menu and choose modify, and then I have various options available to me. I'm going to choose expend and then I can choose how many picks is I want to expend it by and I'm going to press three pixels, and that gives me a very slight increase in size, which is just perfect. And so I'm going to press, come in, see and paste it over here. I'm going to press TV to use the move tool, and I'm going to increase it so it's massive. Let s A you can combine all the selection tools. So, for example, if I press shift in order to add more to my selection, and I used the elliptical tool, my selection resembling a little puzzle piece. I'm gonna press command Z. And this time I'm going to press both in order to subtract from my selection. And I'm going to create a hole where the mouth is supposed to be. I notice what happens this time when I'm copying it. And what a press commence. See, Going back over here. And this time you can see through the part that I subtracted. Okay, let's leave this and I'm going to press. Come in. D two d select And maybe tilt this a little bit over here. That only took two created a mean 22. Lasso: in this video, we're going to learn about the last the tools. So over here you have the three lasso tools and they have the keyboard truth. Cotto l on this classic lasso tool is another very useful selection tool. And here we're looking at a picture that I took with my iPhone was to be challenging for my phone's camera. And these beautiful rocks look very dark and the cats behind them is over exposed some areas, air even clipped. And that is a challenging situation, which means that just one adjustment layer for the entire image is not going to do it. We will need to create adjustment layers for different sections of the image. This area is pretty well balanced, but I'm going to start with this area right here where the cat is. And so I'm going to start with a lasso tool over here when I'm starting to see too much light in order to select that overexposed area. And I'm just going to drag over here around this area and notice if I just release the mouse. The last is automatically going to mark this election outline Now, I selected some of the rocks over here. So if I press the option key, I'm going to see a minor sign next to my cousin, which tells me that if I drag like so I'm going to subtract for my selection. Similarly, you can press the shift key and drag in order to add to the selection outline. Or you can press. You've told in which case you'll see an X next to your cursor, and that will allow you to keep the intersection off a couple of selection outlines. And I'm going to press shift and I'm going to add more to my selection. That's a while we can release just adding more portions. You're not happy with a selection you made. You can always press Command Z now notice because I took a few breaks. I am missing this part and missing this part. And so this is a great opportunity for me to show you how you can combine selection tools. I'm now changing to the re Tunggal marquee tool and I'm pressing the shift key and I can at this portion to my selection se was here and go back to the last tool and select all these okay, and I was selected this entire area, and by the way, I can always save my selection and then loaded. Later, after I made my selection, I'm going to add an adjustment there to it. I'm going to select. Of course, the brightness and Contras adjustment there from the adjustments panel, which will create a new layer. You can see there's a layer, and here is the mask that shows in white the part that was selected and let's see what auto gives us. That's not bad. I'm going to add a little bit more contrast, and now you can click on the mask icon to go to the layer mask and change the density and feather. Just that we're getting smoother transitions. And so this is the cat before, and this is the cat. After we're seeing a few more details, there's only so much we can see because after all, it was taken with phone. But the nice thing is, this does not affect the rocks at all. Let's try another lasso tool, the polygonal lasso tool. It's his for straight lines. They still depends on clicking, and you just clicked to set corners in a freeform Impala gun and Then when you finish, you double click to draw a straight line between the last two points. So I'm going to press come nd to de select and let's try and see how it works. You have, and we do have some corners, but this takes a very long time and doesn't give the best result in this case. So I'm going to press come nd to de select, and I'm going to show you our final Lhasa tool, the magnetic lasso tool. Now I have a magnet next to my cursor, and we have very noticeable edges here, which would make it easy for this magnetic lasso tool to do its magic so I can start right here, for example. I'm not dragging. I don't have the mouse button down. I'm just moving my cursor along. This edge and photo shop is automatically detecting the edge as they move along, and that's a much, much, much faster way to work. You can just click in order to set your own points, especially in shop corners such as this, and for shop does a great job of smoothing out the transition between one point and the next pressing delete will get rid of the last point when pressing, holding the all turkey, it temporarily turns into their classic lasso tool or polygonal lasso tool for short clicks . As soon as it come home to the very first point, I'll see a little circle next to my cursor, at which point I can click in order to close my selection outline. Now this has done a great job. However, we're looking to select all the rocks and not this portion. And so I'm going to go up to the select menu and choose inverse, and it has a keyboard shortcut of shift Command I. And now it selected all the rocks. I'm gonna go ahead and add another adjustment there of brightness and contrast. Let's try out of and it just it further. Look at these beautiful rocks. How amazing is that that we can bread in them so much and not right in the cat and not Brighton with a rare here that was pretty real balanced on Lee, the rocks that were so dark and I'm going to just the contrast value to make a little bit more interesting, and I'm going to go to the mask mode, which change the feather to two pixels for smoother transitions. And just so you see what we were able to achieve, look at how unbalanced the original images and how balanced it is now, unfortunately, there's still a lot of clip pixels. There's not much we can do about them. Even the shadow is somewhat clipped over here. But that's great, because I can show you another trick you can do with the lasso tool. I'm going to go back to the classic lasso tool, and I'm going to create a shadow from scratch with a lasso tool. I can't design whatever shadow I want. I'm going to make it similar to the original one, but larger because this area is so clip that I just want to see more interesting details. And yet you can create a shadow with a lasso tool by drawing it and then creating a solid Phil layer. So we're gonna go up to the lair menu, choose new fill air and choose solid color, and I'm gonna call it shadow when a press okay in order to bring up the color picker dialog box. When I move my cursor outside the dialog box, I can see the eyedropper That allows me to lift the color from the image just by clicking on it. So I'm going to find a shadow that is similar enough, such as this one. This is a little bit too bluish. It's go with this right here, and I'm going to take my brightness down to 20% and press OK to make the shadow more blurred. I'm going to go to the mask mode by clicking on this icon and take it up to four pixels. And any time you're working with shadow than the blend mode of choice is multiply, and I'm going to take the capacity down to 30%. And so now you have this interesting shatter going here. So there are many ways in which you can use the lasso tools, and once again, this is how it was before. And this is how it is after 23. Quick selections: in this video. Gonna learn how to some quick selection tools, and we're going to turn this boring Baron ski resorts into this more happening ski resort, right Terror. Looking at are images, while the first thing he needs is cats, of course. So let's go to these cats over here. Over here we have three vast selection tools. We're going to start with the last one. The Magic one tool, the magic Wand tool, select areas of common looniness or shared color. And all of the quick selection tools come with this option. In the Options Bar Select subject. All you need to do is to identify the layer that contains the subject you want to select, and then just go ahead and choose that commend. And after waiting a moment for the progress style to complete, you will see selection outline around the portion of the image that Photoshopped considers to be the subject of your photograph. It is a pretty good job on this cat, but not so much around here, probably is that we're going to get some very harsh edges around the cat's fair, and that's because the Subjects command doesn't do a great job with soft edges that are commonly associated with hair or fair, So I'm going to show you another way to do it. So I want to choose the cats. But it's going to be way easier for me to select the white background, and later I'm going invert my selection with First, I want to further extend the selection. In that case, I would press the shift key and click inside the selection, like so, in order to just incrementally extend that selection. And I'm careful not to go too far. And if you go too far, just press command z toe under that last click, and you can set the Toland's value to something like 20. With the tolerance of 20 Photo Shop is selecting 20 luminous levels darker and 20 luminous levels lighter than the click point averaged on a channel by channel basis. If you change the tolerance value, the change is not applied to the existing selection of line it affect the next 20 create, and you can choose the point simple or three by three overage and so on. You can drag with this tool. If you do drug and then released, then it's samples a single color. All the point at which you release NTL ius when it's turned on who worked to slightly smooth out the edges of the selection outline continues determines whether the one select adjacent or non adjacent pixels. That's whole chief. Then try again. Let's go back to the re Tunggal marquee tool and oppressed old, and I'll select all that. And now let's press shift command I to invert, and that goes ahead and select the cats, and I'm going to press. Come and see. I'm going to go to the snow image and press commend V and noticed The edge is far from perfect in river into a van and future radio. How to refine our edges. But in this particular case, it doesn't matter that much because the background is kind of white anyways, and the cats look great here. So I'm going to click on the background there and notice that it's pretty barren, just dark rocks over here. We're going to try to make it a little bit more green, and I'm going to select the Magic Juan full again. But this time I'm going to turn off the continuous check box, and I'm going to press on the rocks over here and know that that it selects knowledge is and pixels, which means everything that's brown in this layer is pretty much being selected. And that allows me to add an adjustment there. And I'm going to choose hue saturation and notice that it created a layer mask. I'm going to colorize it, and I'm going to take the hue value to something green and until but too saturated onto a little bit more natural, and that's it. And now we have a little bit more greenery over here, and now we're going to add Kevin. So I'm going to go to this image, and this time I'm going to choose the quick selection tool. This is a tool of choice in this case, when we have edges areas of rapid, luminous transitions. In other words, we've got dark pixels right next to bright pixels. I don't chance check box should always be on. Any time you reset this tool, you turn out on chance off so turning back on because it gets rid of those ready edges, which will cause we're transitions around your selection outlines. And once again we can try with selecting a subject, and it does a pretty good job, and we can always add more areas to the selection. But I'm going to press come in D. In this case, it's pretty clear that the cabin is the subject of the photo, but sometime you might want to choose an item that photo shoot dozen consider as the subject of the photo. And in that case, you can use the quick selection tool to select the item you want to select and just click on the item. I'm going to increase my cursor a little bit by pressing the right bracket and notice that I don't have to press the shift key because a quick selection tool, the default uses this mode add to selection, and it doesn't do as well in the areas when I don't have very obvious edges to select these outcroppings, all you need to do is press the old key and brush gently inside them, and I'm going to release the old key in order to add to my selection human Alte again. You don't need to get very close to the edge. It is finding what is considered to be edges. I'm going to crease the side of my tool by using their right Breckin and going to select that part. That looks good enough for me. So I'm going to press, come and see and go back to the Snow Document and Press Command V. I'm going to use move tool to scale it, position it over here and let's move the cats a little bit closer to here so we can check out the newest to all and probably the best one so far. So I'm looking at this no border, and this time I'm going to use the object selection tool. She's my favorite tool. Once again, we'll choose the select subject command from the Options Bar, and Photoshopped does a pretty good job in identifying the subjective photo. Except for this snowboard itself, that's very easy to fix. Notice that I have two modes here. I'm going to use the tango mode, and I'm going to hold shift in order to add to my selection, and I'm going to notify photo show that the snow would is important to me. So I'm marking every Tunggal around the snowboard and now this nobody selected as well. But again, that's very clear where the subject is. It's not always the case, and I'm going to show you how to use this wonderful tool to select what you want to focus on till start in Lhasa mode and closely draw around the object you want to select. And I'm going to release and that photo shop do its magic. And look, it does a pretty good job if they choose to ignore the so bored. And I'm going to use the re tunggal mode and I'm going to press and hold the shift key and I'm going to So like this snowboard and a totally gets me. This is a really great addition to photo shop, and I'm going to press old to subtract and I'm going to choose this area. And once again it totally gets me shift again in order to add and going to choose a little bit more of the shoe. And yeah, overall, he did a really great job good enough for me to just press come in, see, go back to this object and press commit V, and I'm going to have this no Werder jump on top of the cats and that all it takes too great a fund scenery using those quick selection tools 24. Color range: in this video gonna learn about the color range, command. And our goal is to take this picture of Snooky at him some wings off a swan and use this image of the clouds in order to create this final image. But first, we need to start with this image right here now, Like I said, select subject is not the Grateful fair. We're getting some hard edges around his fair, while the select subject come in is pretty great at selecting the subject of a photograph, he doesn't do a great job with soft edges. Colin Range Command will better accommodate the fair. So this time we're going to go up to the select menu, and it was there few commands available to us. Focus is very dependent on depth of field differences, which we don't have in this picture. Subject is the same as choosing the select subjects, and we're going to select color range. We're previewing the selection is a mess. Inside the dialog box. Everything that's black is not going to be selected, and you can move your cursor out of the dialogue box into the image window and notice that I get an eyedropper click on the key colors that you want to select. Now I have a selection preview of great scale. You can choose to have a non and then you see the image. It can also choose to see the image here in the small window. But I find it easier to work with grayscale image in most cases. So I'm going to choose a grayscale you and you can try to find areas. I'm going to press the shift key to add its Muchas, if you will, using the magic one tool. The difference is that the Car Range Command generates gradual transitions that blend organically into the image. Fuzziness level is measured in luminous levels, just like the tolerance value and the magic wand, except it expands the selection. Gradually, the click point that clicked color is absolutely selected. Anything that's in this case, 38 luminous levels away is de selected, and then everything in between is gradually selected, which means that you have a very natural selection outline, turn their localized color clusters. Checkbooks on the selection is being redrawn according to pixel proximity. You can determine how close based on this range value. It looks pretty good to me. Look these fine details in the hair and I'm going to press OK, because I want you to notice that color range. Remember your last selection, and it allows you to build on it so I can go again to select and color range, and I continue from where stopped. If that's not what he wants, de select the image because otherwise you'll create a new selection inside the existing line. But if you want to expend your selection, you can always choose color range again and then shift Click. You can press the shift key and drag even inside the preview notice. You have the inverter check box to reverse your selection and to check the background instead. So if a subject is set against a white background, it's so much easier to just click inside the white background and turn on invert check box . This is not our case. In fact, it's quite the opposite. We have a white object, and I'm sampling colors, but you could also simple specific shades as well as highlights, meet tones, shadows and even skin tones. I'm we're just simple colors again impressing the old key and keep in mind This is a challenging photo. There's a lot of hair details over here. We're going to select it as is. It's good enough just to get 90% right because there's one more tool which is going to help us refine the edges, and we're going to learn about it in the next video. 25. Select and mask: if you have the selection too active, then you'll see a select unmasked button up here in the options bar, and you're going to see it when you're using any of the selection tools, and I highly recommend using eight. Every time you make a selection, I enter a new workspace with a single properties panel over on the right side and different tools. Over here on the left hand side of the screen, you can see the familiar tools zoom tool, the hand tool, the lasso tool, the object selection, the brush tool and the refine edge brush tool, which is very useful. Its functionality changes on the fly, subject to any refinement to make. Here in the properties panel, you can view in different contrast modes like you can see the marching ants again black and white on theirs is generally the best way to go if you've already created a layer mask in advance, but I haven't done this, so let's go back to onion skin. This allows you to see both the active there and the layers below it at the same time, so notice it has a transparency option over here. If you crank that transparency, value up. You're going to see last of the active layer and more of the composer layers in the background. And if you take that conspiracy down, so let's say 0% the activewear becomes fully opaque. I'm gonna set it at 30%. Show it check boxes, damned when the brush tool or any of the tool that followed selected over here on the left hand side of the screen. I want to click on the quick selection so I can show you the edge. The radius value here creates a kind of a channel around these messed edges that allows Photoshopped to reexamine the quality. I'm going to turn this show at check box off and notice that if I increase the radius value , things start to dramatically prove as we're seeing here. Turn on the smart radios check box is going to change the amount of edge detection radios on the fly to suit the degree of details Inside image. When smart radios is turned off, we have this uniformly thick channel in which Photoshopped can perform its edge detection magic. Whereas as soon as I turned smart radius on these areas grow thinner, thicker again depending on the amount of hard and soft detail that needs to evaluate notices. Global refinements options over here. And if you're not seeing all of these refinements, click here to see more options. If increased the smooth value we get rid of not only the softness on the inside edge of the layer but also some of the gloves outside of their next. What you want to do is to increase the contrast so that we have a fewer great pixels and more black and white ones. If you crank up the contrast value, you're going to create crispier transitions along the edges of your selection. In fact, just a slight increase in the Contras value goes a long way towards getting rid off soft edges and blobs. Shift dead will subject to expand the selection from the original, so you have the option of either shifting the edge outwards, which is going to add to the selection. Or you can shift it inward, which is going to add to the de selected region. I'm ready to choose on layers to really see what I'm getting. So I ended up selecting contras of 9% and shift edge of minus 9%. I am with his Solossa tool. I'm going to press the hold key, and I'm just abstracting some areas that were not meant to be in the selection. And now I'm going to bring back those eyes. I want to click on the quick selection to remove these parts, and then I could go back with the refined edge brush and refined that area. That there is not that important cause is going to be leaning on clouds. So I'm definitely more concerned about the tail with the refined edge brush over here, you can brush around the hair. Like I said, this is a very challenging picture, but I think we did a really good job. And over here in the output settings, we can output the selection. But instead we're going toe output to their mask and press OK, And now we have this mask of snuff King like you can click on it in order to add it again or use the properties panel to change it. Density and feather oppress Alton click on it in order to feather edit it. We've done a pretty good job. The only thing is, I'm going to select that region and would impress command elites to fill it with the background color, which is currently black. And here going to use the lasso tool this time. And we're just like this entire, and this time I'm going to press all delete, which is the keyboard shortcut to fill the selection with the foreground color, which is white because you want to reveal it. I'm going to choose a few more areas and do the same altar and elites. We could also use the brush tool for that. You know, my foreground color is white, never going over some areas. The reason why those areas air not selected is because we used the color Range command. And so those areas are not as white as some skins fair. And that's why they're not selected. Let's go back, and that's looking pretty good across a portion of the sky that really like it has this perfect spot for snow skiing to lay his head, and I'm just going to copy new 15. I'm going to zoom out and reduce the size. Clinton pressed, enter and snuck in fits perfectly 26. Adjusting a mask: in this video, we're going to learn how to add those wings to my cat. So when you're dealing with fair, it does get complicated. And after using a pretty complex method to remove the background from the image of soup gain, you will be happy to hear that in this video we're going to use the fastest and simplest method yet. We don't even need a selection tool. All you need is the properties panel. The property spent Elise content sensitive. And as you can see, Photoshopped, 2020 has an improved properties panel with many more options, and I get even more options. If I turned this background into a layer and I'm going to do this by clicking on it, I'm going to call it wings. Press OK, notice. Now we have more options on the quick actions. We have removed background and select subjects, and this is the same select subject he saw in the quick selection tool group. And I'm going to choose the first option, which is removed, background, and that's all it takes. The background is gone. Granted, this is a much simpler image to work with. But even with this simple image forget closer. You see the edges air Not perfect. That's why it's always good to choose the selected mass command. Right now, I don't see it in the options bar because I don't have any selection tool selected. But I can access it up here in the select menu, Select and mask. And we're going to increase the radius and choose the refine edge brush tool, which is very useful. Gonna go over the edge is a little bit. This does a really great job, and I'm using the lonelier mode to really see my selection. I'm British, the edge inward, a little bit and use the brush to bring back a little bit of these details. I would like to increase the further a little bit to make a smoother transition to the background and under output setting, I'm choosing layer mask and I'm going to click, OK, and now we just need some wings and luckily we have some ready right here. So I'm going to copy this there, over here, and I'm going to paste it. First thing is, we're going to duplicate that they're so impressing the all too often key and I'm dragging it to duplicate Gilera and let's work on the mask alot. But I'm going to press Ault and click on the Mask, and I'm looking in the right wing, and first thing I'm going to do is to like the brush tool going to right click. Make sure my hardness values 100. I'm going to just paint over those details in here. Shift click. Just add a few more details back. And as for this Weighing, I'm going to marquis it with the re tunggal of Marquee Tool. And I'm going to press commend delete, which is the control back space in order to hide it. Now let's go to this mess, and if you're not seeing it, Ault and click on the mask. I'm going to use the Tunggal marquee tool since it's already selected and I'm gonna press command backspace this time to delete the right wing, and now I'm going to select the brush tool, and I'm going to go over some details with whites, shift breasts in order to create a straight line just refining those details. That's pretty good. That's breast on the layer mask and command in order to de select and then we have two separate sets of wings. This one I'm going to keep his is, but I'm going to pass it forwards. And as for this Wayne, I'm going to click on it in the layer panel. It's easier to access it, but I'm going to reduce its size non proportionately this time, so I'm going to hold the shift key. I wanted to be slightly narrow to give it a sense that it's further from us and in an angle . I'm going to select the mask without pressing the older option key, because I do want to see the image and I'm going to use the rectangular marquee tool, and I'm going to select this area, and I'm going to press common backspace because the swing has to be behind the cloud is for the right weighing. I'm also clicking on the mask, and I'm going to press the X key so that I have black is my foreground color and this time choosing the brush, I'm going to choose Ah, much softer brash. Let's start with 20% and just to see I mean, we change the hardness to zero. Come back here. They did just to blend the swing I'm going to click on the layer and I might have to move it down a little bit and click on the mask again and be for fresh. Let's try again and X again. So I have white and I'm going to bring back some of the swing and I'm going to click on left mask. I want this swing to be behind the clouds. Oh, I'm using a very soft brush clicking to reveal how far this guy gets that I can press X and hide the edge and, um, using a very soft brush that gives a very realistic cloud effect. 27. Matching colors: So let me click on the wings on what's supposed to be neutral gray, and you can see that it's very bluish and I'm going to quit snooping. That's supposed to be white, and it's very yellowish. So I want to make the wings match snuff, gain there many ways to approach this. In our case, the wings are meant to be white, so the easiest way is to just add an adjustment there of you saturation. I'm going to clip it to the left wing, and I'm just going to take the situation down. I can try and play the hue values to make it more yellowish, but in fact I'm just going to take the situation down, down to somewhere like minus 50. I'm letting the brightness value up to 30 and I want to have the same effect for the left wing. So I'm prison old and I'm dragging it over here on top of the left wing and this coloring this guy as well. So we need to click on it and to make sure it applies only to that layer. So now we have neutral white wings. That's not what we're aiming for and what we're going to do is let's start with a right wing. I'm going to click on the swing and I'm going to add a new layer. I'm pressing shift command and going to call it right brush and noticed that it's clipped to the layer because I positioned it between the layer and the adjustment lever is already clipped to this layer, and I'm going to choose the brush tool. I'm going to take the capacity of the layer to, let's say, 50%. I'm going to press the optional old key, where it's pretty colorful, and I'm going to start coloring over the wing and notice because it's clipped. I'm Onley coloring the wing. I'm gonna increase the saturation off my brush because this is not doing enough and I'm going to brush again. And this time take the A pass iti to 30% on way to reduce the brush size, and this time I'm going to add some bright highlights. I'm going to increase the brightness, and I'm even going to reduce the situation a little bit. I'm going to reduce the A pass iti to 28 just add a little bit off white highlights and I'm going to choose multiply mode Every time I'm changing the brash mode it applies the next time I use it changing a little bit to create the shadows. And I'm going to choose color in the shadow. I'm going to increase the situation, and I'm going to use it over here. I'm going to reduce the side of my brash and just at a little bit over here and this gives me a bit of purples. I'm going to try the normal limo. Maybe you would work better. Is the differences between the wings infected by this able the adjustment there off the left wing to show you what we started with? You can see the difference. The right wing looks very much like a part of snuff gin and the left wing not so much. And I'm going to do the same thing with the left wing. I'm going to create a new layer left brush and I'm gonna press. Okay, I'm gonna set the brush and doesn't have to be the exact same color. Once again, I'm going to turn it to 30% capacity and increase the fresh pressed the old to select very saturated color going to increase the saturation 200 make it slightly brighter and paint over it. And now I'm going to have it much brighter and slightly less situated and reduce the size reduced capacity and add some highlights and oversaturated and make it much darker and had some shadows. And I'm going to select the layer that's on top of the stack, which happens to be the huge situation. And I'm going to add a new there, and I'm going to call it connecting brush. I don't want it to be clipped to any of those layers over to press. All too simple, this Cove Lufkin's fair. I'm going to have the hardness at 24 and the days just to create a connection between sniff keys fair on the wing. I'm going to reduce the size of my brush, Gonna take the capacity down to something like 39. Maybe I'm going to increase the capacity value. We're connecting for two feather, so we're going to have to be creative here, But that looks pretty good. And now the only thing we're missing is shadows, and we're going to learn how to do that in the next video 28. Shadows: And now for the final touch, we're gonna work on the shadows. So we're adding a new layer that's going to be shadows. I'm going to drag the shadows all the way to the back. These are the shadows that are going to be on clouds. Let's select shadow from the clouds. This one. Do you want to keep it realistic? Effect. Don't choose a razor tool. We have to think it very easy because this is a cloud, so we have to be very deliberate with our actions. I'm adding a shadow of the wing, so it's always nice to have a shower. It goes a little feather and it's brighter. And then one that's very close to the source and his old darker increase my brush in, have a lighter one, and I'm going to make this a little bit less visible by changing your capacity to 80%. That's good enough when you're working with clouds, you don't wanna add too much shadows because it starts to look not realistic. With Snoopy no ever and wings, that's going to make a huge difference. So let's start by clicking on the left wing who situation adjustment there and I'm going to add a new layer left shadows, and I might as well clip it to the layer so that I stay within the boundaries of the mask. The stuff I'm going to simple a shadow off the wing. This song is pretty great, they think, and now I'm going to decrease the size of my brush, making more Paige and my most effective shadow was going to be in the right wing. And that shadow is going to be cast at stooping. So I'm going to go to sniff Kinsley, Uh, and I way to add another shadow. So emitting another layer right shows and simple the sculler going back to brush, I'm going to have my big brush on Mark this chateau fan that I'm going to go closer to The Weighing reduced my brush, and I wanted to have a hardness value of zero and create a closer show. It's really trying to get the shape of the feathers, and I can at some all over here, Smaller crash. Now one last thing. The whole image looks a little bit over saturated to me. That's they're easy to change. We're gonna press the connecting brush, which is on top of the stack off the layers in the layers panel, and we're going to choose here's situation. I'm going to click the targeted adjustment tool panned. I'm going to press basically anywhere in snow skiing. I just reduce the saturation in a little bit and increased the brightness and at color billons and make it slightly bluish to the can There have it snoop chicken with wings and sky. And I went ahead, and I refined the mask at its um, brush. If you want to create realistic images with smooth positions that can take time and patience, I refined the tail selection, even war, and look at those details. This edge looks really great, and this is a challenging composition. Selecting for and hair is always more challenging and then mixing it with wings and with clouds on trying to make it as realistic as possible. I mean, it's still a cat with rings, but it looks pretty them realistic. So if you were able to follow me and create this image with May or even just watching, you should be very pleased with yourself, because this is pretty advanced