Photoshop Basics Series Class 3: Photo Editing Workflows in Photoshop | Dan LeFebvre | Skillshare

Photoshop Basics Series Class 3: Photo Editing Workflows in Photoshop

Dan LeFebvre

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26 Lessons (3h 11m)
    • 1. Class introduction

      1:27
    • 2. Selection workflows in Photoshop

      3:45
    • 3. Marquee selections

      5:45
    • 4. Using lasso tools

      11:48
    • 5. Magic wand tool

      7:06
    • 6. Quick selection tool

      6:04
    • 7. Quick mask mode

      10:12
    • 8. Mini Project: Selection tips & tricks

      9:43
    • 9. Select subject & select and mask

      9:32
    • 10. Saving and loading selections

      6:21
    • 11. Free transform

      6:16
    • 12. Distorting transformations

      6:10
    • 13. Using the crop tool

      5:07
    • 14. Straightening images

      6:33
    • 15. Content-aware scale

      8:29
    • 16. Puppet warp

      10:51
    • 17. Perspective warp tool

      6:09
    • 18. Customizing the brush tool

      10:24
    • 19. Clone stamp tool

      7:06
    • 20. Healing brush

      9:10
    • 21. Mini Project: Removing unwanted elements

      11:10
    • 22. Spot healing brush

      5:55
    • 23. Patch tool

      7:50
    • 24. Content-aware fill

      9:15
    • 25. Content-aware move

      7:32
    • 26. Bonus: Getting the project files for this class

      1:19

About This Class

In the first two classes of this series we learned some of the basics of working in Photoshop. We’ll take all that knowledge and expand on it in this class as we focus on the skills and tools that let us do what Photoshop is perhaps best-known for: Photo editing.

We’ll start by learning about the numerous ways we can select portions of our image to edit. From there, we’ll learn how to distort, transform, manipulate and warp our images. We’ll wrap up this class by covering powerful photo retouching and editing tools like the healing brush, clone stamp tool, some of the automated content-aware tools and plenty more.

By the end of this class, you’ll have the skill set you need to start taking your photos and images to the next level thanks to Photoshop’s powerful tools. This is really when Photoshop starts to become a new tool in your tool belt.

Now, almost every project in Photoshop can be broken down to a simple workflow—and in our next video we’ll take a couple moments to first get familiar with what that workflow is before we start learning the tools themselves to get it done.

Transcripts

1. Class introduction: Hello and welcome to the photo shop Basics. Siri's. You are currently watching class number three out of five total classes in the photo shop basics Siri's. In the 1st 2 classes of this series, we learned some of the basics of working in Photoshopped will take all that knowledge and expand on it in this class as we focus on the skills and tools that let us do what Photo Shop is perhaps best known for photo editing, we'll start by learning about the numerous ways we can select portions of our imaged edit. From there, we'll learn how to distort, transform, manipulate and warp. Our images will wrap up this class by covering powerful photo retouching and editing tools like the healing Brush Clone Stamp tool, some of the automated content aware tools and plenty more. By the end of this class, you'll have the skill set you need to start taking your photos and images to the next level . Thanks Toa photo shops, Powerful tools. This is really when Photoshopped starts to become a new tool in your tool belt. Now almost every project in photo shop can be broken down to a simple workflow, and in Our next video will take a couple moments to first. Get familiar with what that workflow is before we start learning the tools themselves to get it done. See you in the next video. 2. Selection workflows in Photoshop: throughout this section will get familiar with some of photo shops selection tools. Before we jump into Photoshopped, though, I just want to take a couple minutes to take a step back and get an understanding of why the wide range of selection tools are so important inside of Photoshopped. But it's also important to understand all of the different selection options that you have now. There's a lot of things that you can do in Photoshopped. Photo editing is probably top on that list. It is called Photo Shop. After all, there's compositing, composite, multiple images Together, you can retouch images. There's graphic design. You can even do some print layout inside of photo shop. I know Adobe has other tools, like illustrator and in design, that it really tailored towards print layout. But I have known people that have in a pinch you conduce, um, print layout in photo shop. And then there's illustration art sketching, drawing aton of different things that you can do inside of Photoshopped. So with that, there has to be a wide range of tools, and it really helps knowing what all of the different tools are, depending on what your project is with that said, no matter what your project is, you can really bake break down photo shops, workflow or the most common workflow I should say into three steps. You have selecting something, you edit something and then you repeat so that first step is you're gonna select something that you want to change. Maybe it's, ah, layer. Maybe it's part of a layer. Maybe it's ah, shape. Maybe it's some taxed, maybe whatever that is, you're going to select that inside of Photoshopped. Once you have it selected, then you're going to do some sort of an edit to it. You're going to change what that text says. You're going to change the color of something. You're gonna change the from color to black and white. You're gonna de saturate it. Whatever that edit is, you're going to perform that to whatever you have selected. And then the third step, of course, is to rinse and repeat. Ah, essentially, repeat those steps. So once you've made your edit, select something new at it that select something new at it. That and so on. Now your selections don't necessarily have to be very big. So here is a simple example of that workflow. So the first step is to select something. You can see the dashes around the eye here. That means that that area is selected. Once that selected, you make some sort of an edit. In this case, I changed the color of what was selected. And so that is the edit that we're going to do. And then, of course, uh, rinse and repeats. We can repeat that process, making new selection on the other. I make and edit, even if it's the exact same edit, Of course, doesn't have to be. But that's the basic process. So, as you can probably guess, depending on what you need to edit, of course, that's going to decide what tools you need to use in order to get the selection that you need. Selecting an eye on this cat is going to be very, very different than selecting a building in within a city or something like that. Just different types of selections needed. Okay, so now that we've got an idea for why selection, it's such a big deal in your photo shops editing workflow. Let's move on to our next video, where we'll start learning some of the tools that we can use, starting with marquee selections 3. Marquee selections: in this video, we'll learn how to use Marquis selections in Photoshopped. Now, if you followed along with this course in order, then you've probably noticed that we've already used some of the marquee selection tools. And that's because Marky selections are the most basic form of selections that you can have in Photoshopped. Basically, you're selecting rectangles or ellipses. So in order to access the marquee selection tool and come over here to the toolbar and you can see it right here, keyboard shortcut for this is M. And if I just select this, then coming over here, we can make a selection so you can see how we're making a rectangle selection or if we use our ah keyboard shortcut modifier for use shift on the keyboard, watch what happens. You can see. Now our selection is going to be perfectly square. So that's one little tip. When you're using the marquee. Selection is, too. If you want it to be perfectly square, hold down shift. Now that is also true for the elliptical marquee. So if I come over here and left, click and hold down, you'll notice that there's MAWR options under here any time you see that little arrow on the toolbar. That means that there's more options, and in this case we also have the elliptical marquee. And again, this is going to essentially creating a lip sees. But then, if you hold down shift, it's gonna become a perfect circle. Now, once you have this selection made, if you notice when I move my mouse into the selection, you notice that the cursor changes. We can actually left click and drag to move this selection around, and there's another keyboard shortcut that you can use in order to modify. This. This again is a little little pro tip here. If you hold down shift when you already have a selection, watch the cursor. You'll notice that we have a little plus. So now if I make a selection, you'll notice it gets added onto that existing selection. And then on the flip side of that, if we hold down the Ault Key or ah, option on the Mac and then make a selection, you'll notice that that actually gets cut out from the selection that we have now the last of the Marquis tools that we have very specific. You can access them by coming over here and holding down the left mouse button. Or you can cycle through the keyboard shortcut using em and hold down shift in order to cycle through. These and the last to that, I want to point out, are very, very similar. It's a single row marquee tool and then single column marquee tool of our to use thes single row marquee tool. You'll notice I'm left clicking and dragging, Really, It's moving it around and it's it's hard to see. Let's come over here and zoom in and you'll notice what this is doing is it's really selecting just one single pixel all the way across the entire image as a row. And as you can probably guess, if we switch back over to the single column marquee tool, it does the exact same thing, except it's going to be a column of pixels. Now, honestly, these single pixel selections aren't really going to be something that you do really often , But now that you know they're there in case you need them, you will know how to now, Honestly, these single selection now, honestly, these single pixel selections really aren't going to be something that you use a lot, but now that you know they're there now you now, honestly, these single pixel selections aren't going to be something that you use a lot, but now you know they're there in case you need them. And if you'll notice if we zoom out here If I were to come in here and make a selection and try to select this cat's eye, you'll notice that we can't really get it to be a perfect selection around the I. And the reason for that is because there's really only so much shape that we can do in this lip sees. And the eye is not really a perfect Lipsey. There's not a perfect circle, obviously, but it's also not a lip season. It has different shape there. So let's move on to our next video, where we're gonna learn about another way that we can make selections with the lasso tool 4. Using lasso tools: in this video will learn about the lasso tool in photo shop. So let's get started by turning on our lasso tool. And we've used a lot of tools throughout this course so far. Of course, we're going to continue using them. But by now, hopefully you should know where tools will be found in photo shop over here on the toolbar and then loss. Lasso tool is no exception. This is the last so too right here and again. This is something that we've looked at, but I will reiterate it Any time you see this little arrow here on the toolbar, that means that their arm or options under there. So if you hold down the button, you'll see that there are three different lasso tools and use the keyboard modifier shift with the keyboard shortcut, which in this case you can see is l. So watch what happens when I use shift L. You'll see that it's cycling between the different lasso tools, So let's start with just the plain old lasso tool. Think of the lasso tool like you're drawing your selection. So if I wanted to select around this airplane here, I just left click and drag my mouse over, and I'm drawing out this selection. I'm not doing a very good job of staying on the lines here, but you'll see as soon as I let go of the mouse, I'm letting go of my left mouse button. You'll see that photo shop automatically finishes that selection by connecting it to wherever you started. Now, in this case, as I mentioned, if I come to my zoom tool here and zoom in, you'll notice I didn't do a very good job of sticking with the the actual shape of the aircraft here. If I hold down space and pan over, you can see doesn't do a very good job who I came way off over here. So let's zoom out, fit this on the screen, not maybe zoom in a little bit. And let's look at another version of the lasso tool because there's a version called the Polygamy Lasso Tool that will work a lot better if we're selecting something that has hard edges like this airplane here. So again, we find that under the same tools the lasso tool, hold that down, go to the polygonal lasso tool and look at how this is different now. I don't need to click and drag. I'm just going to do a single click, so I'll do left Click and then I can just add my points wherever I want. So maybe here, here, left, click, left Click. And I could draw that flap if I want to. Just for simplicity sake, I'll just do left click left, click left, click left, click and and so on. Now there's two ways that we can close this. Either we can move our mouths up here and go to the beginning. You'll notice the little circle. See how the icon changed. That means that it's completing that shape. So as soon as we click on this, it's gonna complete the shape. Or what we could do is simply DoubleClick Double left click in order to complete the shape and you'll see that our shape has been completed and we did a lot better job of, actually. Ah, staying with this shape now. Right here. I want to point something out here. Ah, we're up here. In the beginning, you'll notice that it kind of is not really straight right here. You notice this almost like a bevel to it. And then if I zoom out using control minus command minus on a Mac museum out over here, you'll notice the same sort of thing over here. Now I clicked here and here, but it created this sort of a shape like this. And the reason for that is because photo shop is actually feathering this selection. So if we have back to our political lasso tool and look up in the tool options bar, you'll notice that I have it set to feather by a value of 10 pixels. So what that's doing is actually softening those edges, and we can really see this a lot better. I'm going to create a new layer here. Let's come over to our paintbrush when a right click change my hardness to be 100%. So we know there's no softening in the actual brush. And now if I come in here and start the paint, look at what we're getting, you can see we're getting this soft edge right here. That's it's actually extending beyond the selection itself by a little bit because photo shop is feathering that selection. So if we don't want Photoshopped to do that, then we can just come in here. Let's set this to a value of zero. And now if I come in here, let's de select control de or command d to de select. Ah, or you can come up to select and de select that will remove the selection. And I'm just going to do a smaller selection here so we can see the difference. Let's select from here and you notice it's not perfectly straight. So I'm gonna have toe at a few points. Click, click, click here, click here, Click here. And I'm good with that. So I'm just gonna click up here in order to finish this. Now I'm gonna create another new layer so we can see the difference. Let's turn off this layer here. It's actually rename this just so we know what we're working with. I'm gonna turn on this later. I'm going to use the exact same paintbrush, and I'm gonna paint along here and you'll notice right away. There's a big difference. See, it's staying within the selection if I turn off this selection De select and look at the difference between these two. So here's the feathered. I could even turn off the background to see the difference. So here's the feathered selection, and here is the selection with no feathering. So depending on what you're selecting again, in this case, I would probably want to turn off feathering because that we are working with very hard objects or maybe just a very slight feathering. Because if you notice on this particular photograph Ah, the plane was moving pretty quickly. It looks like my shutter speed wasn't quite right. And so we got a little bit of movement in here that you can see on the actual edge of the plane. It's pretty sharp, but ah, but you can see it's not quite 100% perfect. So So that's something to keep in mind again, depending on what sort of project you're working on, will determine how, what sort of selection that you want there. Okay, now the last type of lasso tool is something called the magnetic lasso, and again we'll find it under the law. So tools and let's go over this really quick because this is a really cool feature that will help you get some really some selections really, really quickly, and it works. Based on contrast. So let me just I'll just show this in action here. So I'm just gonna left click once, and then I'm gonna drag my mouse across here and notice it's automatically adding points. I'm not clicking. It's automatically adding points, and it's following that line, so I'm doing my best to stay as close as I can. But photo shop is saying, Hey, I see that there's there from pixels here and then you can always click. So I left click here to create a point and down here, left click to create a point and photo shop is just gonna follow this along really, really cool. And again, we're gonna end it the same way. So I'll just double click, and that will finish that selection. Now there's a couple things that you notice first. When it finished it, it didn't create a straight line, but you also notice the points that it was creating across that the way that photo shop works with the magnetic lasso tool is it's looking for contrast in pixels. So this image there's a reason why I picked this image for this example, because it works really well because we have really dark pixels right here, and we have really bright pixels around it. And so that really helps Photoshopped being able to add those points. It cause those fastening points that it's using its snapping those now we do have some control over how often Photoshopped uses or creates those fastening points. And again, depending on your image, that's going to determine what sort of settings that you use. There's there's no right or wrong. There's no one size fits all. So I'm gonna come in here. Let's de select this real quick. And if we change this, so here's what these values do. So the width is telling Photoshopped the pixel value. How maney wides from the selected pixel. It's gonna look for contrasting pixels. So right now, if we start right here, wherever my mouse is, it's gonna look from 10 pixels around that that one pixel that I I'm hovering my mouse over in order to look for contrasting pixels. That's why, when I was moving my mouse along the edge, I'm still trying to keep it pretty close to the edge as much as I can, and as long as I can keep it within a 10 pixel radius on either side. I would do pretty well on photo shop, will be able to identify those contrasting pixels, and then that brings us to this next value. And that is determining the contrast that it's looking for in order to find that edge. So it's, ah color value from 1 to 100% to determine how much contrast Photoshopped needs in order to find that that wit and then drop a fastening point for the selection. In this case again, we have a really dark airplane against a bright sky background, and so we don't need a lot of contrast in order for it to see and start adding those fastening points. And then, of course, we have the frequency. This is fairly straightforward. Frequency is just gonna tell Photoshopped how often it should try to drop the fastening points. So if we were to change this out, show an example here, let's take this all the way up to 100 watches. I click and drag. You'll see. There's Aton of different points that get added here and then if I d select this, change my frequency to something like 25 you can see now we don't have nearly as many points that get added. So it really depends on what sort of photograph you're doing. If you need a lot of points if you don't need a lot of points. Ah, in this case, it's a fairly straight line. And so I don't really need a lot of points in order to get Ah, that edge. Okay, So to recap in this video, we learned about the lasso tool, the political lasso tool as well as the magnetic lasso tool. Now, these are all great tools to help you get some really fast selections. But depending on what you're working on, they're not gonna work for every project. So let's move on to our next video, where we'll learn about the magic wand tool. 5. Magic wand tool: In this video, we'll learn how to make selections using the Magic Wand Tool. Now the Magic Wand tool can be found on the toolbar over here underneath the quick selection tool. So if we hold down on the left mouse, button will find the magic Wand tool here. Now the way that the magic wand to works. If I come over here as soon as I click, you'll notice it's adding a good part of our photograph to the selection. You can see the selection get made here and the way that it works. His photo shop is looking at the exact pixel that you clicked on, and then it finds all of the similar color values around that are surrounding that pixel that you clicked on and adding that to the selection. Now up here in the Tool options bar, we have a few different options that we can choose from to control what photo shop selects based on where you click. So let's go through these because these are going to determine really how the magic want to a works and whether or not it'll work for your project or not. So the first is the sample size. So currently it is set to the point sample, which means, as I mentioned earlier, it's looking at that exact pixel that you clicked on. So if I were to click right here, it's really hard to see in a photo like this where I'm zoomed out. But if we were to zoom in really, really far, you'll see that actually on one pixel, that is, select that your mouse is hovering over and Photoshopped knows what that one pixel is. And so it's gonna look at that one pixel and use that to find similar colors around it. Now we can change that if you want to buy a three by 35 by 5 11 by 11 really kind of scales up in that way, but they all work the same way. So, for example, five by five average, it's taking a five pixel by five pixel box around the pixel that you click on. So instead of just that one pixel that you click on its looking at five pixels all the way around that one pixel, and then it's an average. So it takes the color values we learned earlier about color values, so you know what color values are in Photoshopped from 0 to 2 55 an RGB color. So it's taking that color value from those five that five by five box of pixels and then averaging that color. Whatever that averages, then it's going to start looking for similar colors. Now that tolerance is how Photoshopped knows what similar colors are. So it's looking at a range of color values around the color that sampled. Now I know this can be kind of an abstract concept. So rather than just me talking about it, let's let's actually look at an example here. I'm gonna open up my color picker just so he can see the colors and their values. Now I'm gonna type in 50% in the HSB. That's you saturation and brightness. When I type in 50% that's going to give me exactly 50% gray. Okay, so we're right in the middle between zero and 2 55 you remember from when we're learning about color values, there's 256 color values from 0 to 2 55 So 1 28 1 28 1 28 in red, green and blue that gives you 100 I'm sorry, 50% gray. So now let's say in our magic wand, we have a tolerance of value of 16 so that's going to give us a range around these color values of 1 28 of 16. That means the color values that photo shop is going to look for is going to be, ah, color value of 112 to 144. So if I were to type these in, you can see it's going to go from this gray. Let's do 1 12 across the board to this great, so it's changed. So it's looking at that range between those values. Of course, that's just an example. Things start to get a little more complex when you using the average color of a five by five square, or if you're using colors that aren't perfectly even, You know I'm using the exact same color value and red, green and blue. But of course it doesn't have to be perfect color value between red, green and blue. It can it can really very so That's where it could start to get more complex. But hopefully you understand now what that tolerance value does. Um, and where photo shop is sampling the color and then the tolerance that it takes. And that, in a nutshell, is how the magic wand tool works. I'm gonna cancel out of this because the last thing I want to mention in this video has to do with some of the other options that we have for the magic one tool. So this option here, anti alias ing this is a photo shop is going to try to smooth the edge of the selection Just a little bit. Contiguous is going to be, ah, basically telling it to stay with, um it's not gonna be broken up. It all is going to be contiguous across the actual sample area. So Ah, if I turn this off and maybe click over here, you'll see how we get areas where it's see how it's not really selecting, right, because it's not contiguous across here and here. This selection over here does not match over here. If I zoom in, you'll see the selection end right here and then picks up over here. It doesn't go all the way across now. If it's contiguous and then it goes, it should, um, make sure that it's just stays on this one side. Right? So it's not over here because this does not collect connect over here. So it doesn't even, ah, select that other area, right? So that's the difference between contiguous or not. If you want, you can see this value here is very similar to this. So of course, it's going to select both, regardless of whether or not they're connected. And then, of course, we have the ability to sample all layers. I only have one layer on in this particular example, but if you have multiple layers, you can tell Photoshopped a sample all of those layers, In which case it's gonna look like if the front part of the plane is on one layer and the back part is on a different layer. It will still select those, regardless of what layer they're currently on. Okay, great. So in this video we learned all about the magic wand tool and how we can use it to quickly make selections based on the sample size, the tolerance and some of the other options that we have available to us now. In our next video, we'll learn about another way that we can make selections using the quick selection tool 6. Quick selection tool: In our last video, we learned about the Magic Wand tool, and this video will learn about the quick selection tool. Now the quick selection tool works similar to the Magic Wand tool. It takes the color value of pixels and then uses that to create a selection except the difference. If you remember from our previous video, the Magic Wand Tool picks either a single point or a bounding box of points and averaging those colors to build that selection. The quick selection tool lets you paint your selection, and then Photoshopped automatically tries to find any similar colors. Toe add to your selection, so let's see this in action. We confined it over here underneath the magic wand tool so the keyboard shortcut is W or shift W to cycle between Long press on the tool in order to open this up and get to the quick selection tool. Now we have a few different options in here. Either we can just create a new selection we can add to our selection, which, if we don't have any selection currently than that, will also create a new selection or we can remove from our selection so we don't have anything currently in our, uh, workspace here. So let's just add to this selection here so you can see is a left click and drag watch what happens. You can see the selection is growing, and it's beyond just the part that I'm painting and watch what happened. As I start to grow this, you can see it starts to grow exponentially. And the reason for that is because the mawr that I paint in there the mawr color values, it's figuring out it's automatically figuring out that, Hey, these values up here also match these that you painted in here, and so it's automatically starting toe. Add to that selection. It's really trying to be smart about what pixels it adds to your selection, and a lot of times it does a really good job, although sometimes if you notice as I'm painting around here, you'll notice, I added in this part of the plane, it added in the wing probably don't really want those in the selection. If I'm trying to remove them, removing the sky well, if that's the case, we can come in here and remove from the selection. So use this icon up here And now, if I start painting Aiken start to remove that selection from the wing. And because again it's looking for similar colors because the wing is similar colors, the more than I paint, the more it starts to remove that selection. Now I do want to point out a quicker way to do this rather than actually coming up here and clicking on remove. If we're working with adhere, we can come in here and hold down all to look at the look at the Icahn. See how it's plus on the cursor. Let me. That's adding Now, watch what happens if I hold down Ault on the keyboard or option. If you're on a Mac, you can see it temporarily toggles to subtract. So I could just come in here, remove this and then let go of Ault, and I'm right back to adding to my selection so I can start to add this in. And what, look, it selected the entire thing. Got some extra stuff in here so I can start to really remove this from the selection really , really quickly, were able to get pretty good selection around this plane, and of course we can come in here. There's some areas here you want, want to fine tune. But it didn't take very long in order to remove or I'm sorry. Select a lot of this background. And, of course, in conjunction with layer masks and things that we've learned in previous videos, we can really start to edit this however we want. Now I do want to point out a couple different options we have up here. We have the ability to sample all layers. Ah, so again, I only have one layer in this example. But if you have multiple layers than it's pretty straightforward, photo shop is going to use all of your layers in order to determine the selection and make the selection across the image as opposed to just a single layer and auto enhance the auto Enhance tells photo shop to try to refine the edge. It's trying to find the best way to kind of refined this edge along here. Um, it's really just kind of automatic. Now. The key thing to know with auto enhance is ah, if it works for you, great, but it can take up a little bit more processing power for your computer So I am going to leave this off in this example because I'm also recording a video at the same time as I'm using this. Um, but that's an example. That's really what auto enhance does. It just automatically tries to blend those those colors together the selection of those colors together when it finds contrasting values, which would be, you know, along this plane in the sky. Now, we also have the ability to select subject and select mask and those if you've noticed, those are actually in a lot of the different selection tools that we have and we have a different video. I'm gonna cover that in its own video because those are a little more advancements, Not really to do with the quick selection tool by itself, it is something that is kind of stains alone. So in this video, we learned how to use the quick selection tool in Photoshopped to paint our selections. But what if we wanted to get even more control over how we paint our selections in photo shop? I mean, we did a great job of of coming in here and selecting this very quickly, but you can see there's still some errors that Photoshopped did, and we can come in here and keep trying toe add to our selection or to remove from our selection in order to really find Tunis. But there's another way that we can get a really fine level of control over how we paint our selections in photo shop, and that's using a feature called Quick Mask Mode, and that is exactly what we're gonna learn about in the next video. 7. Quick mask mode: In our last video, we learned how to paint selections using the quick selection tool in this video, we're gonna take it a step further and get more customization by learning how he can paint selections using quick mask mode in Photoshopped. Now this is one of my favorite ways to make selections and photo shop, and the reason for that is because quick mask mode lets us use our actual paint brush, tool toe paint, a mask. And then Photoshopped will convert that mask into a selection. As soon as we leave quick mask mode and along the way it's going to retain any feathering any ah, shape of our paintbrush. Any sort of effect that we have on our paintbrush is going to retain that in the selection . So let's see this in action in orderto enter quick mask mode. You can do that over here on the toolbar, using this icon down here, or if we hover over this, you can see the keyboard shortcut for this is the letter Q. For quick mask. Now when I do this, before I do this, I want to look at the layers. Look at the layer over here and look at the file tab up here. Watch what happens when I enter. Quick mask boat. You can see over here in the layers panel, the layer turns red. And the reason for that is just a visual indicator toe. Let us know that we're in quick mask mode. And then up here, we also get another indicator letting us know that we are currently in quick mass moat. Now, once we're in quick mass mode, all we need to do is to start painting with our paint brush tool the way we normally would . Except this time, we know that we're painting with the intention of turning it into a selection. So let me start painting on this airplane here. So I switched to my paintbrush. And if you notice I have a flow of 38 I'm gonna switch this to 100 for now. Will change this up here because when I start painting, you can see it's still a little transparent. Now the opacity is still 100%. The flow is 100% but you can still see a little bit through it. And you'll also notice that our color over here is black. it's not read. This red area here is really just to help us visualize what we're painting. It's not actually going to be partially transparent because we have this opacity and flow at 100%. With that said, we can have it being partially transparent. That's one of the really cool things that's so powerful about this. Let me change this to maybe 50% opacity. And now if I paint over here, you'll notice that it's keeping that opacity in the actual as its painting here. And this is going to come through in our selection. Really, really cool. Really, really powerful stuff. But it doesn't stop here. As I mentioned before, the quick mask mode is we're painting. It also takes into effect whatever shape our brushes. So if I were to right, click and change the shape of the brush, maybe let's come in change to something like a charcoal pencil, get something really interesting and come in here and just start painting. You can see it's a very different shape. We're getting some different things. We even have our flow set down to 55% so it's a little bit different there, and we get that there now, In order to convert this to a selection, all we have to do is to exit out of quick mask mode or turn off quick mass moat. And the way that we do that is exactly the same way that we entered into quick mask mode. Either we can turn it off over here in the toolbar, or I like to use keyboard shortcuts. Used the keyboard shortcut queue for quick mask on you're on your keyboard, and when you do that, you can see this has turned into a selection. So all the areas we painted was turned into a selection. But this visual indicator here and this is something to keep in mind. This visual indicator here with selections, it is a little limited. If you remember, we painted with 100% opacity over here. We painted with 50% opacity over here, and we even changed up the shape of our brush over here. It is really hard to tell that we actually did that. But rest assured, photo shop is keeping that information in the selection, and we can see that if we come in here going to go to create a new layer and then come up to edit. Phil, let me fill this with the foreground layer will be black background layer would be ah, white. Since we have this selected here, I'm going to select the foreground layer. And you can see that is not really what we expected to happen, was it? Well, what actually happened here is we were actually painting the inverse, so we need to actually inverse our selection. So basically, we have all of this selected. But now when we fill this, what it's doing, if we zoom out here, you can see we have all of this selected out here too. So all of this is actually the part that is that is going to get filled. So to fix this, I'm gonna come in, pull down and delete this layer. We still have this selection that's come up to edit. I'm sorry. Select in verse and used the keyboard shortcut Shift control I or shift Command I Now, when we do this, watch this dotted line up along here. You can see that dotted line disappears because now the Onley part that's selected is this area in here. So that's something to keep in mind any time you're using really any of your selection tools. If you notice that there's a dotted line all the way across here, then it's probably selecting all the way out to the canvas, and you might get some unexpected results like we just did. But now that we have this fixed, create a new layer we can edit and fill the keyboard. Shortcut for edits in ERM Sorry for filling, By the way, is Ault and Backspace Alton backspace or option and backspace. If you're on a Mac will fill with the foreground color and control, and backspace or commanding backspace will fill with the background color. So once we feel foregone color, that's gonna be black. Watch what happens. You can see we have this filled. Then I'm going to zoom in here, come to resume tools so we can see a little bit easier. Let's come in and de select the layer, and we could even turn off our ah background layer there so we can see so you can see this is the part that we painted with 100% opacity. 100% fill this part here we painted with 50% opacity. You can see it even kept that inside of the selection really, really cool stuff and even kept the shape of the brush as well in our selection. So as when we filled that it actually took that shape of that selection. Now, this is just a simple example. But as you can see, when you with the paintbrush and how we've gone through that and there's a lot of different options, we're gonna continue using the paintbrush throughout this course. And there's so many options aton of different ways. That quick mask mode with the power of the paintbrush can help you get a fine level of control over your selections inside of Photoshopped. Now, my advice now would be to take one of your own for photos or, if you want, use this photograph hero included in the project files and start painting it out. Start painting all of this, gets, um, partial transparency around here and start to paint all of this out. Get familiar with some of these tools the even the magic wand tool, the the quick selection tool. And then, of course, the quick mascot mode as well. 01 thing I do want to point out before we wrap up. This video is once you have your when you're in quick mask, Moz, I'm gonna hit queue to go back to quick mask mode. Let's paint something real quick. So if I just paint something real quick and then I hit queue to exit if I hit queue again, that will put me right back into quick mask mode. And so you'll notice that this comes this turns into that we could just continue painting there so you don't have to necessarily always, um, get everything perfect in one instance there you can go into quick mask mode, do your edits, do whatever you want to do and then, Aziz, long as you still have that selection, you can hit queue to go back into quick mask mode and start making more selections there with the mask. Now, another little pro tip here because what if we make our edit and we come in here and we de select? We don't have anything selected? Well, here's a little protest for you if you come in here. We have this here. If you hold down control or command and you left click on the layer thumbnail. This turns into a selection, and now, if I hit Q. We have this back as our quick mess. Of course, this is inverted. So all we need to do is to come in and let's actually exit out of our quick mask mode. Inverse our selection. And now, if we enter into quick mask mode, hit Q and you can see how that will ah, have that selected. And we have that back and we can just continue making was ever sort of edit. We want in quick mask moat. Okay, so take some time and play around with some of these selection tools. Start getting familiar with, um, and of course, if you like me, you probably start to love quick mask mode. It's so, so powerful. Now when you're ready, I'll see you in the next video, where we're gonna build on everything that we've learned so far about selections and we're gonna walk through a little mini project toe, learn some selection tips and tricks 8. Mini Project: Selection tips & tricks: throughout this section, we've been learning about some of photo shops, selection tools in this video. Let's see how they can start to work together in a quick little mini project. So I want to start with the Magic One tool, and we've already learned how this works. I'm gonna come over here and select my magic wand tool. Let's make sure that our sample sizes point sample and I'm gonna do a tolerance of 32 to get started with. And let's make sure that is contiguous because I want to select the sky. And I don't want any of these areas over here to get selected as well. So if I click on this, you can see we get most of the sky. It's pretty good, but we didn't get this area down here. Now I can click on this, and it just creates this instead. Click back. We're just replacing these selections. How can I get this? And this? Well, there's a couple different ways that we can do this, and that's really where these start to come into play these little icons if you've seen these across some of the different selection tools. So this here is always going to create a new selection when you click, this is going to add to this election. So if I click on this and then click here, you see the little plus sign you can see. Now it's adding to the selection. Now this here is going to remove from the selection. So again, here we have a little minus click on that. It's going to start to remove from the section selection and then this one here, inter sex with the's selection. So it basically, if we have this selected in any areas that, um, are intersecting, actually tell you what this will be. This will be a little bit easier to see in in action. So I'm gonna come over here and let's just create a simple square. There we go. So we have this and you'll notice we have the same icons up here. It's exactly the same. But now if I come in here and select this, we can see Onley. This area right here, get selected. It's just easier to see with the square rectangle that we were doing there. So if I undo, you can see we had this original right here And now if I come in here, this little area right here is only going to be the only part that is left in the selection . Okay, so let's go back to everywhere we were with the Magic Wand tool. And I'm gonna come into new selection and we click to select. And as you can probably guess, there's a little bit faster way and or than coming up here and clicking these buttons. You can use the keyboard modifier shift and you'll notice when I hold down shift the the cursor changes to that plus, and now we are adding fist selection. If you hold down Ault on your keyboard, you'll notice that the modifier chooses changes into the minus option on the Mac, of course. And then Ault plus shift is actually Tata Go the inter Intersect selection like we saw earlier. So I'm gonna hold down shift so that we are adding And let's add in the sky here as much as we can. Here we go, and that actually looks pretty good. I'm gonna switch to my zoom tool with the keyboard shortcut Z. Let's zoom in and double check this just to make sure everything's moving along here looks pretty good. We have some areas right here that we might want to adjust. So I'm gonna come into my lasso tool because we can start to use these all together. We don't have to use one or the other. So what? The lasso tool again? We have these same options, same keyboard shortcut. I'm gonna hold down shift and I'm gonna add to the selection and we can come in here and let's say we want to include all of this in our selection. There we go. We've added all of that to our selection. I'm actually going to make this actually let we have a better tool for this. Let's come over to the Poly political political lasso tool. Hold down shift, click, click, click. And that will add that nice little sharp crease right there. That's a little tip. A lot of times because photo shops default brushes are circles because a lot of times there's feathering things going on. Um, pretty easy tell when somebody is masking something out is when you start to see those rounded edges for that so you can get away from that by making sure that if you need sharp , crisp edges. You have those there? Okay. So at any point, now that we have this selection any point if we want to kind of check this and see how this is looking, we can hit Q on the keyboard to enter our quick mask mode, and we can see how our selection is going. This is looking pretty good. Or if we just want to select the sky, I'm gonna take you select inverse and now hit queue again and we get just the sky. This is looking pretty good. Yeah. No, I'm happy with this. I think this is pretty good. Ah, there's a few areas in here we could we could fix up if you wanted to. You look right here. You'll notice that these little lines right here, um, if I zoom out a museum mount right click. Just zoom out just a little bit. You can see it's actually like a little balcony. And so we could come in here again. You can get as in depth as you want to. I'm gonna right click switch to a simple or brush, and that's way too big. So I'm gonna use the left bracket in order to size it down quite a bit and start to paint this out. Here we go. We're getting this nice custom paint here, and this is why quick mascots so, so cool. Because we can just paint this out and we know that now that's gonna be included in our selection. Very, very cool. This little details like that little tiny details like that might not think that it's that big of a deal. Makes all the difference in the world when, uh, if you're making some sort of a change in your image, even the little tiny things like that little tiny pixels, few pixels here and there are also ah, edited as well. Okay, So with our selection now, if you remember our overall workflow from previous video, it's time to make an edit. So let's actually start by turning this into a selection. So I'm gonna hit queue in orderto exit quick mask mode. Now it's cool is once we have this selection, we can quickly turn this into a layer mask. We haven't really looked at adjustment layers too much yet, but watch what happens as soon as we create this because we already have a selection gonna come down to my layer masks. I'm sorry, my adjustment layers and let's create a hue saturation layer and you can see right away we have this adjustment layer from sorry of layer mask applied to the adjustment layer that has already been done. Our selection is no longer there. If we ever wanted to get it back, of course, we can hold down control or command on a Mac and then left click on the mask. In order to get that back, we could hit control D as in David on the keyboard or command D if you're on a Mac in order to de select. But with this now let's come in and we'll look at this will look adjustment layers later in this course. Ah, but let's just come in and maybe pump up the saturation a little bit. Maybe make the lightness a little bit different, and you can see how this is affecting our layers so you can see we're actually affecting this. So actually want to inverse this. So let's select this layer and we use another keyboard shortcut. If you remember, the ah in verse for select is control shift, I I believe yes. Control Shift I or command ship Dina Mac and the inverse to invert the colors on an image You can come up to image adjustments and inverts. Or you could just use control. I me invert, You can see now we're just affecting the sky. And of course, now that we have this selected, we can do whatever we want. We can change our Hugh if we want make it really, really crazy. Or we could just go from making a really, really nice deep blue color something like that. I'm really like the way that that looks Okay. So in this video, we learned how to add and remove from our selection. We learned how to use multiple selection tools together, Some of those that we've looked at the Magic Wand tool. We looked at the lasso tool. Adding to that, we looked at converting to and from the quick mask mode going into the quick mass mode, adding a little bit of detail. If we zoom in up here, we can see are a little bit of detail in here and how that affects it because we add in that little bit of selection in there and the quick mask mode. It's really, really cool stuff that we've been able to do in this video, merging all of those tools together into this little project. Now, in our next video, we're gonna use a special feature and look at how to use a feature called Select Subject. 9. Select subject & select and mask: in this video will learn about two features that will help us select parts of our images really fast. So the 1st 1 is called Select Subject, and let's see it in action. Now there's a couple different places that we can go to get to select a subject, and we've already seen some of its own some of our previous videos. We've been working with selection tools, for example, on the Magic Wand Tool. You'll notice the's buttons over here, select subject and select mask. Now there's another way to get to these. We can also cough to select subject and select and masking. You notice the keyboard shortcut there by default is Ault. Control are or Ault. I'm sorry. Option Command are on a Mac Now we're going to start with select subject and see what that does. This is pretty much in an automatic way. That photo shop is going to try to select the subject in an image, and then we go. That's all there is to. It is entirely automatic process. Photoshopped is going to analyze the image and do its best to try to select just the subject of the photo. Of course, sometimes it does a good job. Sometimes it doesn't. In this case, you'll notice that we also got this selection over here. Granted, that is also the subject of the photo, but it's also the subject in reflection. So if we're editing this, this is a good example of how really depends on what are what are Project is. So if we're editing this, we might not want to make the same sort of edits to the subject in the reflection of the window as we do. Ah, the actual subject itself. So as we learned in previous video, easy way to get rid of this is to hit queue to go into our quick mask mode. We can see this here and now. We just come in, paint this in, let me switch to something. It's a little bit bigger. We can just paint this in, get rid of all this over here. And now if I hit queue again, we have our selection. I hit Tabas well, so now we have just are subject selected. You don't notice there's areas around the hair here. In all of this, we can use any of the selection tools that we've learned about so far to refine this. If it was me, I'd probably start going to quick mask mode and start toe select around this and start toe , you know, paint in in order to, um, really refine around the hair hair is a really tricky part cause there's a lot of little strains and things like that. But for the purpose of this video, let's look at something that we haven't looked at yet and that is select and mask. So I'm going to come up to select de Select in order to remove our selection. And now we can come up to select and select and mask. When we do this will notice that we the interface changes a little bit. So there's a couple things to know here, and the first is our view mode so we can see appear our view mode up here. We can change us to ah, onion skin marching ants. Um, watching ants would be kind of the selection that we saw we saw before. Overlay is something similar to what we're familiar with with the, um with a quick mask mode overlay there, and as we start to paint, you can see we have our paint and we have plus. So as we start to paint here, let me actually increase the size so it's a little bit easier to see. You can see what's happening where it's really starting to paint based on what it assumes is going to be the subject. So it's a little I mean, that the select subject was completely automatic, and this is still very automatic. But as you can see, we can come in here and start to customize this, and we're kind of painting by kind of groups. It's starting to look and starting to detect various parts of the image and being able to detect all of that, and we can start to paint some of this in. And, of course, as you can probably guess, we're not actually painting with, ah with actual pixels per se. But we're actually doing something that will turn into a selection. And so these views here are really how we want to see that if we want marching ants. If we want overlay, we want to see it on black. Really, This is just a visual thing. We can see the actual layer. Um, I'm sorry the ah, the actual mass care than black and wife. Want to see that? So, really, whatever you prefer, I usually like this overlay because it looks like a quick mask. It's very, very similar. And then, of course, we can change this color if you want to. If your images naturally read, it could be a little tough to see this. Then you can change that color if you want to. And last, but certainly not least just like with the quick mask mode. One thing that's cool about this is you can actually indicate the masked areas or selected areas. So which one do you want? Ah, here. So this is either the select area. So here we're painting the areas that were actually selecting, and this is earlier were working in quick mask mode and we painted everything out, and then we had to invert. The selection is because we were actually mask painting. The mask areas have the selected areas, so you can actually switch between this in order to choose what that overlay indicates. Okay, so now watch what happens as soon as I hit, OK? And of course, we can come in here and refine these things Weaken. Smooth it out. We can feather it. You can see the edges start to feather up here. When I feather you Look closely. We can zoom in here. You can see the edge is starting to feather. So these are all just different ways of refining. How photo shop is determining this, how it's adjusting the edges. You can see the edges are starting to shift their out or in depending on how how are images ? I would encourage you to come in here and start playing around with some of this in order to just kind of see me fit this So we can kind of see, um, what's gonna work with your particular images? Because again, all of these options are editing this. But how it works on this image is going to be different than how it works on a different image, because the contrast it's working off the contrast of the pixels, and so the contrast of the pixels and your images are going to be different. But once you are happy with your selection and what you have selected their if you hit OK, you can see it's going to come in here, and it's actually going to create a layer mask. And that is where the name comes from, your selecting first and then you mask. And so it's creating a layer mask from your selection. Now it's cool about this. We can build on things that we've learned earlier in this course. Weaken, Take this. Let's take this layer. Duplicate this layer. Take this mask, delete just the mask. So now we have the entire image again. And then this is just the girl in the photograph. And so if I come in here, this may be add an adjustment layer, make it black and white. And again, we've already learned about thes clipping pass. If I hold down Ault and add the adjustment layer inside of the ah, that layer there you can see how that is affecting just this part of the image. And of course, we can come in here. We can start to refine this however you want paint out this mass. This is just a layer mascot. This point we can paint this out However, we want Ah, come in here and really refine this to be really, really nice layer mask before our image. Probably want to get rid of these color areas here. Gonna hold down Ault option on Mac in or to see the mask and clear out some of these areas here that you know is, ah, part of part of the girl in the image and clean this up over here. I was actually painting on the layer and they select the layer mask and had X in order to switch to black. Paint that out. There we go. So I'm pretty happy with that. Of course, we can come in here and fix some of these some of this hair over here and over here again. This is where it comes into. You can spend a lot of time fixing a lot of the, uh, the masks and things like that. And if this were a client photo, I would probably want to go in, take some time, clean this up and just go through the process of making sure that all the hair is actually cleaned up. To do that. I had used tools that we've already looked at the paint brush with layer mask or a quick mask, the paint selections around the hair and as you can guess all of that. Refining can take a lot of time. So that's something to be aware of when you're working on your own photos. Okay, so the last thing you probably want to do after taking the time to create a great mask is to lose it. Nobody wants to lose all the work that they've done, so let's move on to our next video, where we'll learn how to save our selections. 10. Saving and loading selections: in this video, we'll learn how to save selections for later use. So let's get started by saving a selection. And in order to save a selection, we actually have to have a selection that we want to save. So here we have a couple layers. And as we learned in a previous video, very quick way to turn a layer or a layer mask into a selection is to come over here into the layers panel. In this case, I'm going to select a layer mask thumb. Now, hold down control on the keyboard or command. If you're on a Mac left click, that's going to turn it into a selection. Now we can do the same thing for a layer instead of the layer mask. In this case, the wire. You can see this little wire right here. So when I hold down control now, I want to actually hold down another one, because if I just hold down control, that's going to Onley. Add this to the selection if I want both than I can hold down control and the plus I'm sorry and the shift modifier and the plus cursor you can notice changes there. That's what I meant to say. You can see the plus in the cursor. Now. When I left click, you can see that that gets added, and now we have both things selected. So just that's a little side note because since you can select these in a way, you could say that when you have a layer mask or you have a layer, you're sort of saving those selections because you can just control, click them or command click them in order to turn them into a selection again. So that could be a great way to save selections if you want to, directly as layer masks or just as layers. But there is a built in way in Photoshopped that works as well. So once we have a selection made, come up to select and we can come down to save selection. So let's give this a name. Let's call this our airplane selection and you can see it's saying, you know what? This is gonna add this to a new channel, and this word channel should give us a clue as to where Photoshopped saves these selections . We talked a little bit about channels in an earlier video when we learned about colors. But this image if I hit OK, here you can see this image is an RGB image, which means it's made up of a red channel, a green channel and a blue channel. But we can have more channels than that and selections are saved along with them. So you can see over here at the layers panel. I also have a channels panel. They say that 10 times fast. If Ugo, if you don't see this here, you can go toe window and go to channels, and that will open it up. And in here we can see we have. This is all the red in our image. The way that the channels work is that they are a 0 to 255 color value in an RGB image. Ah, and so this is a grayscale image from 0 to 255 showing all of the areas that are red based on those values 0 to 2 55 and grayscale same with green, and then same with blue. Ah! And then, of course, we have our airplane selection that we've just made. Now, of course, there's a couple ways. Once we have this selection saved and if we save this file as a PSD, then of course, that will save that in the file as well. So you can always access this now once we have it saved. Loading that selection really just as easy as it was to save it. I'm gonna come in here and let's de select. So we're starting all over again. Let's say we're back in the RGB Channel. We just select on one of these layers and they'll bring us back into the ah, the color image, the full RGB image. So there's a couple ways we can get this back. One. We can just come over to the channels panel, and if we know that we have this again, we can hold down control and left click in order to select that channel. And in that case, that's going to select the ah, the selection that we saved and another way that we can do that. If I come in here in D Select, we can come up here to select load selection and because we've saved that, we can see the channel that we want to actually load is the airplane selection that we've made it. Okay. And that's gonna load that selection in. And of course, from here we can use any of the selection tools that we've learned about in this section to modify our selection. And again, if you want to just save it again, make sure that you actually save that again. Now, at any time, if you do want to delete one of the selections that you saved say you've made a change to it. You've added something to the selection. Ah, while then you can come in here. You can select this, drag it down to the trashcan icon that will delete that channel. And now we select our our come back in here. Come over here and de Select. Now, if we have all of this, we want to make our selection. We've changed things around again. We can just control make our selection. I'm just holding out control and shift Exactly what we saw earlier. Come up here. Save this selection. Version two, Whatever we want to call it is going to be saved in there. And now again, we have this saved already. So in this video we learned how to save a selection, how to find it in our channels panel and how to load the selection that we've saved for later use. Okay, now let's move on from selections. And instead, let's start learning about some of the transformation tools we can use to manipulate our layers, and we'll start with the free transform tool in the next video. 11. Free transform: in this video, we'll learn how to use free transform in photo shop. Okay, so let's start with the trees layer. I'm gonna select the trees layer in the layer panel, come up to edit free transform the keyboard shortcut for this is controlled T or command T . If you're on a Mac and that is a keyboard shortcut, you're probably used quite a bit in photo shop, so I would recommend remembering that one. So once we're in free transform mode, the reason why this is a popular keyboard Cherica is it's a very quick way to either left click and drag and move the layer around. Or you can actually select multiple layers and go into free transform mode if you want, in order to move multiple layers around. It's also a very quick way to scale. If we come over to the one of the corners or over here, you'll notice how the icon changes at any of these points, and we can scale this up and down. We can hold down the keyboard, shortcut the keyboard modifier shift in order to force it to, uh, distort the image. However we want let go of shift in order to snap back to keep that ratio. And of course, we can also rotate this. So if I come up around the corner here, not quite on the actual point. But if I come up over here, you'll notice how we can rotate so we can rotate this around and again. We can use the keyboard shortcuts, the modifier shift, and that will snap it to 15 degree increments. You can see the increments up here as opposed to if we just left, click and drag to rotate this around. Now there is one key important thing, and this is another benefit, too. Smart objects. I want to show this difference here. You'll notice that the trees layer here is a smart object, our window texture down below. This here is not a smart object. So let's look at this. Let's maybe make some changes. So we're gonna rotate this maybe set this to a value of 75% so they within the height of 75% of what it used to be Now, in order to commits the changes that we've made in free transform mode, all we have to do is to either click on this check box up here or we can just hit enter on the keyboard and that will commit those changes. Now, now that we've made these changes, this is what's really cool. If I hit control T to get back into free transform mode, you'll notice that Photo Shop remembers that we set this to 75% width and height. We also set this to 15% rotation. So we were like, You know what? I don't really I'm not digging the rotation. We can just set this back to zero and then commit those changes to that. But watch what happens on a normal layer. If I were just just select this layer here you can see again. It's not a smart object. If we come in here that control t to get into free transform mode, we can make the same sort of edits that we want. We can maybe rotate this by 15 degrees. We can scale this down to 75% just to keep it consistent and then hit enter or ah, click on the check mark up here, and that's going to commit those changes. But watch what happens now if I hit control t to get back, you'll notice it's not rotated. The rotation is a zero. The within the height is at 100%. And the reason for that is because this is just a normal layer. This is not a smart object. So this is now those changes that we made that is now the new 100% value for that layer. That's the new 100% width and height. That is the new rotation value for that layer. Photoshopped does not retain any of these source information like it does on a smart object . So that is something very important to keep in mind and another benefit of using smart objects. So let me undo this. Gonna cancel out of this operation and undo until we get back to the original here and this because it retained our information. We don't have to undo to get that back. But now we can finish off this little project here. Let's come in. Maybe move this over the window. I'm gonna use a feature that we've looked at previously clipping pass, hold down Ault or option on a Mac and click their toe. Add that into the window Mac, you can see I've already masked out the windowpanes here and now with the trees, we can do the same thing. Hold down also in order to add that to a clipping path. And let's move the trees. So I mean the move. Tool, Move. This doesn't quite cover the entire thing. No problem. We can hold down control T in order to get into free transform mode. Scale this up a little bit. Position this. So we get some nice trees outside of our window. That looks good. Okay. And there we go. Now, we can take this to another level if we want you loose. We have two different images here. Ah, can take this use blend modes, maybe something like, Ah, a linear dodge in order to really kind of brighten it up. But you can still see that window texture in there. It's a a really heavy window texture, so you can just barely see through that. We have some trees on the other side. Okay, so in this video, we learned how we can use free transform to move scale and even rotate our layers. We also learned that if we use free transform on smart objects than Photoshopped retains how much we've transformed our layer. Now in our next video, we'll take this a step further to learn how we can use our transform tool to distort layers . 12. Distorting transformations: in this video, we'll learn about some of the distorting transformations we can do in Photoshopped. So this is similar to what we did with the free transform tool we looked at in the last video. Except this time, let's adjust the perspective of the scenery in the window because we can't just scale this up and scale this down or rotate this to make this look right. So with the scenery select, you'll notice that it is a smart object come up to edit and instead of free transform to come into the transform menu here and you'll see that there's a lot of different options that we can do. And maybe let's start with perspective because we want change the perspective. So what perspective does again? We can just left, click and drag in order to move this around into place. But watch what happens when I change the corners. Now, instead of scaling this up and down like we saw with free transform. Now it's shifting the perspective of this image from really cool stuff, and it's snapping to the to the canvas there. That's why we're seeing that we can turn off snapping if we want to. We learned how to do that earlier in this course as well, but that's really what the perspective does. And then in the middle, we can shift this if we want to adjust that. So for trying to match this window, this bottom part might be a good area to kind of try to match here. No, it looks pretty good. But depending on what our images and and how we're working, we actually might want to Ah, change, change this. So I'm gonna cancel out of this because there's another transformation that we can do that is a little more versatile than just perspective. So let's come up to edit, transform and distort. Now, this story is probably one of the most versatile transformations that you can do and that really, what happens here again, We get the same bounding box around this and again, we can move this around however we want, but watch what happens when I click the edge. It's no longer trying to keep perspective. Now we are just moving this image around and really, really distorting what this image actually looks like, which can be really cool because in this case, if you want to try to match the the window shape. We can do that a lot easier with the distort here. So we can match this a lot easier, Maybe scale it down a little bit, something like this. Actually, let's make this a little bit bigger so that these Ah, these flowers look a little bit better. There we go. Something like that. And again, just like with free transform. Once we're happy with the changes that we've made, we can either click on the check mark, or we can hit enter. And because this is a smart object at any point, if we want to come back in and change this, we can come back to distort. And we can start to change this around because it remembers that shape the what? The original shape waas. And we can make those changes on the smart object. Now, another great transformation tool that we have is the warp transform. It kind of gives you the flexibility of distort, but also gives you the ability to warp the inner image itself. Let me turn on the window glass here and let's come in to at it transform and warp. So again, we get the same Ah, bounding box, but you'll notice it looks a little different. We have some stuff in the center here. So if I were to left, click here notice how this is different. You can see how it's. Actually, it's not really distorting the image as much as it is well, warping the image that you can see here. But we can actually come in here and start to really change this. However we want any of these points can be moved Ah, in order to warp this image and then we have these handles here that we can click and drag and move around or move up or really change how this image looks would find level of control over what this image looks like and really warping the pixels on this image so you can get some really, really cool effects with the warp transformation. And again, once you're happy with this hit, enter on the keyboard or click on the check. Mark and Photoshop will apply that to the two that layer. And because this is a smart object, we can always go back and make changes to whatever we want, and we can finish off this image just by changing the blood boat. Maybe. Let's give this something like a multiply so you can see Ah little bit different there and we have our image outside of the window. So to recap in this video, we learned about some of the transformation tools inside of Photoshopped. Specifically, we talked about perspective, distort and warp to see how those can affect your layers in different ways. But if you notice when we come under transform, there are some different options in here. So I'd recommend take some time between video and start playing around with some of these different options on your own layers and start thinking about how you can use them in your own projects. When you're ready in, our next video will move on to another very common tool here inside of photo shop, the crop tool 13. Using the crop tool: in this video, we'll learn how to use the crop tool in photo shop. Now cropping your images is probably something you're already familiar with. Its a fairly straightforward concept. But there's a few key things in photo shop that you can really use to help improve your projects once you know about them. So let's get started by finding the crop tool like any other tool. It is located in the Tools panel over here on the left hand side, right here, Keyboard shortcut is see on the keyboard. Once we have the crop tool activated, you'll notice this box around the top. All around our canvas, this is thief frame. That photo shop is giving us to, ah to crop our image. And of course, we can just come in here and drag this around however you want, and that's going to resize our image or to crop in on our image. We can still see things until we actually perform the crop. One of the things I want to point out is, if you know what you're going to be using the image four. Then the ratio in the tool options bar up here can be super super helpful. So, for example, if you're going to be posting this image to some place like Instagram Instagram prefers one toe, one images or images that are exactly the same size on the with as they are on the height. And so you can change the ratio here to be 1 to 1 perfectly square image. And now you'll notice if I scale this up and down now, it is locked to that ratio so we can see how this image is going to look, if we were to post this on to instagram and not worry about ah horrible cropping from hints to Graham and that sort of thing because we've already done that ahead of time in photo shop and you also notice that we have this grid here. This is the rule of thirds grid, so we can make sure that our image looks good as faras. The rule of thirds is concerned. But if we want to turn this offer, change the grid, we can come up to these option this option up here and change this to ah, whatever we want. So we going to see the grid? We can see diagonal lines. Ah, triangle Golden ratio, The Golden Spiral. Really, we can control. Ah, whatever we want here usually, how much of a specific reason? I just leave it at the default of rule of thirds, and that's a good, good rule to use. And then, if you want to use golden ratio, if they're depends on what sort of image that you're cropping and how you want that to be once you have things the way that you want. If you say you know I like this, this is going to look good than in order to confirm your crop. Just check the check box here or hit. Enter on the keyboard and your image will be cropped now. Once we do this, I want to point something out. Watch what happens if I move this layer. You'll notice as soon as I move this layer, there's no pixels around it. Photo shop has deleted all of the pixels outside of the area that re cropped. Now the benefit to this is that are Photoshopped. Document is going to be smaller because it doesn't have that pixel information anymore outside of where we cropped. But on the flip side of that, what if we crop our image you like who were like You know what? I I like that it's 1 to 1 and it just perfectly square image, but I really want to reposition it. Well, we lost all of those pixels. How do we How do we get those back? Well, there's a cool little feature inside of the crop tool that we can use in order to keep Photoshopped from deleting all of those pixels once we crop. So I'm gonna undo back until we have the crop. So undo until we have not cropped hit, see, in order to get back to the crop tool. And now, if we crop this in, maybe something like this get the so the rule of thirds kind of get it along the one of the lines here, and then I'm gonna uncheck the delete cropped pixels. So with un checking that hit, enter or click the check mark in order to confirm Now, watch what happens when I move this layer around. If we decide we want to change this framing a little bit, when I move this around, you'll notice we have the entire image that's still there. It didn't actually delete any of those pixels. Some really, really cool stuff now. Another great feature of the crop tool is the ability to straighten our images. And you may have noticed if we go into the straw crop tool, you'll notice this ability to straighten. We'll tell you what. Let's move on to our next video, because that is where we're going to learn how to straighten images in photo shop. 14. Straightening images: in this video, we'll learn how to straighten images in photo shop. Now, if you watch the last video, you'll know that one of the ways we can straighten images is by using the crop tool. So let's happen there now to see how that works. I'm gonna select the crop tool here. And from our last video, we had the ratio set to square. So by default Photoshopped things that were going to set this to a square image. But that's not really what I want. I just want to straighten this image. So I'm gonna set this back to the original ratio so we're not going to affect the crop at all. And if we select the straighten tool here now, you'll notice that the cursor changes with the straighten tool selected. All we have to do is to draw a straight line on our image. Now the line itself doesn't necessarily have to be straight. But that is what photo shop is going to assume is straight. So if we try to follow this horizon, you can see how it's a little bit taller on this side. Then on this side and I can draw this, you can see the line that I'm drawing isn't actually 100% straight. You'll notice that there's a, uh we can even see there. There is a 0.4 degrees difference from one side to the other, so it's almost straight. But not quite soon, as I let go of the mouse, you'll notice that photo shop automatically rotates the image just slightly as it straightens the entire image. What it's doing is making that line that we draw 100% straight, and so it's adjusting the image to the line. You also notice that we lost some pixels. If you look closely, there's some pixels along the edges here that we're losing and by default is gonna crop in , and so we're not going to see any of that transparent area. But that's something to keep in mind when you take photographs or when you want to straighten something is that you will probably lose some pixels around the edges that you need to crop off in order to make the image perfectly straight. Okay, so that's technically how you straighten images here in photo shop. Once we're done, we can click on the check mark or hit OK or I'm sorry hit enter in order to finish the crop and our image will be straightened with. That said, There's another very common way of straightening that it isn't really straightening. Technically, the technique we're gonna look at next is actually distorting your image. Sort of like what we saw with the transformations in a previous video. Except this time we're doing it to correct the perspective in an image. The end result can be a straighter looking image, and we're going to use this building as an example. And that's something I wanted to cover in this video because because you're getting a straighter looking image, a lot of people will call that straightening, even though it's technically distorting the image. It's just distorting it in a way that's removing the perspective distortion that comes naturally with a camera. So I wanted to cover it in this video. Now, to do this, we'll have to use something that we haven't quite looked at yet in Photoshopped. Don't worry, we're gonna look at this. It more definitely around in this course, but that is the camera raw filter. So I'm gonna select the building to come up to filter camera, raw filters. Keyboard shortcut is shift control A or shift command. A view on a Mac Once we're in the camera. Raw filter. There's a lot of different options in here and again. We're gonna look at some of these later on in this course. But the key thing that I want to point out is this little option right here. This is the transform tool. And this tool is really cool, because when we have this selected, all we have to do is similar to what we did. When we just straighten the image, we tell photo shop where where are the straight lines in this image? What do we want to be straight. So if we want to maybe straighten along this kind of ah faux column here but that's gonna be a straight line. So that's one. And then we want to draw at least one more. It needs toe have at least two in order to distort our image. So let's use this over here kind of this this edge over here. Watch what happens as soon as I let go of the mouse, you'll see photo shop is automatically distorting our image. to try to make those lines straight. It takes those two lines that we've given it and said OK, the if these are perfectly straight here, so I have to distort the image in order to get those two to be perfectly straight. But what's cool about this is we don't only have to do Ah, vertical lines. We can also do horizontal line, so we know that this is still not straight up here. So let's select this up here and maybe down here as well. Maybe something along this, because this is not straight either. So we can straighten that and we can get a really, really nice straightened image. But really, if you look, this is actually distorting the image in this case quite a bit. So it's not. It's not really straightening like it's just rotating like we saw it with the horizon in the previous image. But instead we're actually distorting the image to straighten out the final result. And of course, once we're done, we could just hit OK and then Photoshopped will go through the process of applying that and again, just like we saw with the previous example. We're going to get some extra pixels that will probably want to crop off so we can use our crop tool, maybe crop it down a little bit in order to get the final image of our building. Here we go and OK, or the check mark and we get our cropped image. Okay, so in this video, we learned how to straighten our images using the straighten tool inside of the crop tool. We also learned another technique that's commonly called straightening, really distorting our images to correct the perspective from the camera. Now in our next video will learn all about content aware scale. 15. Content-aware scale: in this video will learn about content aware scale. Now, this is the first content aware feature we've looked at so far in this course. But it certainly won't be the last since it is the first, though, I think it's worth pointing out that any time you see the term content aware inside of photo shop, that basically means you're using photo shops. Ai. It's automatically trying to find your content in the image and then make edits for you based on what it finds. I think the best approach here's gonna be to do a few different operations so we can compare between them and see what photo shop is doing. Okay, so let's start with the flowers here. So I have the flowers original flowers, free transform and flowers content aware scale. So basically, what we're gonna do is we're gonna use the free transform tool that we learned about in the previous video, and we're going to scale this image. I'm gonna turn off the content aware scale. And as we learned we can scale this, you'll notice that this is not a smart object. Okay, so that's something to keep in mind. Is content aware does not work on smart objects. So once we have this layer selected, let's come up to free transform and let's hold down shift. And I want to distort this and scale all the way to fill the image. Okay, so we're done with that hit the check mark were done, and that is what are what the free transform tool does when its scales you can see it's going to distort the image and it stretches the image. And in some cases, that may be what we want in other cases, like this one here with this flower. It's probably not really what we want, cause it doesn't look very realistic anymore than now that we've stretched it. So let's look at what content aware skill can dio to see the difference. So with this selected gonna come into edit and content aware scale keyboard shortcut, the long one, it's Ault Shift control, See or option shift command. See on a Mac. Once we have that selected again, I'm gonna hold down shift to allow this to distort the image. If we don't hold down shift, it's just going to scale the entire image up, up and down. But I want to hold down shift so that this will distort. And I could just scale this all the way over here exactly what we did with free transform, but you'll notice already it looks a little different. So let me hit the check mark here in order to complete our operation, and you'll notice that photo Shop is trying its best to keep the flowers from scaling. You'll notice it's actually looking at the content of the image. The background scales a lot more, but these flowers, we compare the difference. So this is what the original looked like. This is with free transform, and now this is with content, aware scale. You can see there's a significant difference here, and that's really what Content aware scale does is it's trying to maintain the shape of the content in our images. But of course, depending on our image, there's gonna be some differences that we need. And there are some good options that we can use with content aware scale that will let us control how Photo Shop is trying to figure out what exactly the content is and how to scale around it. So to show that I'm gonna close out of the Flowers group and that's open up. This other group that we have here, this is the building group, and again we have the same sort of set up here. But I want look at how we can protect parts of our image with content aware scale. Someone has select this layer here. Let's start with this one. I'm gonna turn off the layer at the top so we can see the differences. And with this, let's go to content Aware scale. So edits content, aware scale, and you'll notice up here in the toolbar. We have some different options. So to see this in action, let's hold down shift again and I'm just gonna scale this over so we can see you can see what it's doing. You can see it's trying to keep these edges. It's trying to keep this not doing a great job, but it's trying to to scale this. We can change the amount of this or the amount of the content aware scale. So all the way down to zero, it's pretty much the same as if we free transform. We also have the ability to control that level, but in this case, I'm not really happy with either of these s So let's see how we can really customize this. I'm gonna Let's set this to 100% so we can see the difference. It okay? And on this next one, what we're gonna do is we're gonna choose parts of this image to protect someone to turn off the visibility on this layer here. So it's not distracting us in the background because we can tell photo shop. You know, I only want the content aware scale part to affect certain parts of the image, not the entire image as we're scaling it like we saw in the previous example. So when we do that, we come up to edit content aware scale. We have this protect option. Now, if your image has skin tones on it, Photoshopped can try to automatically detect the skin tones around a subject in the image, for example, and scale around that by just turning that on this. Obviously, this image doesn't have any skin tones, so we can customize this and tell photo shop where to scale by creating a custom Alfa channel and choosing it in this drop down right now, you can see we do not have anything in this drop down. We actually need to create our custom channel first. So let's do that. I'm gonna cancel out of this, but come over two channels, create a new channel. Let's call it our protect channel. There we go, and we can start to paint. Ah, where we want Photoshopped to protect. So just for this example has come in here. I'm gonna use my paintbrush hit X in order to change to a white color maybe the right bracket to open it up, make it bigger and something like this just so we can see this difference here now that we have this. So it's gonna protect this area and then it's only going to skill in this area. Now let's go back to our RGB color channel. And if we select this layer, come back to content aware scale. Now we can choose our protect layer and watch what happens when I'm sorry. The channel. I should say Alfa Channel Wash What happens when we scale this? If I hold down shift, you'll notice on Lee. The right side is Skilling because we've protected that left side and we told Photoshopped , lock that into place. As you can imagine, you can start to get really, really complex with this Any sort of the tools that we have looked at so far Paintbrush masking all of this in order to create that mask in that Alfa Channel and then protect that area inside of your image that you don't want to be affected by content aware scale. Okay, so in this video, we learned how to use content aware scale. As you can probably tell from what we have learned from a practical perspective, content aware scale is one of those features. And Photoshopped, it's not gonna work for every single project. But now that you know how it works, it will be yet another tool in your belt that you can use when you need to. Now, in our next video, we'll learn about yet another one of those great tools toe having your belt from when you might need it. And it's called puppet warp. See you there 16. Puppet warp: in this video, we'll learn about puppet warp in photo shop. So with a name like puppet warp, you think of it sort of like controlling marionette on a strength. Except instead of controlling an actual puppet with puppet warp, we can pick points in our layer that we want to warp or distort. So let's see this in action. You can see I have an example here I have Butterfly and then I actually have separated the antenna from the rest of the image. So the antenna is on its own layer and with this layer selected, scoffed at it Puppet warp and you'll notice that photo shop will add this mesh around it. I'm gonna zoom in use control, plus, in order to zoom in and then use the space bar in order to pan over so we can see this a little bit easier so you can see this mesh around here and we can turn this honor off if you want to toe show or hide the mesh. But with this mesh here, you'll notice that our cursor has changed to kind of a little pin so we can add pins that we want to control how photo shop is going toe warp this layer. So I'm gonna choose at the end here, and then another one just left click in order to add these pins, and then when I left, click on the pin. You'll notice the cursor changes and then move this. You can see how are layer is being affected. What's really cool about this is it's actually affecting this layer based on where these pins are. So if I add another pin in the middle now you can see the end is being affected a lot more because we and this is still moving a little bit, as we would sort of expect, but not nearly as much because of where we've placed our pins. Now, one of the key things to keep in mind with Puppet Warp is, as you can see, it's affecting the entire layer. So that's the key reason why this works in this example is because I've isolated the antenna onto its own. Later, of course, in your own projects, you might need to do something different than manipulating an insect attend antenna. So let's get familiar with some of the options available to us. I'm gonna go ahead and just accept this here so that we can see the difference. So we've applied this well, top to another example. So here I have an image of forest, and then we have a tree in the forest that we can start to ah, start to manipulate and you can see the tree is separated from the rest of the image as well. So with the tree selected, let's hop back into our puppet warp. And we can see this on a different on a different example. But you'll notice that the mesh is still showing up for the entire layer. And just like we did before, we can select our pin somewhere. Select one, maybe kind of. Hear, hear, maybe let's select four. So now if we move this around, you can see how it's moving the tree, and the end is being moved a lot more than the others. Now, some of these options that we have up here will control how those points affect the puppet warp as we actually change things. So let's start with the density, because the density is kind of pretty, pretty straightforward. Once we change this, you'll see. So we have fewer points. You can see the mess changing or we have more points. And so, as you can probably guess, if we have fewer points here, you'll notice some of our pins disappeared. Now the reason for that is because thes pins have to be on those control points. And so because we got rid of some of those control points that pins that we had created up here actually were on some of those points that we got rid of. So those pins then disappear. On the flip side of that, if we have more points weaken, see that we can have a lot more options to where we click. But this will make my computers run a little bit slower because it has to process this. When you have more points, it's going to slow down your computer a lot more than if you have less. So that's something to keep in mind. With density, you're going to get a lot more control points for way. You can click to drop your pins, but it's gonna take up more processing power. I'm going to switch this back to just the normal ah size, and that's usually pretty good default, at least to start with on your images when you're doing warping with puppet warp. Now we've skipped over mode, but Mode controls the elasticity of the points on the mesh. So depending on what sort of warping you're doing, you can change the mode in order to get different results. So, for example, rigid. If we move this, you can see what rigid does. It's moving just this one, not nearly as much as this over here. Or if we switched to distort, you can see how it's actually doing. Actually, ah, lot better job, I think of, of kind of all right, distorting the image. So when you have it set to distort, photo shop is moving these other points the rest of the mesh along the that we have selected their, um, a lot more than it is with rigid. So with rigid, it's really just moving this one up top that's moving that one a lot. Ah, very, very minimal movement down here. But with distort, you'll notice that we're getting more movement down there. Then we were with rigid. Now the expansion here ah, lot gives us the ability to enter in Ah pixel amount so we can choose the number of pixels that we want to expand beyond the layer. So I'm gonna zoom in here so we can really see if you look closely. We can see the mesh here. Okay, So these lines and then you can't really see the points that the that it's actually manipulating. But you can see ah where these would connect that, what's where the control points would be that is actually moving. But if you if you look closely, watch, watch the edge here. As I change the expansion, you can see how it's expanding beyond the edge of the layer. If I actually turn off, I can't turn off the layers while I'm inside of this. Ah, let's close out of this here and let's turn off the other layers so we can see this is the layer here that were affecting. And if I come back into puppet warp and change the expansion, you can see two pixels. It's going about two pixels beyond that four pixels and expanding much, much further the the mesh that it's actually manipulating, and again that's going to give you different results, depending on what sort of image you're using what sort of thing you're actually controlling . You can actually go into the negative as well, if you want. So if you want to, for whatever reason, get into the negative, you can see it's actually clipping the mesh as well. I'm gonna leave this at the default of two again. That's something that Ah, unless you have a specific reason to change that, I would recommend just leaving that at the default. Once we can't solve that, bring our forest back and we can start to manipulate this a little bit more. You really just have fun with it. That's one of the things key things with puppet warp because it varies so much. What sort of image you using again? I would recommend using, um ah layer that is separated from the background image so you can get a lot better results rather than an entire image. It's really going to affect the result that you get so you can really start to customize this, and we can start to change really the shape of of this tree in this case and give it a completely different look. I added an extra pin so in order to delete a pan use right click delete pin. There you go. Got rid of that pin. Added an extra one again, actually, Select that, sometimes a little tough to select. In that case, I would recommend zooming in and and doing that there. The only thing we didn't really show was this pin depth here, um, and that if you have two pans right next to each other, you can change the pin depth to make it easier to select one or the other to kind of set it forward or backward. Ah, it's really something that again, unless you have a specific need, too, you're probably not really gonna be adjusting the pin depth for an image like this. If you have a really complicated one with high density on, do you know a lot of a lot of points in that mesh? Then you might need to change the pin depth to bring some of them forward to move it up in the stack or move it down in order to ah selected easier, but also to be able to manipulate a easier once you have it selected. Ah, once you are happy with what you've done with your puppet warp, You can just click on the check mark or hit enter on the keyboard in order to confirm. Confirm that, commit the changes. And as you can see, we've moved this tree and straighten it a little bit and and really done some cool things to the tree. If I were to undo the puppet warp, you can see how it was before and then redo to see how it was after the puppet warp. So in this video, we learned how to use the puppet warp tool. We've really only scratched the surface, and this is one of those tools I mentioned. You're not gonna need it every single time you're working on a project, but it could be very helpful when you do. I'd encourage you to take some time and practice with it. Get familiar with how it works on your own photos start to see what sort of mesh density you need, How many pins you need on the different areas in order to manipulate them in order to get the result that you want when you're ready, I'll see you in our next video, where we're gonna learn about the perspective warp tool 17. Perspective warp tool: in this video, we'll learn about the perspective warp tool in photo shop. Now, before we begin, there's one very important thing we need to make sure is turned on. Or else we won't be able to use the perspective warp tool at all. So right now, if I come up to edit, you'll notice Perspective. Warp is great out. The reason for this is because the perspective warp tool requires your graphics card processor or GPU in orderto work. So if you don't already have that enabled inside of photo shop, we need to enable that first. So to do that, we come into edit preferences to performance, and you'll see there's a little check box here to use the graphics processor. Now we need to enable this in order to enable perspective warped. Ah, unfortunately, if you can't enable this for whatever reason, your graphics card is going to be different than the one that I have. If you can't enable this, that means your graphics card isn't powerful enough. Unfortunately, that also means you're not going to be able to use the perspective warp tool. Not only that, but if you notice down here in the description you'll notice when I hover over this. There's quite a few different tools and features and enhancements inside a photo shop that require your graphics processor in order to work. But now with this enabled, we can click on OK, and now we can come into edit and perspective warp. Now, when you would do this by default, photo shop is going toe walk us through the steps that we need to take it really handy. The first step is to lay out the perspective in our image. So I'm just gonna left, click and drag in order to draw a grid. And once we have this now we can start to place these pins. If these pins look familiar from the puppet warp tool, they're very similar. Ah, these pins here we want to place along the lines to kind of tell photo shop that this is the perspective in the image was placing this here. And of course, not every image is gonna have essentially the perspective lines on only on the edges, but also inside the image as well. But I wanted to show so we can see a lot easier. That's why I'm using this image so we can see a lot easier. Exactly how much photo shop is going to be distorting our image in order to correct the perspective. I'm sorry. Perspective. Okay, so once we have the layout made now we need to switch into wort moat. Before we do that, I do want to point out we can have multiple grids if you want. If you need multiple grids, you can do that. Ah, weaken left, click, and it'll snap to the pins here. If you want to do that, you can see how it'll snap there. Ah, we can do that if we want. In this image, we probably don't really need it. But, ah, depending on the image that you're doing, you can You can adjust that once you have the layout made and you've determined where the perspective is in the image. Now we need to switch into wort mode. We can do that by coming up here into the tool options bar and clicking on the war button. And again photo shop is going toe walk us through how we can now manipulate the perspective in our image and we do that by really taking these pins and just left clicking and dragging them around so you can see how this is adjusting the perspective in our image, some really cool stuff that we can do. It's really distorting the image and and and creating this ah effect that were on this case . If you want to straighten it out and make it look straight, we can do that here and again, depending on what image you're using and how you're using. This will determine exactly what sort of steps you'll use. You may not need multiple layouts, but in this case, if I wanted to make this look like it was straight, we can do that. And trying to click and drag and get this to be exactly straight can be very difficult to do. So as you can probably guess, there's an easier way. That's where these lines come up here. So either we can ah, align the vertical lines. So these lines here. So this here, this here, this one here and this one here, watch what happens when I click on this. You can see those air snapping together, and then this year is gonna be the horizontal line. So these here. So if I were to really move this out and then click on this here. You can see how it's snapping those lines together. And then, of course, this year is going to do both the vertical and horizontal at the same time. Once we're happy with the changes that we've made, we can click on the check mark or just hit Enter on the keyboard in order to commit these changes, and you can see how our image has been. It's really been distorted quite a bit in order to change the perspective. But now we have these really nice straight lines on this image. Of course, they end right here. We might want actually change the layout so that it takes up the entire building. Or like we've learned in some of the other videos in this section, we can come in here simply crop out in order to change in order to essentially hide those other areas. Um, a swell as all of these transparent pixels and all of that, and get a very, very different image than what we had before. And there we go. So to recap, the perspective warp tool requires the graphics processor toe work and it works in two steps. The first is to drag a grid and lay it out with the perspective in our image. Then the second is to do the actual warping of the image based on the grid that we laid out in the first step. Now let's move on to our next video, where we'll learn how we can customize our brush tool. 18. Customizing the brush tool: in this video, we'll learn how we can create a custom brush. So this is what I mean by a custom brush. If we hop over to the paint brush tool and look at the brushes that we have in the tool options bar, we can see there's a lot of great brushes in here already that come with photo shop. But of course, we can customize this and create our own. That's what we're going to look at in this video. Sort of kick it off. Let's open up a new panel that we don't have open yet and that is the brush settings panel . Someone I hop into the window menu. Go to brush settings. You can see the keyboard shortcut is F five on your keyboard with the brush settings panel open. There's a lot of customization, a lot of options that we can do to customize our brush and really going through each one of these could be an entire course in and of itself, just covering each of them. Fortunately, most of them are fairly straightforward, and we can see a preview of what our brush will look like down here. So, for example, this is the brush tip shape. So this right now we can see it's a perfect circle. We can click and drag to scale this in if we want to. You can change the direction of it so you can see it's facing. Ah, but the 23 degrees here Ah, 107 degrees weaken type in a number. If you want to be exactly 90 degrees, we can start to customize the shape. Here we can control the how round it is. So that's the kind of again typing in a number here or or using this little thing here in order to customize that, we can choose how hard the brushes. So watch the edge here is going to soften the brush or add hardness to it. We can adjust the spacing. So how much spacing there is so you can see we start to get almost like a dotted, dotted circles there or not even perfect circles. But there we go. Perfect circles weaken, see? And of course, I skipped over this, but you can see the size up here. So if we wanted to bring this down, start to maybe create some some dotted lines or things like that. We can do that very, very easily by customizing our brush. But there's so many more options that we can do. If we were to paint with this right here, you can see what this looks like. Looks very much like this preview here, and let's come in here and just start playing with something that's that's one of the best ways to figure out what each of these options are doing is to start playing with them and see what sort of effects you can get. So I'm gonna turn on scattering. And if we were to crank this up, you can start to see how it's no longer a straight line. So if I were to draw a straight line, photo shop is scattering that brush along the line that I'm painting. But if you notice you look close, it's on Lee scattering one way while we can check both axes in order to scatter both. And so now it's scattering along both and again, we're getting a completely different effect here and you can control so, like if you want pen pressure or pen tilt or stylist well, like depending on, like we talked about in previous video. If you have a graphics tablet that supports pen pressure, then you can turn that on and have it be where the maybe the scatter itself is controlled by how much it scatters is controlled by how hard you push your pen. You could really start to customize this Ah, lot. And that's just one of these options. We have ah shaped dynamic so we can control the size of it. So how large is gonna be smaller or larger? The angle of those? So you can see how it's starting to angle these and starting to toe, um, Geter that angle around income kind of randomized, that angle and again you can set control over. Is that the pen pressure that does? This is what is controlling this. We start to paint, you can see getting some really, really cool effects. And ultimately we started with just a circle that doesn't look like we're painting with just a circle in side of photo shop. Of course, we can continue to customize this and tweak this as we need to, but one of the key things that we would need for our customized brush is to get it back because right now we haven't saved this brush. We've just been customizing it. As soon as we close out a photo shop or switch to something else, we're gonna lose this brush so we can save this brush if we want to. If we come up into the ah icon here and click on the new icon, so create this. Let's give it a name. So this is my custom brush click. OK, and now this. It has been saved in our presets. So you can see down here we have our custom brush. So if we could switch, we can switch back to our normal brush and weaken, switch back to my custom brush and get that back, and all of those settings have been saved. Let's take this a step further because with this brush, we just started with a simple circle. We started with a circle and made some custom is ations to it in order to customize our brush. What if we want to start with something else? We can actually start with an image, and that's how you start to get ah, brushes that look like actual pencil or oil or things like that. You can start with an image or a layer instead of your, uh, just a shape that we started with in this example. So I'm gonna turn off this layer here and let's turn on this photograph. So these are some rocks. I took a picture of the rocks and then I just masked out the rocks. Okay, so all we have are the rocks here. Once we have this layer, it's going to be the entire layer we go to edit and define brush preset. Now, when we do this, this is our rocks brush. It's given a name. Okay. And now watch what happens if I turn back on my paint layer that I'm just painting on. Select it, start to paint. You can see if I just click once you can see it's painting with those rocks. Course. In this case, we probably don't want that so we can start to again. Control are scattering control the shape start to control the size, all of these different things that we can control. Maybe change the spacing some overall size down. In order to customize this Now we're getting these rocks scattered along, and these air actually, just just really came from a photograph is where we we created this. Now if you ever wanted to get your custom brush that you create this brush and from a photograph or a design as long as it's the entire layer, you can define that preset to be a brush and start painting with it. What if you wanted to save that off and use it on a different computer or you want to share it with one of your friends or co worker or something like that, or vice versa. They created some they want to share with you. Well, you can save this off by coming in to your presets here and what I'm not in the brush settings. Rather, let's open up the actual brushes panel. It's a little bit different so we can see all the brushes. It's the same is over here, but we can come in here and import brushes. So when we do this, then we get to the pop open and find where that brush preset file is. You can see it's an A B R file so we could load this. In course. We haven't saved anything off yet So we can come in here and we can export the selected brushes. So I'm gonna export Thies too. Brushes. I'm going to select both of them, hold down control in order to select both export selected brushes. And let's call this dance custom brushes. And now, if we save this, I'll include these in the project files if you want to import. But now we just come back to the import and you'll see there saved in that file. And of course, as we've done in previous videos, if I pull over the project files here, let's select this. Let's cut this out of here. Move these into the project file so right, click paste. And now, if you want to load them in, all you have to do is just copy this into the Photoshopped folder. When you go to import and then load those brushes in, we load those in, you can see they're loaded in as their own set and you can get those brushes in there. Okay, So, to recap in this video we learned how to customise our brush. We learned how to create a new brush preset from our customized brush. We even learn how to create a brush from our Photoshopped document happened to be a photograph of some rocks, as you can probably guess, customizing your brushes, importing brushes from other, saving them off, creating your own. There's Aton of customization options that this will open up to you. There's a ton of great brushes out there that artists are giving away for free that they've created and vice versa. I'd encourage you to take advantage of this. Start creating your own brush and start customizing things. Start building your own repository of brushes that you will use in your projects, but for now, it's time to move on. So when you're ready, I'll see you in the next video, where we will learn about using the clone stamp tool. 19. Clone stamp tool: in this video, we'll learn how to use the clone stamp tool in photo shop. Now, the clone stamp tool is pretty straightforward. It takes the pixels from one part of our image and clones them to another part of our image . This could be extremely helpful for photo editing in a keyboard shortcut. To get to the clone stamp tool is s as in Sam. Or you can hop over here to the toolbar and open it up by clicking on this here once we have the clone stamp, too active here is how it works. You need to pick a source point and then you start painting. So the source point is where the where the pixels come from. And then you start painting, you take the and then Photoshopped will clone the pixels from the source point and put them wherever you're painting. So in order to pick the source point, you just hold down Ault on your keyboard or option. If you're on a Mac. Once you hold that down, you'll notice that the cursor changes. So I'm gonna left click that chooses thes source point as being right there underneath the mouse. And now watch what happens. I'm gonna let go of all to come over here and start painting this airplane out of the sky. You can see you can even see the little cross hair where it's pulling from. So as I get start to get into this cloud, you can see it pulls that cloud over to, and we're painting from one area and cloning it to another. Now, before we go any further, let's make a little change here because I want to point something out. Right now, I am painting on the background layer. It's not really a good workflow to make an edit like this on the original layer. This is called a destructive workflow. The reason why it's called destructive is because we are destroying the original pixels. We've actually changed the pixels on this layer, and if I were to save this file off and bring it back in as we learned, history is not changed or is not saved with Photoshopped documents. So if I were to save this off opening up later and for whatever reason, I wanted the airplane back. Well, tough luck. It's not there. It's not saved in the file and ah we've lost those pixels. So in my experience, since clients like to make changes, let's work as non destructively as possible. I'm gonna start by undoing what we just did and on the background layer, Let's right click. Convert it to a smart object that will preserve that. So it's opening, actually embedding that original layer into this document. And now let's actually start painting on a new layer because the clone stamp tool has a really cool feature that will allow you to paint on a new layer, someone to click on the new layer button here. And let's just rename this so we know Clone Stamp Tool. And this is the original photo okay, on the clone stamp tool layer. If we go up here to the top, you'll notice in the Tool Options bar. We have the ability to sample either the current layer, which, if I were to select current layer, hold down Ault and try to paint something. Nothing is happening. That's because it's on Lee sampling this one layer, and there's nothing on this layer. Okay, you can always tell when there's something on a layer. If you hold down control in order to select the layer if you click on it, and it says there's no pixels selected. That means there's nothing on the layer. It's an empty, completely empty layer. So instead, what we want to do is to choose either current and below, which will be this current layer in anything below it or all layers. No, In this case, I only have two layers. But if you have layers above where you're currently painting in your layer panel than all layers will choose, we'll let you sample all of the layers. Regardless of their order. I'm gonna choose current and below, and that will sample this and the original photo. Now if I hold down Ault, choose my source point and then start painting you can see. Not only are we were painting here, but you'll notice this is actually added to a new layer. So if I turn off the original layer that's added there and vice versa at any time, I can turn this on and off, and we can always get back to our original image now in. In essence, that's how the clone stamp tool works. But before we wrap up this video, I want to offer a couple of pro tips. Number one is if you have a graphics tablet, I would recommend turning this on. This will allow the actual pressure to work for the size of it. And so that way, if you notice when I zoom in here, you'll notice that it's pretty obvious to see where I actually edited this photo, and any time that you can start to break that up, you could even go into your brush preset. We can use any of these brushes if we use one of our custom brushes or start to scatter their start degenerate were starting to introduce some randomness and usually in photographs. Things aren't going to be perfectly in order. And so when you start to see things perfectly in order, like you can see, there's like a line here in line here. It's not random like you would expect for the edge of a cloud, and so it starts to become very obvious that it's been edited. Another little protest that I would recommend when you're working with the clone stamp tool is to play with the flow and opacity of that tool. So right now we are working with 100% capacity, 100% flow. Ah, we learned the difference between those. And we learned how those work earlier in this course, and they work exactly the same for the clone stamp tool. So if I were to adjust the flow, maybe bring it down to something like 20 and come into one of these clouds, maybe start to bring maybe this edge and start to add in an edge over here, you can see how very, very subtle this is right here. But already you can start to see how that really starts to add to the believability, right? So it's not so harsh that you could just see Oh, this has been copied from over here. But we're still getting that effect. And we're still starting to change the color value on those pixels and starting to really make it look like we just have another little cloud right over here. Okay, so we've been able to remove the airplane from the sky in this photo. But as you can see, there's still some areas where the edits that we've made are pretty obvious. So tell you what, Let's move on to our next video because we're gonna learn about a tool that will help us make our edits blend in even better. That is the healing brush. I'll see you there. 20. Healing brush: In our last video, we learned about the clone stamp tool. In this video, we'll learn about another tool. It's very similar to that called the Healing Brush. So here we have, where we ended up from our last video. And as we saw in the last video, the clone stamp tool Clone pixels from one part of the image to a different part. Based on where we paint. The healing brush works in a very similar way, except instead of doing a straight clone of those pixels, it analyzes the colors of each pixel and tries to average them out to get a good result. So let's see this in action. So the keyboard shortcut for the healing brush is J on the keyboard. Or you can hop over here to the toolbar and you can find it over here. So we have the spot healing brush and the healing brush tool. We'll use the healing brush tool in this video, and we'll save these spot healing brush for a future video. Okay, so in here, really, what I want to do is I want to fix some of these areas so you can see if I turn this off. You can really see where we've painted this in and you can start to see. I don't know how well it comes through on the video, but there's really, like, a different color blue here because we painted it from a different part of the sky when we cloned it from a different part of the sky. So what we can do is we can start to blend this in now. Right now, I'm going to size this up. We can change the sample just like we did in the previous video. We have the ability to choose if it's, ah, sampling the current layer, which would be this one layer right here, current below this in below or all layers, regardless of where they are positioned or organized in the layer panel. Now, for this, I'm just gonna start with current below and let's create a new layer. And this is our healing brush. That way we are working completely non destructively on a brand new layer. So the way this works is the same as the clone stamp tool. I'm going to hold down Ault or option on a Mac and select the source, so I'll pick over here and then we left. Click and drag and start painting this in. Now watch what happens. You can see this area here. Notice how it's not exactly the same as it is over here. Looks like we have some of the heat exhaust from the jet affecting the cloud over here, but you'll notice that it comes in here and it's actually a different color. And that is because Photoshopped, again is trying to analyze the colors and is trying to average them out. Is trying to get the best result to get its blend. That doesn't always happen is you can see right here. And if that's the case, just find another source point. So Ault, click and paint this in and you can see that starts to fix that. And that's really the process for this. You're gonna all click paint all click paint, and it's it's almost a rinse and repeat process. But what you're doing is you're finding different sources so that it doesn't look exactly the same. Because if we come in here and maybe pick something like this and start to paint this in, you can see yeah, we get this. But it starts to look like, Oh, this is exactly the same shape is down here. And how often do you see exactly the same shape, especially in the clouds? That never happens. So it's obviously been Photoshopped. It's obviously been edited. Well, if you want to avoid that, then you're gonna want to pick a bunch of different areas in order to, ah, really start to blend it in and just hide the fact that that's been edited. And now that we've seen the healing brush in action, let's get familiar with some of the options that we have for the healing brush. So up here we have the ability again to change these size and hardness of our brush. You'll notice that we do not have brush presets, unlike the clone stamp tool, um, that where we can use brush presets, we cannot use brush presets for the healing brush. We also have the clone source panel. So if we open this up, we have a bunch of different options here. So what we can do here is we can essentially save multiple sources. So if we wanted one source to be over here, say, if we if we select this and we pick this source over here, and then we select this one. We picked this source over here. Now, if I start painting, you can see it's painting in here. But if I switch this now, all of a sudden it's gonna pick from up here, See? See how the sources up there, the little crosshairs. So with this, we have the ability to save a few different sources if we want to, and hot back to those at any time. And of course, we can see the exact pixel location that we picked and change that if we want to. Under the mode, we have the mode of operation for the healing brush. So some of these will look familiar. If you've been playing around with blend modes Ah, we have the ability to multiply. So again, if I Photoshopped takes those color values and it's trying to figure out how those blend well, in this case, if we said it to multiply that we're telling Photoshopped to multiply those values Ah, in which case we will end up with a darker results. So if I paint this in here, it will end up being a little bit of a darker result. You can't really tell too much in this image here, but a little bit darker if you look usually, unless you have a reason to would recommend just leaving this at normal. Um, that's a good default setting and then going from there. So moving right along with these options, we have the ability to choose what the source is. So this source right now is where we sample. So if we hold down Ault that chooses the source or we can pick a pattern if you want. If you want this to be the source instead, now when we start to paint, you'll notice we're using this pattern and we can pick from these Or we could even at our own if we wanted to. But you'll notice what's happening with the healing brush. That's not really what I want. That's usually not not a real common thing that will use usually will sample that I'm gonna undo that toe. Get rid of that there. Ah, these next few options. We have the ability to ah, align the source, so aligning it with what we're painting. Probably the easiest way to see this if I If I leave this off, watch what happened. So I'm going to select a source point here. Paint here once let go left click again and you'll notice that the source point is still the same. It's still up here. Well, if I check aligned, watch what happens again. Source Point up here left. Click here, now left. Click here and you'll notice the source point is down there. It's still aligned with ah, where I'm painting. And again, I'm gonna hit control Z a couple times in order to get those undone. Now the using legacy before Photoshopped CC 2015 We did not have this option And if you check this, it turns off this diffusion. Over here, the diffusion controls how much Photoshopped blends those pixels. So we have a value between one and seven. So the higher the number it is the Mauritz going to blend the pixels into the area that we're painting and again before a photo shop CC 2015 and believe it was ah, that was not an option. Photo shop would automatically determine that for you, but now you have a little bit more control over that the however, there is 2014. It looks like if you look at the tool tip, it was Photoshopped 2014 and then we looked at the sample and these are pretty universal across a lot of the tools. We saw him in the clone stamp tool as well. They have the ability to show this will not affect any adjustment layers that we have If we have those in our document, and then this will always use pen pressure for the size it it turn. It overrides anything that we have in the brush setting as faras pen pressure if you're using a digital tablet. Okay, I know we covered a lot in this video. You can see the what we did here, though we with our healing brush, we heeled that area. And overall, in the past couple of videos, we completely remove that airplane from the sky Who? Okay, I know we've covered a lot in this video, and I know I've mentioned this before, but it bears repeating how you use the healing brush really depends on the sort of project you're working on and the end result that you want. So tell you what, Let's move on to our next video, where we're gonna take everything that we've learned about the clone stamp tool in the healing brush tool and use them in a mini project. 21. Mini Project: Removing unwanted elements: in the last few videos, we looked at the clone stamp tool and the healing brush. We learned about some of the options for those tools in this video will take what we've learned and apply it to a practical project. Okay, so here we have a photograph and a beautiful beach, and there's somebody in the photograph, so we want to remove the person from the photo and just get the beautiful beach. So to do this, I'm going to start by creating a new layer, and again, we're gonna work as non destructively as possible. So this is going to be our image at its layer. And personally, I like to start with the stamp tool because we have the ability to change our brush with the stamp tool. So I'm gonna hit as to get to the stamp tool and let's adjust our brush here, so I'm gonna choose something that's a soft brush. Maybe set the flow to something like 30. Ah, need to change the size or right click. Change the size even larger. Something like this. Nice, big, soft brush. Okay, so with this, let's pick our source. So maybe somewhere around here and zoom in. Always good to zoom in and be able to see this year. So noticed this little line right here, right here. If I If I hold down all you can see this little line, I want that line to kind of continue. And that's gonna help give the illusion that, um that it's the way it should be. So when I match this up, if you notice when we hover over, you'll notice that we can actually see our source. So Photoshopped shows us the source. So if I were to select a source over here, you'll see the waves there, and the shape of that is going to be determined by the shape of our brush. So if I were to increase the hardness, you'll see that it's not nearly as feather. Right. So that's a nice little tip there to be able to see that. Okay, so I'm gonna select here. Let's start painting in. There we go. You can see the flow. It starts nice and soft, so it's not too too heavy. I want to pick another source over here. I'm starting to blend these sources together. Pick a source pretty often that way it doesn't look too much like it's been duplicated. Now, in this case, you can see this area right here in this area right here. That makes it looks like it's been duplicated because it's exactly the same. So I'm gonna use the left bracket to make my brush smaller, find another part and change it up so it doesn't look exactly the same. There we go. All right, so now let's work on this area down here and again. We have this line right along here where the water kind of changes and there's no reflection here anymore. So we want to make sure to get rid of all of that, sighs this up and start to paint this in right here. And we can just continue on up, paint this up. Now, in this case, it looks like we're gonna have these lines again. They're gonna make it very obvious that's been edited. But I'm just picking source points. Starting to paint this in, you could start to move a lot faster. Start you know, Ault or option, or to pick a source point start to paint these in. Now, down here, I'm gonna start to continue this edge here. Paint that in and again. We're trying to make it look like all of these different elements just kind of go together . And they're gonna work together. We can continue this line. You might kind of expect it to continue. And if it continues, then Ah, you You won't even think that there was a person there. There we go. Line up. Make sure that these line up. I'm looking at the preview in the brush in order to see where they line up. Okay, so now that we have this, that's looking pretty good. Now, once we have this, now we can start to use the healing brush kind. Like what we did in the previous video and start to fix some of these areas where the color doesn't really quite look very good. Um, and in that case, I'm gonna create a new layer here. Let's switch to our healing brush, pick a sample and start to paint. So again, I'm going to start up here, start to paint this in. Here we go start to paint over here, you can start to see how it blends in those colors, so it's not quite as harsh and even like over here, we haven't edit anything, but you'll notice that the colors do change. So it is natural to have those colors change. It's not gonna be a, you know, 100% exact same color across the entire beach. But we don't want quite that harsh of, ah, change. We want to various nice soft transition, and that's what we can get with the healing brush. We go paint this in and we're starting to ah, replicate some of these little rocks here. So let me use an area, maybe way over here that we haven't used yet and start to get some of this detail in a little less obvious. We can even come in here, maybe adjust the diffusion, so it's not quite blending quite as much. There we go. Nice. So if we zoom out, you can see it's still still work that needs to be done. We still need to come in here, paint on this. Me, a lot of this ah is kind of going back and forth looking at it, and they hit control zero to go out to full. I'm liking the way this part is looking, but we can still see at its around here and even up here, too. So let me let me fix some of that up here. Paint this in, do that. And what kind of blended into the to the wave here. So that way, it'll it'll look like the wave. It's just we kind of have a natural break point there, so we can kind of blend it in, going to switch the hardness, so it's not quite as hard There we go. We can even change the roundness if we want to. So it's not exactly round. And that'll kind of again break up some of the making it look like it's been computer generated or edited, so it's not perfect. Here we go. Hold down, Ault. I'm just picking source points coming in here. Go. I'm happy with that. Let me create a new layer again, Um, and start to blend in some of this area over here. We can always merge these layers later on. But you never know when you're coming in here and editing. You never know when you might want to actually keep those layers or keep some edits or remove them. Maybe, you know, maybe after I look at him like I'm not not a big fan of how that turned out. And so it's a lot easier to do that if, as you're working every so often, I think of it kind of like saving the file. It's always a good idea to save files periodically. Well, it's always a good idea to create layers, especially when you are working on something like this where you're retouching, you're making edits and a lot of it. Ah, for lack of better term is very, very subjective. Returned the diffusion back up and blended a little bit more. It's very, very subjective to, um, what looks good and what doesn't because the end result. We know that there used to be a person there, but nobody else does. And so if they're looking at this, let me change the size a little bit bigger. Was that this roundness back a little bit. So if somebody else is looking at this, really, if they don't have any of those clues like exact copies of things they're not going to know , So we have some copies right there. They're not really going to know that they're not gonna Noto, look for where we've edited it for all. For all they know, if there was somebody here, maybe it was over here. Maybe we edit over here, but we didn't see. It's starting to look a lot better. So this is before and this is after and again we can continue cleaning up. I probably want to come in here and clean up this edge here a little bit mawr and kind of continue it on, you know, just continue a little bit, just so that it kind of leads to the illusion that you're not You're not gonna look there for edits. You're not going to think that there were edits there. Um, but you start to see this workflow and how these can work together. We can switch back to the stamp tool if we want to start to stamp some things in in order to again make it so It's not all just generated images with the healing brush. Start to blend these in, and this is kind of the workflow for a lot of ah, photo editing that you're going to do with the clone stamp tool and the healing brush tool and in going back and forth between those two. Okay? And I think that looks pretty good. I mean, you would unless e we know, of course, that there used to be a person there. Um, but if you didn't know, then you wouldn't know toe, actually. Look there for ah person. So I would encourage you take this file, start playing with it, or take some of your own photos and start playing with it. Get familiar with the stamp tool, the healing brush. Get familiar with working with those two together and start really building up in just practicing practice makes perfect cause every photo is gonna be different. Every foot is gonna have different pixel values and different colors and different shades. And all this and so that's really where just practice comes in. You're gonna want to, um, just keep practicing. Just keep practicing. Now, when you're ready, in our next video, we will learn about another healing tool called the spot Healing brush. 22. Spot healing brush: one of the tools we learned about earlier was the healing brush. In this video, we'll take a little closer. Look at one of the variations of that tool, called the spot healing Brush, so the spot healing brush works a lot like the healing brush. Except we don't have to pick a source because photo shop uses the spot that we paint as the source, as well as where it's actually healing. It all happens in one spot. The ah keyboard shortcut for that is J on the keyboard. Or you can use Shift J to cycle between because, as we have learned previously, the little arrow here with the healing brush you left click and hold that down, you will find these spot healing brush. So with the spot healing brush, there's really not a lot of different options that we have. Pretty much we come in here and just paint and watch what happened. So if I'm painting some of that grass out, you'll notice nothing happens. So the reason for this, similar to what we saw with the healing brush, is currently we haven't set to Onley to only ah, work on this layer. And because this layer is completely empty, then it's There's really nothing to heal. So what we need to do is tell Photoshopped to sample all layers. We don't have the ability to choose between current current below and all layers like with the healing brush. But with spot healing brush, we either have it set to sample all layers, or if it's not set to that, it will only work on the current layer you have selected. Now that we have sample all layers turned on, we can just paint that and you can see how Photo Shop is using its amazing algorithm in order to really get rid of some of these just little bits of hair and grass and things like that that are in the for. And really, it does a great job with with the default settings. It's because the spot healing brush is designed to work almost automatically. With that said, we do have a few options available to us up here in the tool options bar, so over here we have our brush preset again. Like the healing brush, we do not have the ability to change the actual ah preset itself. You know, we can't change the shape and all that kind of stuff, but we can change the size, hardness, spacing things that we saw it with the healing brush. We also have the ability to choose the blend mode same options as the healing brush chooses the algorithm that it uses in order to determine how those new pixels get generated. When you paint, we also have over here. This is probably the biggest difference or different options that we have content Aware, we learned earlier content aware is completely automatic Photo Shop is using its AI to figure out what it thinks is the best way to heal the spot that we paint. Create texture. If we have this chosen photo shop is going to sample the pixels where you paint and cries, tries to create a texture that it thinks is going to match those pixels. So if I were to actually paint over here with create texture, you look closely resume. In here, you can see the texture it's creating. See this area right here? It's actually trying to create a texture still blending with the color, values and stuff. But it's creating a texture out of that and that's the difference there. Switch back to content aware. Paint this over and you can see how it's not really focusing on creating a texture there anymore. It's doing whatever it needs do in order to blend that in. And then finally, we have the proximity match with proximity match photo shop samples, the pixels around what you're painting, and then it uses that in order to figure out what the best result is. So if we have the proximity match turned on than you know, if we were paint along here, you can see how it's trying to find kind of along the edge, and trying to paint that in typically again, kind of depends on your purpose. But most of the time the spot healing brush content, aware to believe it automatic and it does a great job of picking out spots if you want to get a little more advanced with it, that's where you'd start to go into the healing brush and start to actually choose the source, customize the source and make it different than where you're painting. Because with the spot healing brush as I'm going in here, just left clicking in orderto to paint these out the spot healing brush. You don't have a choice to pick a source. The source is the same place as where you are painting. Okay, so you look, I have a There's a little bug in the photo to, so the spot healing brush can save us a lot of time by being a quick way to get rid of spots in our image. Did a great job. If you If I turn this off and turn it back on, you see how it just gets rid of some of that that grass in the for and things like that. It's just a great way to get rid of some of the spots in our image that we might not want. We don't have to pick a source because you don't always need the full healing brush for some of these smaller edits. And even though we used it to get rid of some of the grass on the pandas for, it's actually a great tool for getting rid of skin blemishes or dust spots that you might not have noticed on your camera lens until after you took the shot and you're editing it in photo shop? No, but sometimes we need to edit bigger areas than just spots. So in our next video, we will learn about one way that we can do that using the patch tool. 23. Patch tool: In this video, we will learn how to use the patch tool inside of Photoshopped. Now what? This photograph looks familiar. It's because it's the same one we used for a mini project a couple of videos ago. And in that many project we learned how to get rid of the person in the photo using a combination of different tools. And I wanted to use this photo again to illustrate the point that there's not just one way to tackle a project in photo shop. In the end, it's really the end result that matters and not the tools that you use to get their. That's why it's important to learn about all the tools that you have available inside of Photoshopped. Okay, so with that said, let's learn how we can get rid of the person in this photo using the patch tool. The patch tool is located under the healing brush, so the keyboard shortcut is Jay. So hold this down, get to D patch tool, and with the patch tool, we can pick a patch of pickle pickup patch of pixels, say that 10 times fast and then basically, just like the healing brush. Ah, we can, photo shop will automatically try to to, um to heal those pixels that we have that patch of pixels that we have picked. Um, except the difference here is that unlike the healing brush, this is going to be a bigger patch. So we're actually selecting it instead of painting it. That's kind of the difference between the patch tool and the healing brush. So to see this in action, if we come over here, let's select the person somewhere left. Click and drag. This is just like the lasso tool. Someone is select around here once this is selected. Now what we need to do is we need to tell photo shop. Where? Where is it pulling? Where's the source for this? Where does it need to pull this in order to heal our image? And so what we want to do is we want to move this to another parts. I'm gonna left, click and drag and watch what happens. You can see this here. Now. I'm gonna try to line this up. You can see the lines lines on the beach were trying to line that up a little bit. That's gonna help get a better result. As soon as I let go, you can see photo shop is going to try to merge that into the rest of the image. So now if I d select, you can see the patch that has been fixed. Now, if you notice up in the tool options, there's no ability to sample all layers or to sample the current layer and below. So that is something important to keep in mind because you can only use the patch tool on the layer that you're currently have selected. So with with that, how can you work non destructively? Well, here's a little tip for how you can work non destructively using the patch tool. I'm gonna undo this and let's keep undoing until we have this back. Now let's create a new layer. But instead of just creating a new layer that's empty, let's create a new layer with this whole area that we want to patch. So I'm gonna come in here. Let's select all this and what I actually want to create a new selection. So there we go click on this new selection. Add to subtract, intersect. We've looked at that Ah, previously. So with this whole area selected now, as we learned earlier, keyboard shortcut control J or Command J will create a new layer with our selection. So with this selection now, if we edit this, we're no longer editing our original. We still have our original that we can always get back to you. So we're still working non destructively. As far as the original is concerned, we can Ah, we can destroy these pixels all we want. So with our patch tool again, I'm going to select around the subject, move this over to somewhere else on the beach. Maybe not right there. Um, because there was this part right here that made a pretty obvious that it was edited. And there we go. So de select, And you can see the patch that we've made. Now again, this area here, it actually looks like, Ah, you can see the edit pretty easily. So if that's the case, we can always, of course, use our other tools In order to continue to edit this, I'm gonna undo this and let's try a different mode and learn about a different mode because right now we have a photo shop using the normal mode which is the default mode that photo shop is going to use if we use content aware. This is pretty much, ah, pretty much automatic so you can see how the options change. With content aware, we have the ability to choose the structure of it. Which is kind of how much you can see the tool tip there, how much it's adhering to the source, the original source uhm and then how much it's going to actually blend the color as well. And again, these are just values that we're going to have. So the higher value is going to be, um, blending the colors mawr than a lower value. And again, it's going to depend on the image, what's going toe work and what's not. But one thing that's cool here is you notice. With content aware, we have the ability to patch all layers, so we didn't really need to work non destructively with this as create this new layer here . If we are working with content aware, if we're working normal, you'll notice there's no ability to sample all the layers. We either choose the source first or the destination first, in which case we would you know, select the beach and then move it over here instead of selecting the subject and moving it over here. So let's try the content aware and see how that looks. So if I sample all layers, that's fine. We can move this over and you can see it's gonna take a little bit longer to Dio. But the end result for turn on a background layer control de to de select. I think the end result looked a little bit better. There might still be some areas that we want to Ah, fix. And we can continue to tweak this, maybe move it really far over here, so it's not right next to it. Not quite so obvious. We continue to fix this and continue to tweak this, but this is That's how the patch tool works to be able to select an area, and then you move it over, and then it's kind of like a big healing brush where photo shop is gonna try to blend all of that in. And as I mentioned earlier, even though we're really focusing on one tool at a time throughout this course, you shouldn't ever really feel like you need to use just one tool in photo shop, for example, Uh, in this particular case, once, I've quickly done a bulk of the cleanup with the patch tool. Probably want to come in here, use the healing brush spot healing brush. Fix some of these areas that look like they're repeating, like right here. The zoom in there, some areas here we probably want to fix. And we can do that and start to touch up and start to really clean this up a little bit better. But for now, let's move on to our next video because we're going to look at another tool that you can add to your tool belt, content aware fill. 24. Content-aware fill: in this video, we'll learn how to use content aware fill in photo shop. Now, if you watch the previous video where we looked at the patch tool, you'll remember that there's an option to do content Aware Patch The content aware fill is very similar, except it's not really a tool like the patch tool, but instead it's an operation, opened up its own workspace and gives us, ah, lot more control over photo shops, content aware algorithm. So to begin, we have to make a selection to tell photo shop where to use the content aware fill. So in this photograph, I'm going to zoom in here and let's pan over, and I want to get rid of this speaker. So I'm just gonna use my polygon lasso tool and click around. I'm gonna try to get as close as I can, but doesn't have to be exact because I want to get rid of this speaker now. We could use the stamp tool. We could use the ah, the the healing brush. We can start to get rid of these, but in this area would probably be easier on the grass and the runway. But once you start to get into these buildings in the background, it starts to get really complex and the pixels are complex and probably would be pretty obvious that Ah, that we're making. We're cloning things from one place and putting them in another. But I'm going to stop right there. We can we can continue to do the bottom, but from is going to stop right here for this video. Okay, so now that we have our selection made, once we have the that selection, now we need to open up content aware fill so we can go to edit and content aware fill right here, and you'll see that our entire workspace changes. So let's break down what we're seeing here. Over here on the left side, all of this green indicates the pixels that photo shop is using to try to help it, to figure out what to fill that selection with. And over here on the right side, we can see a preview of the content aware fill operation. If I move my mouse in between here, you can see the cursor change so we can resize this if we want to, so you can see right away It's already doing a pretty good job. You see, it's removing that speaker. So this is a preview of what it looks like. Now we can control this. If I zoom out, control minus will zoom out. Of course, you can see it's on Lee using this area around here on there. And as we as we start to change this watch, watch this area here where we had selected. So right now, with my brush, you can see I have the minus that's going to remove. So basically, it means that these air this area here. It's not going to use that to factor it into the final result, so you can see the result change down here in the bottom. You can see when it's processing, processing all of this, using those pixels in order to determine what to replace those areas with. So with that, we could also come in and add pixels. If we wanted to use ah lot mawr of this sky area, we could do that. We can change the size of our brush if we wanted to, but watch what happens here as I adjust that. See the preview changes now over here we have a few more options, and these are the options that we have to really control the the, um, the content aware algorithm. So basically, over here, we're choosing what the source is. We've already chosen the area that we want to edit. We've selected that area and then over here were saying, Okay, how does that operation? How does it actually perform the operation? So the sampling options the this is really just for display purposes doesn't affect the algorithm at all. But we can change the opacity if we want. Um, that's just changing this here. Make it easier and more or or more difficult to see, depending on what you want. Depending on your image, Green might not work. Maybe you want something like a red color kind of depends. It's just it's really just for just for show and display there. And then, of course, we can indicate either the sampling area. So this is where it's being sampled or the excluded area. So this is this is all the areas in the photo that is not being sampled to create that content aware fill now down below that we have our fill settings and this will control how the content aware algorithm works. So watch this area here, where the speaker was watched this area as I change these settings. So the the color adaptation is telling Photoshopped to sample the brightness, contrast and color from this sample area this whole green area over here and use that to effect this final area. So if you notice, notice how, like right here there's some coloration, some color areas that are not quite right. We can go in there and fix that, of course, with the healing brush. Or or that. But let's change the color adaptation. Change it to very high. And that's going to tell Photoshopped to really, really pay attention to not only the texture and the color values, but really focus on the brightness and contrast and the color in order to try to adapt that into this area. So when I set that to very high, you can see how that changes. There we go so you can see there's still a little bit there, but this part actually looks a whole lot better. This part is a lot more complex, and it looks a whole lot better than it did before. Now this here the rotation tells photo shop. If it can actually rotate the ah, rotate it once it's actually created that Phil. So right now, it is not going to be rotating anything. We can change that if we want to. Photo shop is gonna go through the process of figuring this out again. And you can see how we're getting a different result there because we're telling Photoshopped Yes, you can rotate things. Ah, in all of this, in order to, ah create the final result. In this case, it looks like there's a UFO flying there. So that's not really what we want. Eso I'm gonna turn that turn the rotation back off, and then the scale and mirror is pretty much the same. You can see if you hover over, you get that. Basically, it's going to, um, tell Photoshopped that it's okay. Teoh either scale or flip or mirror the content horizontally. An attempt to try to match this sample a lot better again. I'm gonna leave these turned off and then finally we have the output settings that tells Photoshopped if we want to out put it to the current layer, the layer that it was currently currently had selected a new layer or to duplicate the layer. Unless you have a specific reason to my recommendation would be to output this to a new layer that's going to allow us to work non destructively better, because as soon as I hit OK, we're actually going to hop back into photo shop and we get that new layer created. So if I d select and move over, we can see this is before and after and C did a pretty good job. It did a pretty good job of recreating all of this. We might want to come in here with the stamp tool or the healing brush in order to fix some of this area right here where the kind of a little bit of discoloration. But it did a pretty good job of of fixing that. And if we were to zoom in here, there are some pretty complex areas that would be pretty tough to replicate, using the clone stamp tool or the healing brush. And again, as with any of our retouching tools and photo editing tools, will probably want to come in here now that we zoom in. You can see that there's areas in here that we probably want to fix. Um, it will probably want to do some tweaking on there. So it's definitely not an end. All Ah, tool our operation in this case. But as we learned in this video, we can clean up Ah, lot of the more complicated parts very, very quickly using content aware fill and then go back. Start using our clone Stamper healing brush or spot healing brush, and really start to find Tune that detail and really start to clean up the areas that need to be cleaned up. Now let's move on to our next video, where we will look at another content aware tool, the content aware move tool. 25. Content-aware move: In the past couple of videos, we've looked at the patch tool and the content aware fill operation. In this video, we'll look at something that's sort of like merging those two things together. It's the content aware move tool, so the content aware Move tool is under the other healing tools become over here. Keyboard shortcut is J or Shift J. In order to cycle between them, we will find it right here underneath the patch tool. And to use this tool, all we need to do is to select what we want to move. So let's say we want to move this pelican in the sky here. Let's draw last so around that and then we can click and drag in order to move this around except lifts I have. The selection is empty because I'm on an empty layer. I need to tell it to sample all layers. Here we go. So now that we have this now, if I click and drag, you can see we have this new ah new bird that's been added. Here we can do what sort of adjustments you want, just like a free transform if we want. Once we're happy with it. Click on the check mark or hit enter to confirm. And there we go. Our bird has not only been moved over here, it's been removed from over here. So as you can see, this makes it very easy to move parts of our image and then automatically use content. Aware fill essentially, is what it's doing in order to generate the content that it needs to blend things back into blindness in over here and also toe blend in to remove the bird that was in this guy before . But what's really cool about this is that it can work for some pretty complicated patterns to so this one was in the sky. But what about this? This bird here that's just partially in the sky? If we were to select this this guy here, let's move in. Once we get it all selected now, we just click and drag. I'm gonna move them down here, watch what happened. You can see once I commit this, See, does a pretty good job of trying to get rid of the bird here and then moving it right here . So if I d select, you can see Yeah, we need to go in there and and tweak that some you can see obviously, that there's, Ah, some of the colors around there, and it's not really great of a job around the bird. But it did a pretty good job of getting rid of the bird up here. So cleaning this up will not take nearly as long. Now, up here in the tool options bar like we do for pretty much any tool, we have some options for us. Ah, one of them is choosing the mode, so we can either move it or extend it. Right now we've been moving them, which means the bird here disappears and it moves over here. If we extend, it's not going to remove the original. So if I were to take this bird, let's take him, select them and then drag it over here. Now hit. Confirm. Now you can see this bird is still here. We just added one. So instead of getting rid of the original pixels, extend mode does not remove them. It just ah, it just moves it and then keeps the original as it was, and then the other options that we have if you watch the patch tool video. We have the same options in the content Aware Patch operation. We have structure and color values, but if you haven't seen that structure basically is gonna tell photo shop how much of the destination should match its source. So if we drag it from over here to over here, how much of that should from the source from over here should match this. Values in that are going to be a value from 1 to 7, with the higher numbers being that photo shop is going to favor the source more than it's going to favor the end. So probably we could adjust this guy here and have it favor the end results a little bit more, since the since the ocean is a different color right here than it is up here. We can start to affect that, but then that leads directly into the next one here, and that is color because this structure really focuses on the patterns, the color focuses on, well, the color values, and so and you can use those two together and the color we have a value from 0 to 10 and again it's going to determine how much those colors actually blend. So if we want to see this Ah, difference. Here, let's take this. Um, take this guy here and what we'll do is we will actually move him. Structure and color cranked all the way up. What? To move him. Do a quick selection. Move him over. Let's move them down here where the color and the structure of the the structure of the water is different and everything, and we have our transform. If we if you don't want that when you're done, when you're done with this, you just wanted to do the operation. Then you can check this transform on drop so you'll notice right here what it's done. If we de select this, it's a little bit easier to see, but you can see how the color has changed. So the color kind of Max is this a little bit more? The structure kind of matches this a little bit more kind blends in a little bit more than this guy did here. But of course, that's also going to change it. Change the color on the bird as well. So again, it's going to depend on what you're using what sort of images you're using and what sort of different challenges that you want to tackle when you want to have to fix the color on this bird, or do you want to have to mass this out or while you're selecting this, Do you want to try to get a better selection, those air, all the different types of options that she can use? Okay, so in this video, we learned all about the content aware move tool and how we can use it to very quickly move elements of our image around. Now, if you've been watching this series of classes and order than I, I know it might sound like a lot of these content aware tools basically do the same thing, and you're not wrong. I mean, there's a lot of overlap there, but in the end you might find that one tool works a little better for your portrait. Photography compared toa landscape photography, and since there's a lot of variants and the kinds of projects you might need to do in photo shop, that's why there's so many different but similar tools that can help you tackle whatever comes your way. But that brings us to an end of this class Now, I'd encourage you to take some time to start playing with some of your new skills on your own photos. Start mixing the tools together to get the results that you want when you're ready, Load up class number four of this series, where we'll start learning about ways we can do. Color correction and other image adjustments and photo shop See there. 26. Bonus: Getting the project files for this class: hello there. If you're wanting to follow along with this class in this quick video, I'll explain where you can go to get the project files. But first, it's important to understand that this class is just one in a series of different classes. Collectively, all five classes make up what I like to call the photo shop basics. Siri's now throughout these classes will be using some videos, but mostly a lot of photos as we learn different features of photo shop. Unfortunately, those files are way too large to upload alongside these videos. So instead, if you want access to those, I have them stored on Google Drive, and you can find the link over at photo Shop Siri's dot com. Of course, just like these classes, you don't have to watch them all at once or even in order if you don't want to. So for that reason, I've broken up the project files for each class in the overall Siri's, so you can either get all the project files at once or the project files per class again. That's over at photo shop Siri's dot com. Thanks again for watching, and I'll see you in the next class