Photoshop Basics Series Class 4: Image Adjustments in Photoshop | Dan LeFebvre | Skillshare

Photoshop Basics Series Class 4: Image Adjustments in Photoshop

Dan LeFebvre

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22 Lessons (2h 33m)
    • 1. Class introduction

      1:30
    • 2. Understanding the concept of adjustment layers

      2:08
    • 3. Adjustment layers vs destructive adjustments

      6:39
    • 4. Black & white adjustment layer

      7:51
    • 5. Controlling adjustment layers with masks

      3:34
    • 6. Controlling adjustment layers with clipping paths

      3:54
    • 7. Levels adjustment layer

      12:15
    • 8. Understanding the histogram

      14:07
    • 9. Hue/saturation adjustment layer

      10:44
    • 10. Curves adjustment layer

      9:13
    • 11. Photo filter adjustment layer

      3:19
    • 12. Mini project: Working with multiple adjustment layers

      10:20
    • 13. Understanding the concept of filters

      3:22
    • 14. Filters vs smart filters

      5:13
    • 15. Working with the filter gallery

      5:55
    • 16. Liquifying images in Photoshop

      9:08
    • 17. Understanding raw images

      11:49
    • 18. Overview of camera raw in Photoshop

      4:39
    • 19. Mini project: Editing multiple images in camera raw

      13:35
    • 20. How Photoshop saves camera raw edits

      5:25
    • 21. Applying camera raw as a filter

      6:36
    • 22. Bonus: Getting the project files for this class

      1:19

About This Class

In this class we’ll tackle the key features in Photoshop for adjusting our images.

We’ll start by learning about one of the more obvious concepts that lets us do that—adjustment layers. We’ll learn how to work with them non-destructively as well as what that means and why it’s important. After that we’ll cover how some of the most common adjustment layers work, we’ll get a good understanding of what the histogram is and how we can read it. We’ll learn about filters—and how we can work with them non-destructively, too. We’ll wrap up this class by learning all about a photographer’s best friend in Photoshop for adjusting images—Camera Raw!

If you’re not sure what that means, don’t worry, that’s just one of the things we’ll discover in this class.

After completing this class, you’ll be armed with the tools you need to start making some major adjustments to your image. Of course, sometimes the biggest adjustments are those subtle changes—sometimes less is more. And we’ll learn all about that as we take everything we’ve learned up to this point to thoroughly understand how it all works together to edit images in Photoshop.

Transcripts

1. Class introduction: Hello and welcome to the photo shop Basics. Siri's. You are currently watching class number four out of five total classes in the photo shop basics. Siri's in this class will tackle the key features in photo shop for adjusting our images. We'll start by learning about one of the more obvious concepts that lets us do that adjustment layers. We'll learn how to work with them non destructively, as well as what that means and why It's important after that will cover how some of the most common adjustment layers work will get a good understanding of what the hissed a gram is and how we can read it. We'll learn about filters and how we can work with them. Non destructively to will wrap up this class by learning all about a photographer's best friend and photo shopped for adjusting images. Camera raw. If you're not sure what that means, don't worry. That's just one of the things that will discover in this class. After completing this class, you'll be armed with the tools you need to start making some major adjustments to your images. Of course, sometimes the biggest adjustments are those subtle changes. Sometimes less is more, and we'll learn all about that as we take everything we've learned up to this point to thoroughly understand how it all works together to edit images in Photoshopped. We have a lot to cover in this class, so when you're ready, I'll see you in the next video, where we'll learn about the concept of adjustment layers. 2. Understanding the concept of adjustment layers: In this video, we'll get an overview of the concept of adjustment layers in photo shop. Now, like the name implies, adjustment layers are a special type of layer inside of Photoshopped, so to find adjustment layers, all we have to do is to look in the layers panel, and this is an example of what an adjustment layer looks like. This is the curves adjustment layer now. Adjustment layers. There's not just one type of adjustment layer. There's multiple, so this is curves. This is the black and white adjustment layer. This is the levels adjustment layer, and basically what the adjustment layer does is it controls the colors of your image or colors of any of the layers underneath of it. So here's an example. So here's the original image, and then once we apply a black and white adjustment layer, what we're doing is we're adding that layer above the layer down below, and if you notice the layer down below, the original layer is still in color. We just added the adjustment above it, and that adjustment will affect all of the layers underneath it in the order. Because remember, photo shop reads from top to bottom. So, in a nutshell, adjustment layers are a great tool in your arsenal because you're working non destructively . You're not actually editing the actual pixels. It's just modifying them, and you can always turn that on and off. You can also just adjustment layers. You can change those settings. So tell you what. Let's move on to our next video now that we kind of have an idea of what adjustment layers are, and we've seen some of them here. Let's hop back into photo shop and we'll take a closer look by what I mean by working non destructively and why it's so important to understand. 3. Adjustment layers vs destructive adjustments: when it comes to image adjustments. One of the most common ways I've seen folks who are new to photo shop apply them is destructively. So let's look at what I mean by this and go through why it might be detrimental to your projects. Long term toe work this way. So here we have the exact same image on two different layers. So I have one that's gonna be destructive, and one that we're gonna work with non destructively. So here, on the destructive layer with this layer selected to make an adjustment, we can come up to image adjustments and let's use the black and white just to make this a block and white image. So I'll select that, and I'll just hit auto here so that we can tell Photoshopped automatically figure out how this should look best and hit. OK, okay, so now that we've had this done And don't worry, we're going to go through this particular adjustment toe, understand what all the sliders mean, But what's happening here? You notice the actual layer itself is being affected. If you look at this layer and what we just did there is called a destructive workflow because we are actually modifying the pixels on that layer. So I understand what I mean by that will have to do the same thing in a non destructive workflow to see the difference. So here we have. Ah, this layer here that we're gonna work with non destructively. And instead of coming up to the image menu, become down here, This little circle icon indicates adjustment layers. So if click on this has come to the black and whites adjustment layer and we can see it pop up right here again, I'm just gonna hit auto in order to have it tell photo shop. Ah, figure this out automatically, and the image itself looks the same. But look, over here in the layers panel, this adjustment is its own layer. If you notice if I turn this adjustment off, we still have our original image. We haven't actually modified the pixels of that layer. Instead, we've added an adjustment layer on top of it that we can use to control that. So that is the difference between ah adjustment layers and then applying the adjustment to the image itself is adjustment layers are non destructive. But now you might be wondering why? Why does this matter? Why does one destructive workflow or non destructive workflow? Why does it even matter? While the primary reason for this has to do with being able to get back to the original image? What if you made this image? So you're working on a project and you made this image and you made it black and white and you you're working on it. And then the client comes back and says, You know what? We liked it, How it was. We want to bring the color back. Well, if you saved this file off and you're working destructively unless you saved a backup of the original photograph or something, I mean, there's absolutely no way to get those pixels back because we learned earlier in this course when you close out a photo shop, you're gonna lose everything in your history panel, so you can't undo this right here. But if you're working non destructively and you using adjustment layers, all you have to do is just turn off this lawyer and then you got your color back. You haven't actually changed the pixels on that layer. Now, another thing that's really cool about adjustment layers and working non destructively is, let's say, a different scenario where the client comes back and says, You know, we really, really like this, but ah, we think that maybe you should make a few adjustments to the black and white. You wouldn't were not happy that we just hit auto and had Photoshopped figure that out. We want to change it well, Big benefit to adjustment layers is you can go back and modify them. So if we were to come in here and select this guy here, come up, we would have to apply another black and white to it and then try to come in and edit this . But if you'll notice once we start to move these sliders around, absolutely nothing is happening in this image. And the reason for that is because this this in particular, it's looking for these different colors inside of the image, and so is looking for the yellows. There's there's no yellow in this image anymore. We've gotten rid of all that yellow the last time that we applied this. So instead, if we're working non destructively to turn off this top layer, you can see this right here and this weaken Still adjust the yellows and you can see how that affects the image because we still have all of that color information on that layer. We haven't actually modified that layer. So in a nutshell, that is the difference between a destructive workflow and a non destructive one. But non destructive work flows certainly are not unique to adjustment layers. For example, layer masks are a great nondestructive workflow because we're not actually editing them. Pixels themselves were just showing and hiding parts of the layer the same with smart objects because it maintains the original image. No, with that said I wanted to cover. The difference is here. For the sake of this course, I won't be covering the destructive adjustments up here in the image menu because, quite honestly, in the 10 plus years that I've been using Photoshopped professionally, I can't remember the last time that I used one other than just right now, when I was showing the difference in this course in a professional environment, you're gonna want to go back and make changes later on. So we always recommend using a nondestructive workflow using adjustment layers instead of the actual image adjustments whenever you can. Okay, so let's move on to our next video because we looked at at the black and white adjustment layer. But we just hit auto. We didn't really play around with it very much, so let's dive into the black and white adjustment layer that we used earlier in the next video. 4. Black & white adjustment layer: in this video, we'll learn about the black and white adjustment layer. So let's dive into this. I'm gonna come over here into the layers panel and to create an adjustment layer. Any adjustment layer, Really. All we need to do is to come down to this black and white circle down here in the layers panel and one with the little arrow at the bottom. Click on that to pop open this menu and then, in this case, we're going to create the black and white adjustment layer. So when we create this, we looked at this briefly, but just real quick. You'll notice that when this adjustment layer pops up, we get the properties here. We can tear this off if we want to be able to see it a little bit easier. But if we close out of this, if we were to close out of this panel and want to get that back in order to keep making adjustments, all we have to do is to double click on the adjustment layer in the layers panel. So when a double click on that, you can see our properties come back, and that's universal. Across all adjustment layers. Of course, the actual properties themselves are going to be different. The options in the black and white adjustment layer are different than the curves adjustment layer, for example. But that's in a nutshell. How you can at it at the adjustment layer once you've closed out of that. So in this adjustment layer, the black and white adjustment layer. What the's sliders are doing is controlling the values in the image from pure black all the way at the bottom to pure white. If we slide all the way up to the top, and then all of the different grayscale values in between. And it's controlling those values based on the colors sampled in the original image, so you can see the areas that are being affected here. If we turn off the adjustment layer, you can see these are yellow flowers. And so when I'm controlling the yellow here, basically what I'm doing is saying, okay, if for the yellow. So this area here, that's that's bright yellow. What I'm saying is, as I crank this up, take all the areas that are yellow and start to turn it into, in this case, pure white or pure black or some variation of grey skill in between. And that works for any of these sliders. So if I turn this off again, we can see the green areas so green down here and around here. Now, if I turn this back on and adjust the green slider, you can see how it's affecting those areas in the exact same way. Now, of course, these sliders will affect every image differently. Because, of course, every photograph is different. Not all photos are exactly like this one, but there's a few other features that we have with this adjustment layer. And this is this 1st 1 here that presets. This is again universal across adjustment layers. Um, they're all gonna have presets. The presets are going to be a little bit different. I would encourage you to dive into some of these presets and start playing around with him , see if they can be a good starting point for your You were edits. I would never almost never used them as the final edit. But they can be a good starting point. For example, if we come in here and choose maybe the green filter Ah, then you'll see that all of the warmer colors, the yellows, the greens are and are going to start to be pushed a little bit higher and be warmer as opposed to if we use something like the ah, the blue filter that's going to push the cooler colors, the scions, the blues, the magenta is, um and then push those up and then push back the greens and the yellows and the reds, which again, in this case, makes the image look a little funny. So we can always come in and start to tweak this however we want in order to get the final result. Now, one thing that I would recommend is if you're not really sure, you know you want black and white, but you're not really sure exactly the style that you're going for. I would recommend starting with this button right here. This is the auto button, and when we click on this photo shop is going to look at the colors in your image. Look at the color value in your image and try to adjust the sliders automatically to give you the best result. And then, from here, you can go in and start to tweak so we can say, Oh, that looks good But I still think green should be up a little bit higher, so start to tweak things a little bit more, but auto can give you It's almost a ah preset that built custom for whatever image you're working on. So it could be a great way to to start your edits with the black and white adjustment layer . Now another really cool feature of the black and white adjustment layer that I think it's overlooked a lot is this little button right here and what this allows you to do it allows you to use the actual image itself to control what slider or sliders you are editing. So instead of coming in here and saying, OK, all the yellow areas, I want to be a little bit brighter weaken. Just select this to enable the mode, and then we can pick in here and say, You know what? This area right here I'm gonna left click and drag, and I want that to be a little bit brighter. And so Photoshopped knows, okay, that area is yellow in the image. And so we are going to adjust the yellow slider we can say You know what? This part right here, I want to be a little bit brighter. Okay? While that area is actually controlled by these scion, So we're going to be controlling the Scion slider. Really, really nice way of being able to use the image itself in order to control the black and white adjustment layer. Now, the last thing I want to point out is this tent check box. And if you notice vintage black and white photos aren't always true. Black and white. Sometimes they have a bit of a C p a tone, a little bit of a Buick blue issue. So on. You can try to mimic some of this in the black and whites adjustment layer by tinting the image. So if we check this, you can see right away were given sort of Ah, see Pia like color. But we can change the tent of the image to be whatever we want. So maybe something a little a little bit lighter. Not quite as heavy, A little bit lighter blue, something like that. And we can still come in here and control our sliders or use this here in order to control our sliders however we want. Okay, So to recap in this video, we learned about the black and white adjustment layer and how it lets you control the grayscale values of different colors in your image. Now, at any point, if you're not happy with this, of course, you can always come back reset. And this is universal, too. All adjustment layers. This button right here will reset it back to the defaults, which is when we first created it. And then you can start over and start editing this and really start to tweak this to, ah, make whatever sort of edits that you want. Tell you what. Let's let's start getting even more advanced with this because sometimes you don't want the adjustment layer to apply to the entire image. For example, what if we wanted the entire image to be black and white, but just one of the flowers in this image to be color? Well, that's actually pretty easy to do in photo shop, and we'll learn how we can do that in our next video 5. Controlling adjustment layers with masks: in this video, we'll learn about a very common workflow. Will use a lot inside of photo shop, controlling adjustment layers with masks. Now the masks. I'm referring to our layer masks, and we've already talked about layer masks earlier in this course. As you might expect, they work exactly the same for adjustment layers. Except, of course, the layer that they're controlling is the adjustment. So let's start by creating a black and white adjustment layer like we did in our previous video, someone to come down here in the layers panel, click on the adjustments and create a black and white adjustment. So with this here, you'll notice that not only do we get the adjustment layer itself, but we also get a layer mask, and this layer mask works exactly like other layer masks. Painting black on it will make the adjustment transparent, and then painting white will make the adjustment opaque. So right now you can see the layer mask is completely white, which means the adjustment is completely opaque, which means we can see the adjustment across the entire image. So in this case, if we wanted to say maybe make one of these flowers in color. All we have to do is to use our paintbrush and start to paint this in. So, um, painting with black. Which means as soon as I start painting, you'll see we're not painting with a single color were painting actually to hide the black and white adjustment layer. And of course, we can get in here and start to get is detailed as we want for how this looks. We can use all of the different selection tools and painting tools and all the tools that we've looked at so far in this course to really get a very nice, detailed selection and paint there. But you can start to see how this controls the adjustment layer. If we look even closer, you can see this black part here. I'm gonna hold down Ault on the keyboard or option. If you're on a Mac and then left, click on the adjustment layer and that will display it over here. We demand painting this little area that I missed, but here we can see. So this area right here is fully black. It's 100% black color value, which means that it's 100% transparent and because the layer that this layer mask is affecting is an adjustment layer. That means this is the only area that adjustment layer is transparent. Everything else is opaque. So as a result, we see the black and white adjustment layer ever wear. Except for right here. We're looking through to the actual color image itself. And so from here, if we wanted to make all of the ah, flowers color or just certain ones color, really, it's just a matter of refining our mask to get a better result. Well, we've already covered the tools to do that earlier in this course, so I won't make you sit through that. But to recap in this video, we learned how we can use a layer mask to control. Where are adjustment layer effects? Our image now in our next video will take this to the next level and learn how we can use clipping pass to add an even finer level of control to our adjustment layers 6. Controlling adjustment layers with clipping paths: In our last video, we learned how to control our adjustment. Layers with layer masks in this video will learn about another way to control how our adjustments affect our document with clipping paths. No ways we learned earlier in this course layers work from top to bottom in photo shop, so that means adjustment layers will affect every layer that is underneath them. That is, unless we use them in conjunction with clipping paths or clipping masks and just like layer masks. The concept of clipping paths is something that we've already covered in this court. But let's get started by creating multiple adjustment layers and see how different ones can affect different parts of our image. So I'm gonna come in here and create Ah, some black and white adjustment layers. So let's create three of them. Could you can see I have three different flower layers here, so I'm gonna take one and move these so that we have one adjustment layer over each of the flower layers that we have. So with this, just like any other layer week with adjustment layers, we can hold down Ault on the keyboard or option. If you're on a Mac. And then if you move in between the layers, you'll notice how this icon changes. You can click on that, and that will apply the adjustment layer as, ah, clipping path four, this layer Here we can do that for the others as well. But there's another way that we can do this and we can do it directly inside of the adjustment layer because using them as clipping pounds or clipping mass is very common. And so, if you pull over the properties here just so we can see a little bit easier. So this icon right here, you can see that is this one that we have selected is a clipping path. So if I were to click on this, it's gonna move it in and out. So the same for this one here, we can move it in and out, and you can see we select this right here, this one saying, No, it is not currently a clipping path, but we can clip it to that layer by clicking on that there. So when we do this now, you can see exactly how ah, this is affecting our image. So we have this black and white that's affecting this one right here. We have this black and white that's affecting this one right here. And we have this black and white that's affecting this flower right here. So it's really cool about this. Is now we can start to customize this so we could say, Oh, for this one. I'm going to start with auto and we're going to start to tweak this a little bit and make this a little bit of a different color. Ah, this one here, maybe we want to tent it and we want to make it a little CPS. We can change how that one looks there. Ah, this one. We can again tent it. We can change it to be whatever sort of other color that we want. And of course, this works for all adjustment layers, but we can apply them differently to different layers. So, as you can see, we can get a ton of extra control over how are adjustment. Layers are applied to different layers using clipping pets. Of course, we can use this sort of work flow alongside layer masks. We still have the layer masks on here so we can use that in conjunction with Layer Max to get a ton of control over exactly where our adjustment layers are applied to our image. And now that we're familiar with these concepts, let's move on to our next video, where we'll learn about another common adjustment for our images levels. 7. Levels adjustment layer: and this video will learn about the levels adjustment layer in photo shop. Okay, so to create our levels adjustment layer, we can come over here into the layers panel down here at the bottom. This black and white little circle here contains all of our adjustment layers, and the levels adjustment layer is no different. That's one way to create it. There's another way to create adjustment layers in photo shop, and that is with the adjustments panel. So if you prefer that way we can come upto window adjustments and then look for the Levels icon, which is this one right here. If you're not sure what they are, you could just hover over them to see what the names are. You can see the name changing out there and with the levels adjustments selected, just click on it, and that will create the level adjustment layer. So here in the Properties panel, in order to understand this, we're gonna we're gonna have to get a little bit technical. Don't worry. It will all start to make sense as we dive in. Earlier in this course, we learned about color, depth and color modes and how values range from 0 to 255. That's important to understand because, as we can see here, the levels go from a value of zero to 255 on the right. Same for the output values here. 0 to 255. Now, if you recall, ah, value of zero is pure block, while a value of 255 is pure white. And that is why our adjustment layer here on the right side. If we left, click and drag the slider, it will affect the highlights of the brighter parts of our image. And on the left side, we left click and drag. This will affect the shadows of the darker parts of our image. And then this slider in the center here. This is the gamma adjustment. So if I were to left, click and drag this, it's adjusting the gamma either to be brighter or darker, depending on which way we we slide this. But you also notice if we leave this at the default value of one right in the center, photo shop is automatically going to adjust this in between the the darker side and the lighter side based on how we move this, so we can see the gamma is automatically being adjusted. That's Photoshopped trying to get the best result. Of course, we can always customize that as we need to. So now that we have a better understanding of what these numbers mean 0 to 2 55 now it's easier to understand what this display is showing us now. This display right here is called a hist a gram, and what it's doing is it's visually showing us the color values in the image so you can see the peaks on the right side over here. And there's really not a lot over here on the left side. So what we're seeing in the levels hissed a gram here is that this image has a lot of brighter colors with high color values. So we can see over here for thinking of this as all of this. You know, this is zero so pure black right here, pure white. Over here, there's a lot more brighter colors in this image. And if we look at the image itself, of course we can see that that is exactly the case. This is a much brighter image, especially these background areas here that make overall make the image much, much brighter. Now what's cool about this is we can use the levels adjustment to make changes to the intensity of those color values by clamping them based on our settings. So let's understand this a little bit better by doing something a little extreme. So I'm gonna come in here and take this black value, set it to 128 so that's gonna be right in the middle of zero and 255. So in order to understand what we're seeing here over here, you notice the image is a lot darker. Have a few slides that we can hop to. So, by changing the value toe, 128 photo shop is do easy. Is it saying okay? All of the color values between zero pure black and the color value of 128 set the new color value to zero because if you notice on the output values there you can see we have the output value is zero on the left side, on the on the darker side on the shadows. So it's taking everything from 0 to 128 that line that we made, and it's setting it to a value of zero. That's why it's so much darker now in the color correction world that sometimes referred to as crushing the colors because you're taking all of those different color values and crushing them down toe one color value, although photo shop usually refers to it as clipping the colors now, if we were to change the output values if we were to change the output values, maybe to a value of 64 now everything from 0 to 128 as faras color values are concerned will be set to a value of 64. Okay, that's how that worked. And then, of course, we can do that on the other side as well, we can say on the other side on the highlights. Instead, everything from 128 to value of 255 set to a value of 128. And so if that's the case, the new value is going to be 255 for everything from 1 28 to 2 55 So if we have back into photo shop and we start to do this, we can see what some of those differences will be. So if I take the output values and set this to maybe a value of 64 now because ah, that means essentially we do not have any pure black. So if I have over to my color picker here, what we're saying is 64 across the board here, So 64 this is the darkest color in our image. No longer do we have any of these color values down here from zero all the way up to 64. So 64 is the darkest color, which is why you can see there really is no pure black in this image anymore. Not only that, but we're telling Photoshopped anything that usedto have a color value of zero toe 128 set that to a value of 64. And then, of course, on the other side we can do that as well. If I take this down, we can take the ah highlights. Take that Maybe to 128. Change this value. So you can see now everything from 128 to a value of 255 is set to a value of 255. So it's really blowing out the image. And of course, we can bring down this slider in the output values. And now you can see at 190 again pulling up our our color picker. Here, we set it to 190. You can see it's really a light gray, right? We're not actually getting a pure white because any of these values, if you look at these values here in the RGB channel, you can see everything from 190 and up is being crushed. Everything is being removed because our output setting is set to 190. Now, we can take this to a whole new level of complexity by controlling the channels each individual channel. So I want to take these values and let's set them back to the default. Because if you notice this drop down right here, right now, we are working with RGB, which is the red, green and blue channel across the board. Those air all being affected the same. But let's say we want Onley to affect the Red Channel. Well, if that's the case, we can see all the red in here. But watch what happens. It's going to effect just the Red Channel, and we're starting to effect that differently. If we want to. Effect may be just the Green Channel. We can start to affect just that differently. The same concept, the exact same concept, what we looked at. Except we're just controlling the individual channels. And then, of course, at any time, if we've made some changes and we always want to get back to the default, we can click on this little icon right here in order to reset everything back to the default. Now, the last thing I want to cover in this video are these little eye droppers over here. Of course, you can always click on the automatic button to tell Photoshopped automatically set your values. Ah, but the's eye droppers can be a great way to control the levels adjustment to. So if we go from top to bottom, this is the black points gray and white point. So maybe let's set this Maybe the walls in the background. So that's going to be were telling that that now that is pure white. So if you notice how this starts to kind of blow out a little bit, we can actually say this Gregor area. This might be a little bit easier to see if we say okay by selecting this were telling Photoshopped that this level of gray this color level is now pure white. So when we select that you can see it starts to blow out the image a little bit more because it's actually affecting those values. But you'll notice it's not affecting the RGB channel. It's actually affecting each channel individually. What's really cool about this is when we use those color pickers. Now we still have the RGB Ah, the RGB levels in order to control. So we still have our nice level of control. We can really tweak this brighten this up if we want to do whatever sort of adjustments that we want. And the same goes for gray so we can set the gray points. Maybe somewhere on the cat is grace weaken. Set that, and you can see how it's actually affecting the color values. So we're doing a little bit of white balancing and color correction here in side of the levels on. And then, of course, we can set the black. Now, if you want to see the, um, the preview of what it's going to clip if you hold down Ault on this, then you can start to see so you can see what what is currently being clipped with the black point holding down Alz or option on a Mac. But let me find somewhere dark, maybe in inside of the eye something like that would be be black. You can see how again that's affecting our image. But of course we can come back and continue to tweak this and continue toe edit this however we want. But, you know, in this case, I kind of like with the great point kind of set around here getting rid of some of that yellow issue that was in the photo from the indoor lighting. I know you're not familiar with this cat, but ah, this color corrected version is a lot closer to the cats. Riel colors who? Okay, I know. We covered a ton of information in this video the levels adjustment layer is a very powerful feature that will be something that you use a lot. And if you combine that with layer masks clipping paths, you can really start to see how powerful it can be to fine tune different parts of your images to get the look that you need now. One of the things that we learned about in this video is the hissed a gram, but the levels adjustment layer is not the only place that you'll see this. So let's move on to our next video to learn more about how to read the history, Graham. 8. Understanding the histogram: in this video, we'll learn how to understand the history. Graham in Photo shop While the history Graham is not an adjustment layer, I thought it was very important to cover this in this section because the history Graham helps us get a good idea for the color value in our images. And as we saw in the last video, when we're using adjustment layers, those color values are going to be changed and you'll be able to track those changes with the hissed a gram. So let's start by creating a levels adjustment. And this is something that we created in our previous video. I'm just gonna click on the levels adjustment here. We already looked at the levels, hissed a gram in the previous video. So the reason why I'm pulling this up now is to compare what we already know to compare this to the overall Hester Graham for this image so we can see the difference. Okay, so let's look at the overall hissed a gram for this image to find that we covered a window and hissed a gram, and that will open up this panel here. So I'm gonna pull this over. Let's maybe bring this here so we can see these a little bit easier. Pull this over. So we have a little bit more room and we can make the ah, the Hester Graham a little bit larger so that we can see here. Okay, so right away we can see that the levels hissed. A gram looks different than the history, Graham in this image. And the reason for that has to do with the channel. So you can see right now we're looking at the RGB in the levels, hissed a gram and this is looking at colors. So let's switch this to RGB. And you can see now that we're looking at the same information in the image, this hissed a gram is exactly the same. So this is the levels hissed a gram and this is the hissed a gram of the overall image. So just like we learned about in the previous video, what we're seeing here on the hissed a gram are the color values in the image Over here on the left side, these are the shadow tones. On the right side are the highlight tones, and the mid tones are well right in the middle, so it goes from 0 to 255 knots really hard to see. But the hissed a gram is essentially made up of 256 individual lines, going from zero to 255 so zero itself counts is a number, so there's 256 total. If you're wondering why the number 256 go check out the section about understanding digital images, where we learn about bit, depth and and all color information. Basically, though, because right now we are in RGB mode. We are seeing a composite of the red, green and blue channels and all the color values that make up this image. As we can tell, there's a lot of higher peaks in this particular image over here on the left side than there are on the right side. And that tells us that there's a lot more darker color values in this image than the lighter ones, which, of course, we can see over here in the image. There's a lot especially appear at the top. A lot of darker color values. Well, watch what happens when we make an adjustment to the levels adjustment layer. So I'm gonna take this. And as we learned in the previous video, what we're going to do is take the black here and crush those values. So now everything from 0 to 100 has an output value of zero, and you can almost start to see the lines. As I mentioned, it's just made up of a bunch of different lines here. But what we're seeing here in the overall hissed a gram. Now you'll notice that that has changed. Now, what we're seeing is really the image of the, um hissed a gram after the image is applied after the adjustment layer is applied, I should say so. The levels adjustment is showing the history of the image before the adjustment is applied . So we're applying it to this. So this right here is essentially a zoomed in version of just this part right here because what we're telling this levels adjustment layer to do is take all of the color values from 0 to 100 and set them to a value of zero. So now over here on the overall image, we have a lot of color values at zero you can see that very, very thin line right there. A lot of color values at zero. And then from there, 101 to 255 or spread out. Of course, this is a very simple example, so we can understand what we're seeing here. But it can start to get even more complex when you factor in multiple adjustment layers. So if we have another adjustment layer, maybe another levels layer, and on this one we're coming in here and we're adjusting this and and maybe making it brighter making adjustments to this. You'll notice how this is starting to be affected. So this is still the overall of this entire image. You can see the source is this entire image, but now it's starting to get a lot more complex. These color values are starting to be ah, that are on the entire image, are being affected by multiple adjustment layers. But again, if we want to read this weaken, see, it's still a value. Over here. There's a lot of color values in the value zero, which means somewhere would probably have something clamping that down. And then over here on the right side. We have a lot of color value at the highest value or value of 255 which means again we probably have something clamping that down. And so if we look at our image, we can see you up. As a matter of fact, we have this here climbing that down. Everything from 1 56 2 to 55 is set to a value to 55. So we can see this. Ah, this bar here at 2 55 See how that's affected or if we get rid of this, just delete that layer. You can see now with this one, we have everything from 0 to 100 is affected and you can see this bar over here start to be affected as well. Now, something else that can make this more complex is the fact that there's multiple channels you can visualize. So right now we're looking at just the RGB or ah composite of the red, green and blue channel together. But we can look at just the Red Channel in visualized just the red ah color values in this image again, it's going to be a value from 0 to 2 55 in this image. Unless, of course, if we've started to clamp that down in one of our adjustment layers. But even then we're still seeing all of those values in the history, Graham. Or if we go back to the default. So this is what the default looked like when we first opened it. Ah, basically what this is doing is it's showing us the RGB channel, which is this gray area here. And then it's layering on the red, green and blue. So if we were to cycle between these, you can see RGB So this is what our RGB looks like read green and blue and now with colors you can see this is our RGB right here, This area again Go back to RGB. You can see how that looks, the colors you can see Ah, red and kind of this peak right here in the center. You can see if we go back. We have that peak right there in the center. And then, of course, you know, green, you have that tall peak right there. Ah, green, tall peak and blue. You'd expect to see a tall peak over there as well so we can see that peak there. So the colors is really just kind of layering all of those on top of each other. Okay, so now that we have a better understanding of what the history cram view is and the information that is displaying their, the last thing I want to point out is something that you might have noticed as we've used the Hester Graham panel throughout this video, you don't actually make adjustments in the history Graham panel itself. It is informational on Lee, but it is incredibly important because it can help us get a good idea for color values in our image as well as when those color values might be clipping. So as we saw earlier. If our to come in here and start to crank this, you can see how we have over here on the left hand side. It's hard to see, but if you notice there's one line right here, switch back to RGB. There's one line that means that we have things that are being clipped and it's it's all the way up to the top, which means it's being clipped off and essentially were losing that color information so you can see in the image here. We're losing that information. And it's just ah, in this case since we're doing it on the darker colors from 0 to 81 being set to a value of zero. That means we have all of this color information that we're essentially just throwing away and setting to a value of pure black. Now down below. Here we haven't really talked much about this. Here, let me set this back to the default so we can see this a little bit easier. And look at what these are down here with these values mean down here. So even though the hissed a gram is informational, it is also interactive. So if we were the left, click and drag somewhere inside of the hissed. A gram weaken. See this level here? Watch. Watch the value. So right here we have 86 to 1 45 So right now we are selecting the color values from 86 toe 1 45 Remember, this is going from 0 to 2 55 So we can really see that if I try to come all the way over here on the left side and select all the way. Well, I didn't quite get to zero. I got to one but 12 to 55 so we can see what those are. So at any point, if we want to see oh, you know what? From 1 to 42 there's a high peak, which means there's a lot of color values that are in between one and 42 in this image. So that's a case we can use that information to to edit our image accordingly and and maybe adjust our levels accordingly. Or however we want to do that. Now the count here is going to be the number of pixels that have that color value in the image. So right now we have just 45 is selectively just left click. Then you'll get just one so that this is just ah, the value of 101. So the color value of 101 there are 7281 pixels inside of this image right here that have a color value of 101. Now, how many this percentile here is from the overall, so you can see over here we have 328,812 total pixels, which means that 7281 pixels that have a value of 101 that is 1010.74% of the overall image . So again, it's just informational. You can click in here in order to get that sort of information. Start to get an idea toe, understand the colors inside of your image a little bit better. Now this this cash level over here has to do with Photoshopped cashing the hit hissed A gram and photo shop is gonna try to cash this so that we can see things a lot faster but weaken turn on and off the If you notice this here, you'll notice this little indicator means that the hissed a gram is being cashed. Okay, so if we click on that now, we get our history. Graham kind of refreshed. And what that's doing, is it setting that cash level back toe one? If the cash level is higher than the value of one, that means that photo shop has cached files. And as soon as we come in here and make any sort of adjustment, you'll notice that that cash level comes back. The reason for that is because again, Photoshopped is trying to trying to show you the history Graham as quickly as it can. And so it cashes. It actually is files in the temporary files. So at any point, if you're noticing that the information you're getting from the hissed a gram might be a little bit off. Ah, you can click on this in order to cash that, and you'll notice that over here in the levels, we also have a similar thing. It's the exact same thing again. It's going to force Photoshopped to calculate a little bit more of an accurate hissed a gram that is not cashed. And then from here. Anytime we make an adjustment, um, those things are going to start to be cashed again. So just keep that in mind that while photo shop is going to try to keep the history grams of today based on the edits that you make again, the more adjustment layer as you have, the more it's going to affect that hissed a gram and the color values in your image. If you got a huge document with Aton of different edits. It can start to lag behind a little bit. You might notice that the history Graham is lagging behind a little bit. Um, and you might need to go in there and clear out the cash sometimes. Okay, great. Now let's move on to our next video where we will take a break from hissed a grams for a bit and learn about the hue saturation adjustment layer. 9. Hue/saturation adjustment layer: In this video, we'll learn about the hue saturation adjustment layer in Photoshopped. The hue saturation adjustment layer gives us a Siris of sliders that we can use to adjust the color tones in our image. So let's create our hue saturation adjustment layer. Gonna come down to the adjustment layers, click on hue saturation and there we go. So let's get to understanding this from top to bottom here in the properties panel. So at the very top, we have a presets just like all of our adjustment layers. Photoshopped has some built in presets. Feel free to play with these, but we won't really focus on them too much in this course now. Below that we have What's the dropped on it says master. And this is to choose the colors that you want to effect with all of these sliders down here. So all of this down here is controlled by this drop down Master is the default, and it means that all of the colors in our image are going to be affected at once. Of course, we can choose only the reds, the yellow color values, the green scions blues, magenta is and so on tell you what, let's see this in action. So let's see what this is doing. So with master selected, let's change the hue to maybe be a value of somewhere around 100 so you can see what is going on here. All of our colors have been affected. We've taken all of our colors and we've turned them more towards this kind of ah, purplish hue. Now you'll notice these color bars down here and these are really crucial to the hue saturation adjustment layer. They are completely informational. But what they're showing us is this top bar are the original colors. So these are the original colors in our image. This bottom bar is showing us the new colors. So what we're seeing here if you notice all of the blues that we had in our image So this was a very blue image. Now all the blues here if you look down now all the blues are kind of a pinkish hue because of changing this value and as I just this you can see how see the blues here the light blues are a much darker blue so we can see that affected in our image as well. So as we're seeing this shift, you can see the top value is theory journal colors, and then the bottom is, ah, how we're adjusting the hue of those colors. Now, with that in mind, it's easier to see exactly what photo shop is doing. Ah, really kind of depends on the settings that we have in the hue saturation adjustment layer . But if we keep our eye on this bottom bar and compare it to the top bar, we can start to see exactly what photo shop is doing. So the saturation is pretty straightforward. It's going to control how saturated those colors are. So if we crank this all the way up, Ah, we can see how that is effects. You can even see how it affects our bottom bar. So saturation all the way down. Now everything is is gray. It's been de saturated, and as we start to crank this up, you can see how the colors in that bar are being affected, as well as the colors in our image as well. Now, one thing is cool about the saturation barn particulars. We can use this little slider here, so if we select this. And then we left click and drag on somewhere in the image that we want to be a change the saturation. We can control that and watch what happens as soon as I do that, because I'm clicking over here, I'm changing the saturation of this. You'll notice it's not the entire image anymore. I'm Onley affecting the science. So because I picked this area over here, Photoshopped recognized that that area in the original image if we turn off our adjustment layer in the original image here, is scion. And so that is what it's using to control the saturation. Its using these scions channel up here. Now, if we wanted to control more than the saturation with this little here, we can hold down control and then left, click and drag an you can see. Now it's controlling the hue. So again it's just left, click and drag to control the saturation and then ah, control left, click and drag or command left, click and drag in order to control the hue and its controlling the HEU, based on where you select in the image. So if I select somewhere on the turtle than, of course, it's going to change that. So you can see now it's controlling the yellow in our image. Now, if the Adam Point we want to hop back to our defaults Ah, we can always do that. Reset this by clicking on this little button right here in order to resets weaken. Reset this back now, we haven't really looked at the lightness yet, but again, this is pretty self explanatory lightness. It's going to either brighten or darken the image you can see here. It's basically taking the brightness of the color values and lightning them or darkening them. Depending on where we adjust that with that slider, we also have the ability to colorize, So this is sort of like tinting in the levels adjustment layer. This lets you colorize the entire image. As soon as I do this, you'll notice that some things get great out. We no longer have the different color drop downs that we can use because colorizing really affect everything. You can see our original color bar, and then the new colors are really going to be based on whatever he we want. So if we want this to be kind of a bluish, you crank the saturation. Ah, you can see everything is kind of a consistent color there, and you can get some really cool effects with colorizing your images. Especially if you start to play with things like blend modes and colorizing and things like that and start to mix a lot of these things that we've learned so far. You can get some really, really cool effects. But now I'm going to come in and let's reset this because the key thing that I haven't really talked about yet is these eye droppers here now, Right now, you'll notice that they are great out. The reason for that is because they are great out when we're dealing with the master colors . As soon as we hop into one of these channels here, we will be able to edit them. I'm gonna come in because this is predominantly blue image. Let's hop into the blues. We can see a few different things now you don't have to work like this, but in my projects I like to start by cranking one of these sliders to the extreme. So that way I can see exactly what is being affected in the image so I want to take this saturation, crank it all the way up. We can see. OK, this is kind of where the blue parts are in our image, as opposed to Scion or as opposed to some of the others. So we now that we know okay, and that's what it's affecting. Now we can start to play with what sort of settings that we want. But if this area by default, if the blues by the fall aren't affecting of things that we want, we can start to control that. So if you notice this down here, this changes. And this is going to be different depending on if you're in in the greens, you can see it's over here. Ah, yellows. It's under the yellow colors. Ah, and then blues. You know it's over the blues, but what it's doing is it's saying these are the areas that are affected by the hue saturation settings. So the Blue Channel is from this color value to this color value, right? This inner part here and this outer part are kind of feathered out, so it's not a hard stop at these inner colors, but then it feathers out and it smooths out color fades into the ah, maybe the pinkish colors and the scion colors on this side. Now what's really cool about this is we can use these eye droppers in order to change what colors are affected. So if I wanted to use add something to this, let's say we want to add this area over here. We want this area. We're gonna make sure that that is affected by this Blue Channel. By click on that, you'll notice how this extends into this area here because over here Photoshopped detected that this color that we added was Maurin the science. So it's adding that. And now if I start to crank this, you can see that that area over here is affect a lot more by these sliders. And of course, we can do the same to subtract. So if you want to get rid of the colors affected, so if you want to say we don't really want this affected as much, then you can see how how that is removing, and it's squishing that down so Onley. These are what's affected, and once we have the colors that we know we want to affect figured out we can start to make some of our edits, so ah, we can come in here and maybe tweak over in this area. Add that to our sample, start to tweak this kind of make some some edits that we want. You can get some really, really cool effects. Ah, so we turn this off, see what's what. It's affecting doesn't look like it's doing a lot of me. Pull this, Maybe crank this up a little bit and left, click and drag in order to add to this. And now we can start to kind of make the background a little kind of de saturated, really kind of helps focus on the turtle, and again, it really kind of depends on what sort of outcome you're going for. But in this case, I really like that because it kind of helps you focus on the total itself. You can still see we haven't completely de saturated. It's just a deeper, darker blue, but it kind of asked to some of that, and it kind of helps the subject of this photo pop out. Okay, So to recap, the hue saturation adjustment layer is built around three primary sliders, hue, saturation and lightness. We have a number of drop downs that give us the ability to find the colors we want to effect, and then we can use those three sliders to fine tune the colors in our image. Now, in our next video will learn about yet another very powerful adjustment layer that has a built in history. Graham the curves Adjustment layer. 10. Curves adjustment layer: in this video, we'll learn about the curves adjustment layer in photo shop, So let's get started by creating our curves adjustment layer. Someone come down to the adjustment layers, click on curves, and here we go Now curves are one of the more popular adjustments for image editing because of how powerful they could be. Like any adjustment layer. There are some built in presets that we confined up here at the top. And like any adjustment, there's no one size fits all. Setting a preset might work for you. It might not. The settings I choose in this video won't work for your project, and all depends on your photo, your image or whatever it is that you're adjusting. But inside of the curves, you'll notice that we have our own curves, hissed a gram, and we've already covered how to read a history. Graham couple times when you looked at levels and then the history Graham for the overall image in photo shop. So I'm not really going to repeat it here. But this line here, this is the curve itself Now, Right now, it doesn't really look like a curve because it is a completely straight line. But here's how the curve works. Weaken left click in order to create a point. And then we left click and drag in order to move that point. So you see again like a like you're recognized with the hissed a gram we have left to right being dark. You can see the black down here to light values over here. So what we're seeing is over here in the brighter parts. If I drag this down, it's bringing all of those values down to a darker value, so you can see over here being light to dark. We're bringing it down to a darker value, or vice versa in the shadows. If we wanted to bring those up, you can see how we left click and drag and start to create this curve. Now that, essentially, is how the curve adjustment layer works. But there's a few different tools that we have in the curves adjustment layer that we can use to modify the curve in different ways. So one of them is this guy right here, and it's very similar to things that we've seen in previous videos to click on this. You can actually come into the actual image itself and select a point so you can see their point sample or we can choose Ah, an average. So it's gonna be like 11 by 11 will be 11 pixels by 11 pixels, and it's gonna average that color value once it finds whatever that color value is. In this case, with Point sample is gonna be the one pixel that we happen toe click on in the Image. Once it finds that color value, then it's going to take that color value. And if we left, click and drag. So if I left click and drag you can see over here, it found up. That's where that color value was of that pixel. And so that is where it added a point. And that's where it's starting to change. Or if we come over here, it's gonna be completely different. You can see look at the color the curves here. As I'm moving around, you can see where it's going to be adding the point. So as soon as I come over here, maybe left, click and drag and see up there, adds the point, and then it starts to adjust, based on where in the image we are modifying. We also have the ability if you prefer not to left, click and drag and and and add points that way, we can also come in and just use a pencil to draw the curve if you want, so we could come in and say, Oh, I know I want the curve to be toe look something like this left, click and drag in order to do that And then, of course, we can use this in order to smooth that curve, curve out some. If we want to do that. If it's a little bit too harsh, click on it multiple times to in order to curve, smooth that out a little bit each time. That's a really nice feature. Realistically, my own projects. It's not really a future I use very often, usually what I'll do if I reset this. So again, use that button there in the to reset back to the default. Usually, what I'll do in most projects is to use the points come in, click and drag and then find find those points there and this adjustment here, one of the adjustments that a lot of professionals use is something kind of like this. It looks kind of like this. This is called an S curve, or some folks call it an F curved. The reason why it's so common is called an S curve or F curve. Because of this, you know, kind of a very slight s shape to it. Reason why it's so common is because a lot of cameras shoot with a raw format that doesn't really have a lot of contrast straight out of the image. So this helps put a little bit of that contrast back in. You can see how, if we turn this off and then back on, you could see you how it's added. Some contrast because what it's doing is it's taking these highlights over here on this part of the color value, and it's pushing them up. So it's cranking the highlights just a little bit, and then is taking the shadows down here some of the shadow tones and pushing them down even further. So it's separating those two and creating contrast in the image, and you want to keep it subtle. If you go to extreme, you can start to see some major differences, but you can see just even a slight change. How it really affects the image and helps kind of boost those colors and give it a nice little punch. Now, the last thing I want to point out are these eye droppers here. So I'm gonna turn on this other layer that we have. Let's create a new curves adjustment for this one, and we could even make it a clipping path if we want to make sure it only affects this layer. Now, with these eye droppers from top to bottom, we have the black point, the neutral gray and then the white point. So basically, this is a great way we looked at these actually, in the levels adjustment layer video as well the curves layer, they do the exact same thing. Except, of course, the results will affect our curve instead of levels. So watch what happens after to do this. I'm gonna start with black and we'll start with black up at the top here and let's pick a black part in our image and maybe somewhere in one of these shadows here. So something like that, let's find a neutral gray someone a pick somewhere over here you can see already how it's starting to affect our image. It's much cooler color and we can pick a white if we want. Maybe this the whole background is going to be white. So if I turn this on and off, you can see the difference that this is making very, very subtle differences. But actually, you know what? Let me change this gray, because I know that this actually this color here is actually grey from when I took this picture. So it's something like that so you can see how it's affecting our image. And if you look closely on the curves, you can start to see some colors introduced here on the reason for that, and you'll notice that our curve hasn't actually changed. But if we use this drop down, we can look at our RGB channels the red, green and blue. We can see the Red Channel has been changed, so this has been brought in. Some added a little point started to affect that the Green Channel has been affected as well, and the Blue Channel has been affected. So it looks like they've been affected in fairly similar ways. And so that's why we can see if you look very, very closely. You can see the Green Channel kind of peeking out from behind the blue. But what's nice about this is once we have that changed with the eye droppers and the eye droppers in the curves, adjustment are very common way with photographers to white balance an image. They do a really good job of picking the white, black and neutral gray points and then adjusting the colors to match. But we still have our overall RGB that we can start to adjust so we could start to, you know, add maybe very slight s curve to this to add some contrast. And in the end we end up with a little bit more punch to our image. Some color correction in our image, all inside of the curves adjustment layer. Okay, So to recap in this video, we learned that the curves adjustment layer gives us well, it gives us a curve that we can adjust to affect the color values in our image. And we also learned that the way we adjust that curve is by using points that we can either create in the history. Graham and the curves, hissed a gram by clicking and dragging points in the image itself or by drawing it with the curves pencil tool. We even learned how to do a white balance, using the eye droppers and picking the neutral gray point, the white and black points with eye droppers. Now, in our next video, we'll learn about another adjustment layer that lets us control the colors in our image. The photo filter Adjustment layer. 11. Photo filter adjustment layer: in this video, we'll learn about the photo filter adjustment layer in photo shop. Now, if there's an adjustment layer that's is close to automatic, as you can get the photo filter adjustment layer, is it? And as we learned in previous videos, how to create adjustment layers, we can either come down here in the layers panel or we can come into the adjustments window . If you don't have open, you can come into window adjustments and then click on the photo filter adjustment in order to add that. So I'm gonna click on that there. Now, as we can see, this filter is pretty simple. You can see right away the effect it had on our photo. If I turn this off and on, you can see it's adding kind of a little bit of warmth to our to our image. And the reason for that is because either we have the option to pick a filter, so there are some dropped out. There's a drop down. There's default filters that we have in here, so we can either be warming. We can cool it down a little bit. You can see the difference there. The alternative to that if we don't want to pick a filter, is we can pick a color so we can pick any sort of a custom color that we want. Maybe something a little more little darker, something like this, and you can see how that then effects our image very, very slight. But if you notice, especially in here, kind of darkens the image. Now we can crank up the density of this, and that's going to control how, Ah, well, how tense that color is being applied to the image. But we can see as we crank this up in this case because we picked a darker image, it's really starting to de saturated and add that kind of, ah, dark, bluish color that's kind of de saturating this image. And the only other option that we really have is the ability to preserve luminosity, which really tries to keep the image at the same brightness. So if I were to turn this off, you can see the difference. So what it's doing is it's saying okay, this is how bright the image was before I turn off the adjustment layer so you can see this is how bright the image was before. So when I apply this photo filter, try to keep that same level of brightness as opposed to If we take turn it off. Now, our density is really going to not only affect the color, but it's also going to affect the brightness of the image as well. Of the luminosity of that image, so usually out prefer to leave this on and just let the color kind of drive the effect here . But again, the photo filter. It's really a way of style izing our image. Oh, in this case, we've brought down a lot of those bright colors, giving it an overall cooler. Bluish you, but it could be a great way to again, just automatically, kind of stylized her image with certain colors. With that, let's move on to our next video, where we're gonna take everything that we've learned so far in this section and start to see the power in using multiple adjustment layers on the same image 12. Mini project: Working with multiple adjustment layers: throughout this section. We've learned a lot about adjustment layers. And how they work in this video will take all the things we've learned up to this point and see how they can work together to adjust colors in photo shop. Okay, so let's get started. I'm gonna start with levels adjustment layer, so let's create our levels. Now, any time you create an adjustment layer of highly recommend having a goal in mind, what is the purpose for that adjustment layer? Instead of just adding something in and just kind of randomly deciding? Oh, let's just start with levels In this case, I want to start by doing a little bit of color correction. So with the levels adjustment layer, I'm gonna use the eye dropper sample. And I always like I was like to start with some color correction, because that way, as I'm making images and actually deciding if I want to style eyes, the colors on things, if I've already done the color correction and got the colors to be as natural or as as as I like them, then when I start to stylized things, then I know that I'm actually working from good colors instead of having to change them all around and having to kind of fake that and make it up. So let's start here with the eyedropper. And as we learned in the Levels, video goes from top to bottom, black, neutral gray point and then kind of Ah, white point. So I'm going to start with Black, and in this case, I'm gonna have to control. Plus, in order to zoom in and let's find a black points would be really on the center of the eye here like that. You can see how that has affected our image already. Now let's come in and find Ah, gray area. Maybe somewhere around here kind of a white, but kind of a grayish Somewhere around here we go. You can see how that has very, very, ah differently, different effect on our image already. And that's coming to the Red Channel here. That might be a little bit much. Let's start to bring this down just a little bit, so it's not quite so red. I like I like the kind of the brown, earthy colors, Um, and as I'm remembering from when I took this photo, I was kind of that way. But here in the background, This here it's kind of hard to see, but this was actually river back here. And so in this area here, what I would like to do is to kind of, ah, bring that back and bring make it a little more visually obvious that there's a river or stream back there. So to do that, it's come in, we'll create another adjustment layer. This is gonna be a hue saturation. And I'm gonna colorize this to be a bluish color, maybe kind of Ah, lighter, blue, maybe dark and a little bit. And then from here we can come in and use the layer mask in order to tell Photoshopped Onley effect this part of that photo. So I'll come in here. Let's select this and move to our paintbrush now a very, very quick way of filling this So right now because most of our image is not going to be affected by this. You saturation! Ah, very quick way of filling a layer is using the keyboard shortcut ault backspace to fill with the foreground color or option backspace. If you're on a Mac or command backspace to fill with the background color. So in this case, because it's white, I want to feel with black. I'm going to use all backspace, and that's going to fill this with black because that is the foreground color that I had. So now, with that effectively, I've told Photoshopped to not apply the hue saturation anywhere. What's cool about this is now I can start to paint in just this area up here and to do that . And when it hit X on the keyboard, watch what happens to my colors over here when I hit. X is going to swap those colors when you use bracket to open up my paintbrush a little bit and left click just to start painting in. And because the way my aperture was set on the camera, I have, ah, easing focus up here. But back here, it's a little bit blurry, so I'm going to right click. Let's change our hardness, bring it down to be a nice soft brush, and that will help kind of blend into the for just a little bit on the back There. There we go. Start blending that in, and these these are actually rocks right here. Someone a hit X again. Paint this out so that those air not colorized so you can kind of see the path of the stream. So it kind of went like this and then kind of back here and there's a couple rocks and stuff like that kind of blocked lock that here we go Very nice. So we've colorized that. It's still a little It's it's a little little harsh. It's a little, um I mean, I want to call attention to that, but maybe not that much attention. So I'm gonna select this layer If we select the layer now, we can use blood modes, which we've looked at in previous video. So I'm gonna use that and maybe set it to something like a soft light. So now if I turn this off and on, you can see how it really helps you still kind of have that kind of a bluish cooler color, and I might actually crank that a little bit deeper, something like that. So it's definitely cooler, and you're starting to get that feel that there's, ah, a river or stream back there, but it's not really in your face about it because end of the day. The ah, the otter here is the hero of this image. Now, once we have this, let's add another adjustment here. I'm gonna come in and creates a curves because I want to add a little bit more contrast to this and boost it up a little bit. Pull it over. Maybe just add a little bit of an s curve. Very, very slight and subtle, actually. You know what? Let me do this. Let me pull this up because we already have added some with our levels. Pull this up. I want to be able to see I want to be able to see his face really well. But I don't really want to blow out the back parts. And so that's kind of what I'm looking at right here is I'm adjusting this plenty of plenty of detail there, But but not much. Now, one thing we haven't really looked at with the curves, um, is to actually create kind of, ah, faded film. Look, it's something that you're you'll find actually really common with photographs, especially since the on onslaught of instagram filters. But a very common way of of doing that In photo shop here is to take the curves. So this point right here, this is the black point. So what it's saying is this zero equals zero. Essentially, so black is black, pure black is pure black, pure white is pure white. But if we take these points at the very end of our curve, we can adjust this. So if I take this, it's similar to clamping the levels of when we looked at that. If I take this and bring it up, watch what happens. You can see now we don't really have a pure black. If we crank this up a little bit over here now, we don't really have a pure white in our image. Instead, it's actually a slight gray color, and this is ah, a little bit of a darker gray. And so it adds that kind of a faded film. Look, if I crank it up, you can see. But when you're when you're wanting to stylized your image Ah, that could be a great way to do that and just kind of pull it back. So it's not quite so, so harsh as faras the pier, blacks and pure whites. Okay, now I'm gonna add one last adjustment layer to this, and that's one that we've looked at and it is thief photo filter. Just to finish this off and add a little bit, let's maybe add this. Ah, see Pia and crank it up a little bit again. I like the ah, the brownish tones. It gives us a nice, earthy feel with the wood here. Ah, you can tell that you're out in nature and, of course, the great little otter there as well. And as with almost anything her. Any aspect of photo editing, creative projects, there's Ah, In the end, there's a lot of room for opinion room for interpretation. If you're not happy with the way that I edited this photo, no problem. I'll save this off and you can go ahead happen here because we were working non destructively. You can see this is the original photo, and these are the edits that we made. So if you want to come in here, you can double click on the late the levels, make some changes to the levels start to affect the hue saturation. Change the curves, change the photo filter that you want really, the benefit of adjustment layers here is that not only are you adjusting the colors on your image, you're doing it on its own layer, which means at any point, you can always come in here and continue to tweak things and continue to change things until you're happy with the end result. As with almost any aspect of photo editing, well, creative projects in general, In the end, there's a lot of opinion and room for interpretation. If you're not happy with the way I edited this photo in this video, then no problem. Because we're working non destructively with adjustment layers. You can come in here and tweak them to your heart's content and get a result that you like better with. That said, I'll say this file off so you can grab the final result in the project files if you want to do that. But for now, let's move on to our next video, where it will take a step back from adjustment layers and start looking at a different feature in Photoshopped Filters. And we'll start that the same way we always do by getting an understanding of the concept itself. In our next video 13. Understanding the concept of filters: In this video, we'll get an overview of the concept of filters in Photoshop. So what are filters? Filters are a special effect that you're applying to the pixels on your image, and there's a lot of different types of filters and a lot of different types that you can use that will give you a wide range of results. So, for example, here is just the original image and then reply a Gaussian blur filter to that image. This is the result that we get back. If we apply. Of course we can choose. You know how strong that blur is, and things like that. You can customize all of that. And then there's another one where we can add noise and Photoshopped will generate noise toe, add to the image, or there's some or extreme ones where you can create some really fun effects, like this pinching effect. Now, unlike an adjustment layer, filters cannot be modified after their applied. When you apply a filter, you're applying it directly to the pixels in that layer. Now, the exception to that is, if you apply a filter to a layer that is a smart object, then that filter becomes a smart layer. I'm sorry, A smart filter, which means that you can readjust it after the fact Filters can be applied to either the entire layer or just a selection. If you've made a selection on a layer, say, Well, we selected around this chipmunk here, and we only want that to have the Gaussian Blur applied to it. You can do that as well. Now there are some limitations to filters. Ah, for example, the bit depth of your image does matter. Ah, depending on what the bit depth is on your image. Some filters won't work. For example, you cannot use the dust and scratches filter on a 32 bit image. Another limitation of filters is that the way that Photoshopped creates the filters in the way that Photoshopped generates our alters the pixels and generates what it needs to generate it uses the ram in your computer the memory in your computer in order to process those filters. So depending on the amount of RAM that you have in your computer, that will determine how limited the filters are. If you have a really big image and ah, you're working in that and you're trying to apply a filter across everything. It's going to use a lot of memory on your computer and again, depending on how your computer is, how powerful your computer is. That will determine how well that filter can actually be applied. So to recap, filters are special. Effects that we can use to stylized are images in different ways. Now, throughout this course, I've mentioned the concept of non destructive work flows quite a bit, and as I mentioned earlier, it is possible to use filters non destructively as smart filters when you're applying them to smart objects. So with that in mind, let's move on to our next video, where we'll look at how we can apply filters non destructively in Photoshopped. 14. Filters vs smart filters: in this video, we'll learn how we can apply filters in photo shop. Now there's two ways we can apply filters either destructively or non destructively. And in my experience I would always recommend a nondestructive workflow whenever you can. But before we look at the nondestructive workflow for filters, let's look at why Nondestructive is, in my opinion, a better opinion and will do that by applying a destructive filter first. So here I have two layers, and these are exactly the same layer. If I turn them on and off, you can see there's absolutely no different for this layer here. This is our destructive lier. Let's come in and apply a filter to it. So when you come up to filter, blur and let's just do a Ghazi and blurts a very popular type of blur, and we have the ability to control the radius for this blur, basically, how blurry are we going to make this? Let's crank this all the way up, maybe something like 10 somewhere around the value of 10. So now that we have this, if we hit okay, you can see that this this layer has actually been affected. What we have done here. It's tough to see in the thumb. No, but you can see over here what we have done here is called a destructive workflow. So, for example, I'm going to save this file off at the end of this video, and you can open it up in the project files when you open it up. This this layer here, this destructive layer, it is going to be blurry. And if you ever wanted to get the in focus version back where it's not blurry, there's no way you can do that. If you look in the history panel right now, if I look at the history panel, you can see I can undo that. But when you open up this image, or if I were to save this file off close out of it, open it back up. As we learned previously, history does not move with the file, so this will be completely empty, which means there's no way that you can get that back. So here's how we can work non destructively with filters. I'm going to select this nondestructive layer. Let's turn this on so we can see this is the original layer here and rather than applying this filter here, that's right. Click turn this into a smart object once. This is a smart object. Now, if we walk through that exact same step, we can come up here to filter, blur, gauzy Ambler. We can actually even use this right here, because this will change depending on what the last filter was that you used. If you want, apply the exact same setting. So I think we had it at 11.1 pixels. Ah, exact same. You can use this. I'm just gonna hot back here so we can see 11.1 pixels hit. Okay, watch what happens over here. You can see now we have a smart filter applied. Now the image itself looks the same, but I can turn this on and off. And that's really the big difference between smart filters and filters. And again, maybe you're wondering why does this matter? Why is a destructive workflow? Why does it matter? And in some cases, you it might be faster to work destructively. But the primary reason for working non destructively has to be able has to do with being able to get back to the original if it any point We wanted this image back. We wanted to be able to, uh, maybe used this image for a completely different project. Or maybe the client comes back and they're like, You know what? There's too much blur on their howdy. I want less blur on there. Well, unfortunately, you can't make it less blurry after you've applied it to a dishonest, destructive workflow, but with a nondestructive workflow, because we can turn this on and off. We could actually take this, and we could drag it down here and delete it if we want to completely get rid of it. Or we could just double click on this here, pull it back and say, You know what? Maybe a value of five would be better, a little bit less blurry. See how we're able to do that on a nondestructive workflow. So, in a nutshell, that is the difference between a destructive workflow and a non destructive one. But of course, nondestructive work flows are not unique to filters. For example, if you recall from our previous section, we learn how we can work non destructively with adjustment layers. But with that said, I wanted to cover. The difference is here for the sake of this course, because we will be using smart filters whenever possible simply because it's a good idea to get in the habit of working as non destructively as you can. Okay, so let's move on to our next video, where we'll learn how to work with the filter gallery. See there. 15. Working with the filter gallery: in this video, we'll learn about the filter gallery in photo shop. Okay, So to activate the filter gallery, we need to come up to filter and filter gallery, but you'll notice that it is grayed out. I wanted to point this out because there's a very good reason for this thief filter gallery on. Lee works for eight bit images, and if you notice on the file tab here, this is RGB 16. So RGB color mode and 16 bit color depth. Which means if we want to use the filter gallery, we need to convert this. I'll go to image mode, eight bits per channel. Convert that, and now we can come in to use the filter gallery a real quick. Before we do this, I'm going to convert this right click convert to a smart object. That way, we are working non destructively, and now let's come in and come to the Filter Gallery. Now there's Aton of different filters in the filter gallery, and most of them are pretty straightforward. I mean, you can see So this one here we have charcoal. We have ah bass relief. We have all of the ah chalk and charcoal chrome, but we can see over here. What we're doing is we're actually compounding them. So I have this one here If we switched notepaper chrome on top of notepaper. Ah, we can add new ones. Weaken, Delete them. So if I delete this later, you can see how we're able to add multiples multiple filters together in order to create the effect that we want. So if you want kind of tourney edges on top of water, paper and every single one of these filters is going toe have a different set of sliders. So in this case, you know, we're choosing the between the image balance, kind of the smoothness, the contrast of the image. Water paper's gonna have a very different once, or if I turn off that layer, you can see we're gonna have, you know, the fiber length. How What's the fiber length on the water paper? The brightness overall so we can crank it up so you can see the options are going to be different, depending on what filters you're using. Now, as you can tell, all of this is going to be very opinion based. Do you like the way this water paper looks No. Okay. Well, then maybe Ah, maybe brushstroke, maybe kind of a spattered looking like this. You want to change this around, get the end result that you want Really Kind of a depends on what you're going for. In this case, it kind of looks like we're almost looking through Ah, stained glass or not really staying glass, but kind of that, um very heavy glass. That kind of gives this kind of spattered look to it. So really kind of depends on what? Look, you're going for what you want. What sort of filters we're going to apply here. Now you can continually tweak and modify these. You can add a ton of different layers. If you want to add a new one can add a new layer, maybe a grain layer on top. Change the intensity. Bring this down. Once you are happy with the look, you're happy with how this looks. You can click on OK and that will actually apply the filter. And because we created it as a smart object. Before you can see the filter gallery has been added as a smart filter, we can turn it on and off to see before and after. And of course, at any point, weaken double click on the filter gallery toe, open this back up, get right back to where we were and start to edit this image again. Okay, so in this video, we learned about the Filter gallery in hearing. As we can see, we've only scratched the surface of all the different filters in here. There's Aton of different filters in here that we can start to play with and start to gets really, really different effects on our images. And one thing that's really cool about this, that we haven't really looked at yet. If I hit OK, here, watch this so you can see the smart filters by default. That looks familiar. That is, ah, layer mask, except in this case, where Onley affecting these smart filters. So if we paint this again, I'm going to switch to black. Let's start painting this. You can see maybe we only want the background toe have that effect so we can paint out our turtle. You can see how the eternal is no longer affected. Of course we can come in and we hit X start to paint this in said, changing kind of the coloration there, There we go. So now if we turn this on and off, you can see the effect. So we've created this effect, but we've applied it toe only the background using the mask. And now that you know how to use the filter gallery, this mask aspect has to do with it being a smart filter. So that's for all smart filters, regardless of which one you're using. If you're using the filter gallery or not, I would recommend that you take some time in between videos. Start playing what you play with this photograph. If you want, start playing with some of your own photograph. Start playing with some of the different filters in the filter gallery. Start to see which ones you like, which ones you don't like. And really, that's the best way that you're going to get an idea for how you might use them in the future. Now, when you're ready, I will see you in the next video, where we'll learn about how to liquefy images in photo shop 16. Liquifying images in Photoshop: throughout this section, we've gotten familiar with how to use filters in photo shop. Weather is way too many filters to go through each one individually. If there's one filter that's probably photo shops most popular, it's liquefied. So let's take a few moments to get an overview of liquefied. So with our layers selected, let's make sure we turn this into a smart object. So we are editing non destructively. Now let's come in to filter and liquefied keyboard shortcut being shift control X or shift Command X. If you're on a Mac now, in here, you can see there's Aton of different things that weaken do inside of the liquefy filter. It's probably why it's so popular. But by default we will have what Photoshopped caused the forward warp tool selected keyboard shortcut being W. So let's just see what this does with the default settings. If our two left click and drag, you can see how it is warping our image and how it warps. Our image is based on these settings over here, so we have our brush size so you can see the size of the brush. But crank this up. You can see on the size cranks up quite a bit. And of course, we can use the same keyboard shortcut for the paintbrush, which would be, ah, left bracket in order to make the brush smaller right bracket in order to make it larger. We can do that in here as well, and we have the density so the density controls the strength of the brushes edge. So so think of it, sort of like the hardness setting on the paint brush. So if I were to crank this to, ah, 100% watch, watch the edges of this brush, I'll make it smaller so you can see watch the edges of the brush and you can see how this is being affected by the act all the way up to the edge Actually increased. The pressure will see this a little bit better, So watch this. You can see how all the way up to the edge how it's affecting that. Now. If I take the density and bring it down, you can see how it's on Lee really affecting in the center, right? So it's not nearly as much because we have it kind of feathering off there with the density And then, as we just saw, the pressure controls how much the the liquefy actually happened. So, pressure at 100 you're going to get a lot of a lot of movement there as your liquefying bring the pressure all the way down and you're going to get very, very little movement. But as you can see, you can kind of left, click and drag, and you can start to really get some fine control over this. So my recommendation would be realistically to use Ah lot. Um ah, lot lower pressure. If you do have a graphics tablet, you can use your stylist pressure if you have that. But if you use lower pressure and then just click and drag more times, then you're going to get better control over the results that you want than just going all in with 100 pressure and just cranking everything around. You know what's really cool about this is we can do it. Photoshopped calls freezing and thawing parks of the image. So basically creating a mask to control our liquefy effect. We have our mask options here, so let me mask everything that's gonna create ah mask over the entire image freeze the entire image. Of course, we can show or hide the mask if you want. Change the mask color. But over here we have the ability to freeze or thaw. So the freeze tool, of course, is going to paint this mask. We've Are you masked everything? So instead, let's thaw this and let's thaw, maybe Ah, around this part here. So let's thought around here, and what this means is this area right here. If we move back to our forward warp tool and let's maybe increased that pressure just a little bit so we can see a little bit easier. Watch what happens when I hit this edge here of this mask. You can see it's not affecting that anymore. If I turn off the mask, you can see even Mawr. How once we hit that edge of where we've mast the rest of the images frozen, which means liquefy won't do anything. If I click over here, you can see absolutely nothing is happening because that part of the image it's frozen now like a lot of tools. How you use Liko fight will really depend on the image that you're working with once you're happy with the edits that you've made You can click on OK, and you can see how it gets applied as a smart filter. We have that mask to again control it or we can just turn on and off to see the differences between before and after. Now, one of my favorite things to do with liquefy is to make some quick facial tweaks quick tweaks to facial features. So here we have another photograph here, and let's come in and apply the liquefy to this layer were leave this one unedited so we can see ah, before and after but its command with a right click. Smart object first working non destructively Got a filter, liquefy now right away. You probably noticed something different. And again, this is kind of this is a common workflow so much so that Adobe has built in the ability to have face aware liquefy. So you see, it recognizes Hey, there's a face in this photo. We didn't have that before, And if you look closely, you can see the boundaries around the face. When I held her over this, you'll notice that it says, Oh, look, you're on the face. It even recognizes. Oh, this is the I. This is another I This is the cheek. This is the nose and it's automatically recognizes that and then gives us some really, really powerful tools. Watch this by come to the mouth. Look, we can actually come in and we can make a little bit of a smile if I crank this up. See how it's liquefying that some really, really cool stuff that we can do when Photoshopped automatically recognizes that. And of course, if we want to, we could come in. You notice these are points that we can control so we can control where the forehead is. Ah, we can control where the whole head is. If we want to move that around, move the cheek around, we can start to control those areas. And then once we have those kind of selected, if we want to change that, for whatever reason, were not happy with how Photoshopped has placed it automatically. Now we can come in and start to control those different areas. So the upper lip maybe move that up a little bit, crank the smile some we can change the lower lip. You can see how that's affecting the lower lip we can change the mouth with. So see how that's affecting. That can change the height, maybe try to make it something load more natural with that little bit of ah, smirk on there. And of course, we have, you know, face shape. We have nose eyes. We can really start to fine tune this image using liquefy. And again. It's really why Liquefy is one of the most powerful filters that you'll find inside of photo shop, and you can do it really, really quickly now. They were happy with this. Click on OK, and we can see the difference. So if I zoom in here, hit control plus you can see this was liquefied and turn off so before, after before, after and with that, we've come to an end of our focus on filters. Now, as I mentioned earlier, there's way too many individual filters to be able to cover every single one in the series of photo shop basics classes. But if you do want to see a class that's dedicated to just filters and how each one of them works, instead of focusing on the entirety of Photoshopped like we are in this Siri's, then let me know. For now, though, will move on to our next video. Where will start learning about another important concept. Raw images. Now, if you're a photographer, you'll want to be taking your photographs in raw, and we'll get a good understanding of why, that is, and the benefits of what happens when we start editing those images in photo shop, starting with our next video. 17. Understanding raw images: There are a lot of different uses for photo shop. But of course, editing photos is one of its core uses. And as digital cameras have gotten mawr and more powerful, you've probably heard of the term camera raw. Well in this video will get an understanding of what raw images are and why they're such an asset to any photographer. So to do that toe understand camera raw. We really need to know how lenses work on digital cameras and how they come up with that final digital file. So here is a little diagram of a camera lens inside the camera lens. There's going to be different amounts of glass, and that's going to be different, depending on the lens that you have now, on the other end of the camera lens, you're gonna have the camera body and inside the camera body is the sensor. Okay, so if you've ever heard of the term focal length on a lens, that is the measurement from the sensor to T points of convergence. And the point of convergence is important because when the light comes in again, depending on the lens that you have, it's going to be a little bit different, but essentially, that glass inside there inside the lens is going to funnel that light into the sensor. Now the camera sensor has a very important job. Job is to take all of that light information and convert it into a digital image. Now there are three key parts to a camera's sensor that take that light information and convert it into a digital image. The first of those is called a micro lens. The second is called a color filter, and the third is the photo diet. In the order of these, the the order of these three key parts very, very important. So at the top, the 1st 1 the micro lens light, comes in hits the micro lens, and the micro lens directs the incoming light to make sure that it goes to the correct place on the sensor. Now, underneath the micro lens, the correct place that is going is into the color filter, and the color filter will filter like the name implies based on color, the filters, the incoming light based on the color, and it does that using red, green and blue filters. That's why images are red, green and blue because it's using the red, green and blue color filter on the sensor in order to figure out all of that light on what actual colors is coming in. Now. Beneath the color filter is the photo diet, and the light will travel through. Hit the photo diode, and this is what converts all of that incoming lights into electricity. Does that based on the intensity values that its senses that's coming through filtered by the color filter. And this is how the camera creates a digital image. So again we have the micro lens on the top that directs the incoming like to specific points on the sensor. And then we have the color filter that filters the light based on the color and red, green and blue. And then at the bottom, we have the photo diode that converts all that incoming light into electricity. Okay, so how does this all affect camera wrong? Why? Why is this different? What? What is all this? So if you remember from a previous video when we're learning about different file types, one of the most common digital image types is J pic. Now, the camera settings that you have will affect the J Peg image that it creates, and some cameras even have scenes. If you notice on the top of your camera, there might be a little scene thing that will actually change the look of the digital image in the camera. But what's happening here when you save this off, think of it's sort of like a applying a filter in Instagram. It's not actually changing the information that comes into the camera. All that information that the sensor is seeing them going through the micro lens through the color filter into the photo dialled all of that light information that actually makes up the image that doesn't change. You could change the scene. Think of it again like a filter in Instagram. You can change the filter, but that's not going to change. What was the original image and the original, unedited image? Now, when it saves off when your camera saves off a J peg, it actually bakes those settings in so you can't change them. There's some settings in there again. Think of it kind of like applying a filter once it once it applies it. Once that information is baked into the digital image than it throws out any information that it doesn't need. Now the flip side of that and now the name Raw should start to make a little bit more sense , because when you tell your camera to save a raw image instead of a J peg image, all of that color information, all of your camera settings, all of that is saved to the digital image. Things are as close to unaltered as you can get from the camera sensor, so now you might be wondering why. I mean, if the J peg looks great, why do you want the rock? Well, in a nutshell, it comes down to one word control because raw keeps mawr data. That means that you're going to be ableto have mawr control when your post processing or when you're editing that image. Now there are some settings that you can't change after the fact in a raw image versus JPEG , for example, what's in focus or if there's too much motion blur. If your shutter speed wasn't correct on the image, things like that. So there's still plenty for you to worry about. Kidding, right when you're on a shoot, but when you shooting raw. You don't have to worry about nailing everything. The exposure can be a little bit off for the white balance doesn't have to be quite perfect . All of those things can be tweaked in post and on the technical side, because the camera doesn't throw out information. When it's saving that digital image as a raw file format, you get mawr color tones to play with. So here's an example. So here on the left side and the right side, we have exactly the same image. One of them is J. Peg on the left side, and the one on the right side is Rob. So this is the exposure that the image was shot at. You can see looks exactly the same. Watch what happens when I bring this into photo shop, and I changed the exposure on the J Peg image to be negative. Three. You'll notice everything gets dark, as you would expect when you change the exposure. But on the raw image, you'll notice that there was actually a lot more color information in that sky. So over here in the original, it looks like that sky was completely blown out. But in fact, there was mawr information there. The raw image actually had more of that color information than we could see. And so all we have to do is to adjust the exposure in order to bring that back. And that works the other way to If we were to bump the exposure up, you'll notice that we have a little more color information that you can especially see it under the bottom of the building. There. You can see that there's a little more color information there when you start to bump it up as well. And you guessed it the tools that we've learned about so far things like layer masks and adjustment layers. Those will help us show the building at, ah, higher exposure level and then mask out this guy so that you can get that at a lower expecially level and get the best of both worlds. Now, here's another example. So we have the beach shot, okay? And so instead of side by side, this is just split right down the middle. So the J peg as shot on the left side and the raw as shot on the right side. Now, when we take the exposure. I'm gonna do multiple edits on this one here. So we're not just changing the exposure. Here's another thing that we can see. So right here looks pretty similar. Just changing the exposure in the contrast in their. But again, the raw information is gonna have a lot more color information. It's also going toe let you edit the image a lot more. So watch what happens when we try to color. Correct this. So on the right side, I came in and a change the temperature of the image. I changed the tent of the image to do some color correction. And if we try to apply the exact same image, the exact same settings to the J peg, you can see what happens. Ah, it is not looking anything like it. And I wanted to show this because it's important to keep in mind that there is not always a 1 to 1 ratio in the color values from raw to J pick on. The reason for that is because raw images have a lot more data inside of them than JPEG images. Do we learned about this when we're looking at a bit depth earlier in this course, so instead we can get kind of close. If we adjust the temperature, so have it at a value 23 instead of 5350 it's pretty close. It's probably the closest we're gonna get two, matching the raw image with a J peg. But even then, you can still see that there's a difference. And you'll also notice that the values air a lot less so, depending on the image. If you wanted to really push those values when you're editing the photo, you're going to start to hit the limits of a J peg a lot faster. Then you will on a raw image. Okay, so again, the big pro of raw is that you get a lot more control when you're processing the image. Now, on the flip side of that account of Raw is that you must process those raw images most ah, most Web browsers and most ah, applications and things like that that are not really photo editing applications. Think of things like word and things like that aren't going to support raw images because they have so much data. So they're looking for things that are actually more compressed like a J pic. So a very common work around that a lot of photographers do is to use a feature that a lot of cameras have called raw plus J pick. And so on the back, your camera in the menu. Look for an option where you can shoot raw plus J peg. And then when you take one picture, the camera will automatically save off that raw image. But it will also save off that J pic, and so that way you can use the raw to process it later on. But you also have a J peg that you can preview share with a client, kind of get an idea of what that shot looks like right away. Who? Okay, so we covered a lot of concepts in this video. In our next video, let's happen to photo Shop and start to see some of this in action as we get an overview of the interface that will use to edit raw images inside of Photoshopped 18. Overview of camera raw in Photoshop: in our last video, we got an understanding of what raw images are in this video will build on that by getting an overview of the interface we can use inside a photo shop to edit them. So this is a raw file that you can see here. And depending on what brand camera you have, your raw files might be a different extension. For example, as you can see here because I shot my that photo on a Sony camera, it is an A R W extension. Ah, file extensions for canon or CR two. Nikon is any f ah, and so on every camera manufacturer uses a different file extension. So by looking at the file extension of the photograph that had up here in the project files , you can see that this is an A R w. So it was shot on a Sony camera with that said, this process will be the same no matter what type of camera you have. All we need to do is to select the raw file dragon into Photoshopped as we would any other file and photo shop will automatically recognize that this is a raw file and it will open up. Ah, space known as camera raw. Very, very simple. You can see up here in the top. We are inside of camera raw. Okay, so let's get familiar with this interface and what we're looking at here. Over here on the left side, we have the filmstrip. If we had opened up multiple raw images at once, they would all be loaded here. Makes it easier to edit multiple raw photos at once up at the top. We have our toolbar. So zoom the hand tool in order to pan around. Ah, picking white balance. Things like that cropping the image, straightening the image. Ah, the transform tool. Ah, lot of tools that we've looked at throughout this course and inside of camera raw Photoshopped kind of groups them together. So we have. These two are navigation. We have our color tools, three color tools. Next, we have kind of crop and perspective tools. We have our adjustment tools. We have adjustment filters, and then we have preferences and rotating the image. Now, at the very bottom, you'll notice we have a few options down here as well, if you ah bits of information here. So of course we have our zoom, so we're currently at 17.9% zoom. We have the file name. We also have our color profile. Now. Color profiles are a bit beyond the scope of this introductory course, but you can see that this photo was taken. It has 16 bit colors. The resolution that was shot is 7952 pixels by 4472 pixels. Ah, it's at 300 points per inch, and you can see that it's using Adobe RGB Ah, color profile for this. Generally speaking, unless you have a specific reason to change this, you can usually leave this at the default and you'll be good. And then, of course, over here we have all of our editing tools, so we have the hissed a gram. We've looked at what the History Grimm is and how to read this earlier in this course, this is the hissed a gram for this image, and then we have all these different tabs for different color correction tools and editing tools that we can do here in camera Rob. So the basic we have our tone curve, which is a lot like the curve adjustment layer that we looked at earlier. In this course we have detail sharpening. We have our hue, saturation levels, adjustment, luminous adjustments. Ah, we have our split toning and there's some lens corrections weaken due to try to fix. If there's ah kind of purple hazing that happens or chromatic aberration, that happens. You can start to try to fix some of that. So there's a large, different things that we can do. As you can probably guess. The majority of our editing is gonna take place over here on the right side. But tell you what? Now that we're a little bit more familiar with this interface, let's wrap up this video here and then pick up in our next video, where we'll go through a mini project, editing multiple images here in camera raw. So I'll see you in the next video 19. Mini project: Editing multiple images in camera raw: In our last video, we got an overview of camera raw in photo shop, but we didn't actually do any editing. We just looked at the interface, So editing is exactly what we'll do in this video. So in the project files, I have to raw photos. One of them we looked at in the previous video and the other one was very similar. But I want to show how we can edit multiple photos at once. So I'm just going to select both of these photos, dragged them into photo shop, and photo shop will recognize that these are raw images and open up camera raw for us. We can see over here in the filmstrip. We have both images ready for editing. Now we can try to actually edit both of them at the same time. But the way that will do this is we'll do one edit, one photo and then we'll copy are it. It's from that photo to the other one and then continue to make any tweaks that we might need to do. There's no real writer. Wrong order to how you go about editing a photo, but personally, I like to start by seeing a photo shop can automatically fix the white balance. So over here in the right side, you can see the white balances as the camera shot it. I can come in here, choose auto and see what Photoshopped does. You can see the changes very, very subtle in this photo. It's still noticeable, and in my opinion it's still a little on the warm side. So let's hop over to the white balance tool up here and with the white balance tool. What we want to do is to select a neutral gray area in the photo. Typically, white balancing works with a neutral gray color. And then Photoshopped is going to use that to determine how to tent the photo to correct the white balance in the photo. And in this photo, this concrete wall should be a pretty good spot in order to try to get a neutral gray. So let's try that. I'm gonna left click here, and you can see how it got to be a tad bit cooler. Not too cool. I actually like this a little bit better. It's it's much more, more real, not quite as warm. And now that we've got our white balance fixed. Let's continue editing our photo now. The next step I prefer to do is to crop the image, and again, there's no right or wrong way as far as the order is concerned. But personally, I find it's easier to get the composition right first. And then I can start to do color corrections based on that composition and start to see what the final image is going to look like a lot better than the other way around. So let's hop up to our crop tool here and when a select maybe would come in and change this . If I hold this down, let's set this you left click and hold set this toe 11 So that way it's perfectly square. And let's crop this in quite a bit, so we don't see all of this extra stuff. You don't even really want to see the the fence up here. Just want to focus on on this guy here. Here we go. Maybe something like that, and then we can hit enter on the keypad in order to complete this. And we have our crop now before we get started on some color edits Let's turn on the preview for our changes. So down here at the bottom, we have the ability to preview our changes. We can switch this so I'm going to switch from a single view. Let's switch this to before after left. Right. So here is before this is the photo before and this is after. You can already see some of the differences that we've made in that Ah, with that when we did the white balancing. But now we can start to come in and start to tweak this even more. Someone increased the exposure just a little bit. Maybe the contrast. Crank that up just slightly and down here you'll notice we have a couple other options. So one of these this will swap so you can swap the sides. And then we also have the ability to copy the current settings to before. So let's say OK, I'm looking at this here. And rather than seeing the the original image before we did other white balancing, I want to continue doing edits. But I want this to kind of be the starting point in this kind of be, um it's almost like taking a snapshot of these settings, like a snapshot in when we're looking at the history panel. So we're not comparing our edits to the original raw image. They were happy with the white balance, and now we want to continue making changes. But we want to compare those at its to the ones we just made so we can copy this and you can see how this has been copied over here and before and now, as we continue to make our changes. So if we bring up the shadows, we can bring up whites, blacks, maybe maybe bring the box down whites up, and that's going to add a little bit more contrast to the image you can start to see the difference between before and after. Ah, lot better once we've copied that over clarity is one of those things. If we crank up clarity, you can see what it does. Ah, it's one of those things that could be overused a lot. Sometimes I like to add just a smidge just a little bit there. Probably bring up the contrast a little bit more, maybe bring the highlights down so you can see what the highlights are doing it. It's bringing that down. But you'll also notice because this is a raw image. What used to be blown out. You see this up here along the wall? What used to be blown out? We start to bring this down. We're shutting. Get some or information in there. And so ah, were able to actually see that there was some information there that was just blown out with the default settings. Okay, so I'm happy with this top into the tone curve. Maybe give this just a very slight s curve. Just add a little bit more punch to it, and we can continue to edit again. This is going to be very opinion. Based on what? You what your preferences are. Ah, if you'd like to see some some courses surrounding work flows and just kind of, uh, how I would go through editing a lot of different photos. By all means, feel free to let me know in the detail where we can increase Ah, the sharpening a little bit So we can kind of bring this up a little bit, Bring out little bit more detail in this hair here. If we want, we can switch this from a side by side. Let's do a split so we can see. Ah, you can see how now it's before and after and so we can see the difference here with a little bit of sharpening in here. Crank that up a little bit. Changed the radius. So where it's looking Ah, how far it's looking around. And then, ah, the actual sharpening amount. You can see the difference there. It's still kind of tough to see. I might actually switch back. I kind of like the before after split here, and we can use the same keyboard shortcuts as we move around in photo shop. Hold on space in order to pan around, and you can see the difference from before after. And of course, we can continue to edit this. We can continue to tweak this to our heart's content, but overall, I'm happy with how this image is turning out. Now. What's really cool about this is because we have another photograph. We don't need to go through and walk through this for every single photo weaken. Just copy are edits from one to the other, so to do that will come over here. Let's select the other image that we want to Ah, copy the settings to and really what we're doing. Ah, the term for that photo shop is using is sinking. So we're sinking these different settings. We can either right click or we can come up to the little options here, go to sync settings and with the sync settings. What we're doing is telling Photoshopped. Okay, here is a list of all the different settings that you have. What do you want to sink reeking? Ah, course. Check them all. We can check none of them on this case. I'm gonna check all of them except for crop. The reason for that is because on the other image, if you look at the preview here, this crop that we did on this guy is probably not really gonna work here. So I'm gonna hit, okay? And you can see how these settings have automatically been added. Now, in this case, the settings that we change if we switch back here, we can see all of this has been changed to the exact same settings as the other photo. But in this photo, they're probably a little bit too bright for my taste. Ah, but before we change those, let's change our crop here for this one. I'm going to switch it to a nine by 16 or 16 by nine ratio so we can crop this in, get a little bit more, almost like a wide, wide, widescreen feel to it. And the reason for that is because he's kind of laying down. And so it's a little more kind of lends itself a little bit more to that doing crop in here . Get rid of this light so you don't see that, and it looks almost like you don't see any of the human element surrounded. It looks almost like he's actually in nature instead of at a zoo. So if I hit, enter here, that will crop in there and again. This is a little bit bright, so let's come in and bring the exposure down. Maybe bring the contrast down just a little bit. We can start to again play with the highlights and see how that see how that's even bringing back some information. So the default was really start to be blown out, but we can bring back some of those highlight colors. We could even bump up the shadows a little bit in order to give a little bit more definition over here in the back. And we can bring the whites down, maybe bring the blocks up just a little bit again, brighten it up just a little bit. Okay? So again, we can continue to edit this. We can continue to tweak this however we want, but I'm happy with how this is turning out. Now, once we're done with our edits and camera wrong is basically two options that we have. Either we can save this image directly, or we can open it up in photo shop to do even more advanced edits. If we just want to save this image, come over here to the bottom left and save this image or weaken, select both of them in order to save both of them off. If we want to open the image in photo shop, then we can come in and just click on open image. And here's a little pro tip the hold down shift on your keyboard. Watch what happens, See, says open object. So if we hold down shift, photo shop will open this as a smart object. So All I have to do is select both of these. Hold down, shift open as objects, and Photoshopped will go through the process of importing these as smart objects. And what's really cool about this? Once this is done, I'll show you this in action is because these are smart objects and because they're raw files. Watch what happens when I double click on this. Ah, smart object. It will open up camera raw gin. We have all of our settings. We haven't lost anything. We can come in here and start to tweak this again however we want. And of course, back in photo shop, we could make any sort of edits that we want. We can add adjustment layers at layer masks, do whatever we want, save this off as a Photoshopped document and continue on our way. Okay, So in this many project, we learn how to crop white balance, adjust exposure, change contrast, curves, sharpness. As you can see from all the other options that we had in camera raw, we're really only scratching the surface of what we can do. So now it's your turn. Take a few minutes between videos and start getting familiar with editing your own photos and camera raw. The more you dio, the faster you'll get and the better your edited photos will turn out. As they say, Practice makes perfect. Now, if you don't have any raw photos of your own, feel free to use these photos that I edited here. You don't have to edit them the same way that I did play around with the settings and see what you can come up with. Now, if you do use these photos, I'm going to delete the edits that I made in this video so you can start from scratch like we did in this video. But when you're ready in the next video, we'll learn how Photoshopped saves the edits to raw photos so you can restore the edits that we've made in this video. If you want, see you there 20. How Photoshop saves camera raw edits: In our last video, we edited some photos in camera raw, but I wanted to remove those edits from the project files in case you need to use the photos to practice and want to start with the actual raw images with no edits. So in this video, I show you where photo shop stores the edits that you make in camera raw and how you can restore them if you need to. Okay, so here in the project files, you can see these are the raw photos that we started with at the beginning of the last video. Now, if I hopped to the project files for this video, you can see these are the exact same files. But there's some extra files and thes files their ex MP files. They're actually ah, code. And this is where ah, a photo shop stores all of your camera raw edits. Now you don't need to edit this at all. You don't need to really do anything with this file other than just know that it is there. And that is where Photoshopped stores all of it. The key thing here is that the actual the name has to be exactly the same. So you you can see the name here is exactly the same. So watch what happens when I take this file and drag it into Photoshopped. You can see it's gonna open up camera raw. And over here you can see all of the edits that we made in the previous video are there, including the crop. Everything that we've made is there. No, if I cancel out of this and that's hot back to our project files now, just to show this, I'm going to select this and let's just rename this. It could be whatever we want, because as long as it does not match this file right here, watch what happens when I take this file right back in and open it up inside of camera. You can see we don't have any of our edits anymore. Everything is back at its default. Our crop is gone. Everything has been changed. So in order to get those edits back, if you want to get the edits that that I did in the previous video to see those and and walk through those, all you have to do is to come into the project files and make sure that these ex MP files will be named the same. So if I come back in here and rename this now, when I opened this up, it will have the ah, the correct edits. Now, these ex MP files the term used for this. If you want to know if you're looking them up online, if you want to learn more about them, this process is called a sidecar file. So this is the file itself. And this is the sidecar file. And in this case, the X and P Files have all of the information associated with it to know what those edits are. And again, now that these files are named exactly the same name with the extension being different. Of course, the ex MP versus the actual raw file by dragged us back into photo shop. We will see that camera opens up and we have all of our edits back. Okay, so to recap when we make edits in camera photo shop stores, those edits in a sidecar file that has the same name as the raw image it's associated with , but it has an ex MP file extension. So if you're wanting to see all the edits that I made in the previous video. All you have to do is to grab those ex MP files from the project files for this video, make sure they're located in the same folder is the raw images and share the same name with the associate ID. Raw image. Now, as a little pro tip here, here is another way that you can copy edits from one image to another because it looks at that. Ah, file. All we have to do let's hop back into our project files real quick. Let's take this one and let's rename it Now, if I take this file, what's copy paced. So we have exactly the same file and this one I'm gonna rename toe one. So what we did was we took all the edits from this file. Copy them to this one and watch what happens when I open this up will really notice it on the crop more so than the color correction and things like that. But you'll notice that this image is now cropped exactly the same way. And the reason why we won't really notice on this side is because I don't remember exactly what those settings were different. But, ah, we know that these settings are from that second file. So again, that's another way that you can copy and paste filed settings from one file to another using the sidecar. Now I'm going to delete this and rename this one back to a one so that when you open it up on your side, you will get all of the edits that we made on the first file and the edits that we made on the second file, which are going to be a little bit different now. In our next video, we'll learn how he can merge two things together that we've learned about in this course and use camera raw as a filter. 21. Applying camera raw as a filter: throughout this section, we've looked at camera raw in Photoshopped. In this video, we'll learn how we can imply camera raw as a filter. Now there's a lot of reasons why you might want to use camera raw as a filter, but in this video will focus on two of the most common reasons why you might want to do this. And the first reason is, as we learned in earlier videos, camera automatically pops up when you open up a raw file format. But what if your image is not raw? It's not a raw image. Well, that's the first practical example of one you might want to use camera raw as a filter. So here I have a PSD file. It is not a raw file, but we can still use the tools inside of camera raw. If we come up to filter and go to the camera. Raw filter keyboard truck out being shift control A or shift command A on a Mac. Now, in here, you might be wondering, Well, why can't we just make all of those at its inside a photo shop instead of inside of camera raw? And we can, But at least As of this recording, not all of the tools that are inside of camera raw are inside a photo shop. For example, the tent and temperature are not sliders that you'll find inside a photo shop. You could do hue saturation. Very, very similar. Slightly different a Sfar as just the way that the sliders perform. Now I'm just gonna come in here and hit auto so we can see. Tell Photoshopped automatically do make our changes for us. And again, we can come in and tweak this however we want. But once we're happy with this, we hit OK and you can see that will be applied to our PSD file, even though it is not a raw image. Now, if you'll notice when I did this, the filter is applied to the layer itself treaty image itself. In other words, what we just did is destructive. And like any filter, it's going to be destructive unless, as we learned earlier in this course, we convert that layer to a smart object first. And that brings us to the second common reason why you might want to apply camera raw as a filter because you can apply it non destructively as a smart filter. So with this image here, let's right. Click on the layer converted to a smart object, come up to filter camera, raw filter. And again, I'm just going to set this at auto so that we can, ah, not really focused on this year but kind of focus on the workflow. Once we're happy with our edits and camera raw, we can hit OK and see that photo shop is applying this as a smart filter. Now there's a lot of benefits to using a smart filter in general, but also with camera raw as well. One of those, of course we looked at earlier in this course, is if we want to make changes to this, we can just double click on the filter and pull it back up. Here are all of our edits. We can come in and continue to make edits and continue to tweak us. However we want okay, and all of that is saved. Another benefit to this is that any time we can turn that filter off if we want another big benefit to this is we can add a completely different filter to it. So let's say that we want to add another camera raw filter on top of this, with the layer selected again. Come up to camera raw filter and you'll notice that our edits. There's no edits here because this is a new filter that's being added on top of the other one, and we'll see what I mean. Here, let me change this to be a lot mawr. Maybe a lot more green, they're so we get a lot more green in our image. We can see how that's affected, but now we have two filters so we can have different looks and then just turn them on and off if we want. Now, another approach to this and this is going to lead to another little trick. The little pro tip is if you notice this right here. We looked at this earlier. This is a layer mask. We can use it to control where that smart filter is being applied. So we select this and let's say we really like the green in the background, but not so much on the wolf. So let's switch our colors so that we're painting in black Goto our paintbrush start to paint this out and you can see it is painting out those filters in this case, the camera raw that we did and basically showing us the original image. And of course, we can start to come in here. We can duplicate that image. Ah, we can apply different filters to the different layers. We can really start to customize this and really start to get a really nice level of control over exactly what filters are showing up on what parts of the image. We can come in here and clean up this mass to get it to be, ah, lot more precise. You see, I'm not really getting a lot of this hair, but you get the idea for how you can get a really nice level of control using the camera roll filter as a smart filter inside of Photoshopped. Very cool. So in this video we learned how we can apply camera raw as a filter to any image in photo shop. Now, before we wrap up this video, one important thing to keep in mind is that the camera raw filter does not magically add color information to your image. So if you apply that filter to a low quality image. It will still give you the tools, but those tools won't be able to do as much editing as they will on a raw image. Now, in this video, we used a 16 bit PST, so it has, ah, lot more color information than an eight bit image. You might get online, but that brings us to an end of this class so much you can do with camera raw and encourage you to take some time to start playing around with your own photos and camera raw. To see how powerful it is when you're ready, I will see you in class number five in this photo shop basics. Siri's where we'll start learning about some of the capabilities beyond photo editing that weaken do inside of Photoshopped. See there. 22. 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