Photoshop Basics for Beginners - Learn Adobe Photoshop the Easy Way (works for Photoshop CC or CS) | Steve McDonald | Skillshare

Photoshop Basics for Beginners - Learn Adobe Photoshop the Easy Way (works for Photoshop CC or CS)

Steve McDonald, Excel and Photoshop Geek

Photoshop Basics for Beginners - Learn Adobe Photoshop the Easy Way (works for Photoshop CC or CS)

Steve McDonald, Excel and Photoshop Geek

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
13 Lessons (2h 16m)
    • 1. Introduction

    • 2. How Long Does it Take to Learn Photoshop?

    • 3. Get to Know Photoshop

    • 4. Let's Get to Work - The Crop, Move, and Hand Tools

    • 5. Selection Tools

    • 6. Tools and Shortcuts to Use Every Day

    • 7. Introduction to Layers

    • 8. Adjustment Layers - Brightness, Contrast, and Saturation

    • 9. The Brush Tool

    • 10. How to Whiten Teeth with Adjustment Layers and Masks

    • 11. The Clone Stamp Tool

    • 12. Cropping an Image Bigger Using the Content Aware Tool

    • 13. Conclusion

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Welcome to Photoshop CC Basic for Beginner where you'll learn the basics of Adobe Photoshop in a fun, hands-on way. This course is designed to teach you the most important Photoshop basics without the frustration or

If you are brand new to Photoshop or have tried to learn Photoshop and struggled with it, this course is for you. The course starts very slowly and easily at the very beginning with opening an image in Photoshop. It moves forward in an easy-to-follow, logical way that I promise you'll enjoy.

First, we get familiar with the Photoshop program and interface. We learn to open and save images, where the most frequently used tools are located.

Second, we start using the most important tools, like the move tool, crop tool, brush tool, and clone stamp tool. We also learn how to use layers so that we can work non-destructively on our photos.

Finally, we do some hands-on projects in Photoshop. We whiten a subjects teeth, we crop an image bigger to make it look better and so it can be used as a social media profile picture.

When you are finished with this course, you'll feel confident using the program and exploring the many tools and options that it offers. You'll be able to do valuable work in Photoshop, skills and tools that you can use in the real world on everyday projects.

This course is fun and easy to follow and there is no pressure. You just watch the videos, follow along on your own version of Photoshop for practice, and start editing photographs

Meet Your Teacher

Teacher Profile Image

Steve McDonald

Excel and Photoshop Geek


Learning is easier if you are given the right tools and instruction. In every one of my courses I take you step-by-step through the tools and knowledge you need to accomplish your goals. 

My talent is taking complex subjects (like Exce... See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.



1. Introduction: Hi and welcome to the photo shop Basics for beginners. Course I'm so excited that you're here, and I'm really excited to teach you how to do photo shop. My name is Steve McDonald. I have, ah, bachelors to grieve in art from the University of Washington in Seattle, and I'll be honest with you. Photoshopped was not easy for me to learn. It felt like one of the gaps in my art education. But because I understand how difficult it was to learn, that's why I'm teaching it to you. Because I'm gonna teach it to you in a way that is simple and easy to follow and even fun. I'm going to make it as painless and stress free as possible to get you to a point where you feel confident with photo shop and congest enjoy using the program. Does that sound good? If so, you're in the right place and this course is really gonna help you get started. So in this course, we're going to start off with the very basics. I'm going to just introduce you to the photo shop interface, get you familiar with the tools. I'll show you how to make selections in your images so that you can work on specific parts of your image or even cut out parts of your image and move them around. I'll show you how to do adjustments so you can brighten or darken or at contrast or color to your image. And then once we've gone through some of the basics and got a handle on that, then we're going to work on some projects of specific projects that help you to learn photo shop in a very hands on way. So we'll do things like, Well, whiten the subject's teeth. We'll fix the subjects. Blemishes will crop an image to make it fit a social media profile like Facebook, and we'll just put those skills that you've learned to use. Okay, one quick tip I want to give you to help you get the most out of this course is that if you go to the course dashboard and you go to course content and you scroll down and get into one of the sections like the Photoshopped basic section, you're going to see these additional items in here, and these are downloads. So when you're learning how to crop and saving image there will be a download to go with that. You don't have to do that. You can use your own images if you want, but you can also click on this and download it, open it up in photo shop and then follow along exactly with what I'm doing and that will help to cement your learning. Okay. And to find that again, you go to the dashboard of the course. You click on course content, and this may be a little bit different on different computers or phones, but generally this is where you'll find it, and then you click and expand one of these sections. You'll see these downloads. Okay. The other tip I have for you to get the most out of this course, and I've seen this happen with so many students is watch the lectures more than once. You don't have to watch the whole lecture more than once, but if you do, you'll get so much more out of it because they're subtle little things in each of these lectures that you may miss the first time through because it's a lot to absorb your really your brain is gonna be swelling like a sponge, okay. And the students I have that have watched the course through twice in its entirety amaze me with the results that they get over students who have just sort of watched a couple things or cherry picked different lectures here and there. That's okay, too, if that's what you need. But the more time you spend in this, and the more you practice on these downloads as well, you'll be amazed at what you can really learn about Photoshopped. So I'm really excited that you're here and I can't wait to start teaching you Photoshopped dive into the next lecture and let's get started. 2. How Long Does it Take to Learn Photoshop?: Hi. And welcome back in this video, I wanna answer Ah, very common question that a lot of students asked. The question is, how long does it take to learn photo shop? And while there isn't a perfect answer to that because everyone's learning style is gonna be different, I will give you a number to kind of sink your teeth into to give you an idea, and the number is 20 hours. And if you think about what 20 hours of study means, that could be one hour a day Monday through Friday for a month. Or that could be three hours a day for an entire seven day week. But 20 hours, assuming that you're about an average learner, will get you a long ways in Photoshop. It'll take you about two hours to understand the basics, So that means you'll learn the interface and the tools and some basics, like what the tools do, how toe open and save an image, how to re size or crop, an image, etcetera. That would take about two hours. And then when you put in another four hours, you'd be able to do some basic projects reasonably well. Like touch up blemishes on the face created clipping paths. You can cut part of an image out. Adjust the color and exposure of an image. Add text, etcetera. So that would be another four hours of time invested. And then approximately the remaining 14 hours of that 20 would just be learning other techniques that are specific to what you're trying to do, so that could be using a dodge tool toe. Lighten things up using a paintbrush to draw on top of your photograph, working in layers so that you can lay different colors or effects over your image without damaging the original image and so on and so forth. But that extra 14 hours will get you quite a ways into that. And then beyond that, there are a 1,000,000 different ways you go with photo shop, and it's truly one of those systems that is so robust and so involved that you could study it forever and not know everything that there is to know. But if you want to get a solid handle on it and basically be able to say that you're better than most people at photo shop because most people struggle to even use the program. Give yourself 20 hours and you'll be really impressed with what you can accomplish. So let's start out by taking that first to our chunk and learning all about the interface and what the tools do and how the program works, including opening and saving an image and doing some basic cropping and editing okay? 3. Get to Know Photoshop: Hi and welcome back in this lecture, I want to just get you familiar with the interface of photo shop. So you have an idea of where everything is. So let's start at the very beginning And look at what your photo shop dashboard is gonna look like when you first open it up if you've just purchased photo shop and this is assuming that you're using photo Shop CC, which is the creative cloud subscription version. But if you're using an older version like one of the CS versions that you actually just purchased and installed on your computer, it's gonna look familiar in just a moment. So let's pretend that I didn't have this blank image open here. This is what your startup page will normally look like by default when you get into photo shop and this just basically has a list of your images, and right now they're sorted by last open. So these are the ones I was working on recently, and we'll just open up in image so that we can take a look at the main Photoshopped dashboard and all of its tools. And by the way, if when you start photo shop you wanted to just come right into this dashboard, which is what most people want, and it's how I prefer to have it set up. What you can do is go to the edit tab up here and left. Click on that, go all the way down to the bottom here to preferences and go appear to general and click on that. And this will bring you up a whole bunch of preferences. But there's this one right here that says Show start workspace when no documents are open and that's the one that shows all of your photos. But if you wanted to discuss straight into photo shop, which again is what most people are used, Teoh, you just click on that box and uncheck it and then click. OK, and the next time that you closed photo shop and reopen it, it will just bring you into this space with a blank document screen here, okay? And then, if you want to open an image to bring it in here, you go to file and open, and it will bring you into your computer's files. And you could select whatever file you're storing your photos in in my case, I have them in the pictures folder and I can select one of these pictures to open. And let's just grab on. It's open this tree with a blue sky. Now, when you click open, it's gonna give you this pop up menu. You don't need to worry about this. You just when it says what would you like to do, you're gonna say Leave it as is, Otherwise you can do adjustments to the color, but we're not gonna worry about that for right now because it's not important right now. So you just leave checked on leave, as is Click OK, And it will open up your image in a new window. So see, I still have that other image that I opened. And then in this second tab, these air tabs I have this tree with the blue sky image. Okay, so that's how you open an image. You go to file and open and then select the image that you want and click open. But for now, I'm just gonna close out of this window because I already have two pictures open and then from here you can start doing some editing on it and We have all kinds of tools here to do editing on our photos, and this could be kind of intimidating and overwhelming at first. But here are a couple of things to keep in mind. Once you start to play with the tool, you'll start toe. Pick up how it works pretty quickly, so it's just a matter of taking the time to get into them, and we're going to look at a bunch of them. And the other thing to keep in mind is that photo shop is a huge program and has a lot of different tools and techniques that you can use. And most professionals don't even know how to use all of them. So don't worry about knowing everything. Just try and learn the basics by following along with this course, and then you can pick up some different tools that suit what you want to do. OK, but let's take a tour of the interface here so that you know what you're looking at. Our photo shop interface is split up between your document pain, which is right here where your documents are and you see we have two tabs with two different photos in our document pain on the left, we have our toolbar, and this has a whole bunch of really useful tools, for example, the move tool. And if you hover over these, they give you a little tool tips. It tells you what they dio and then along the top, we have the options bar, and you'll notice that this is related to whatever tool you have selected down here. So if I'm on the move tool, this will give me options for the move tool. If I'm on the rectangular marquee tool and I left click to select it noticed the option bar changes to fit that tool. If I'm on the political lasso tool, select that with the left click. My option menu changes okay. Above that, we have the menu bar, which you're probably familiar with if you've worked in Microsoft Word or Excel or other adobe programs like Acrobat or in design or any of those. But you have a file menu, which is where you do your opening, which we did just a moment ago. You can close things here you can do saving here and exporting and so on, printing down the bottom if you're edit menu, which is where you could do edits and I'll scroll up. So at the top, this is where you find commands like your control Z toe undo steps that you've done cut, copy, paste and so on. And then you have all these other menus image, layer, and these are all things will look at as we go along as we progress in photo shop. So it's not important to go in every detail right now. But know that these air here and this is where you'll do a lot of your work as well. And then finally, on the very right side, we have your panels, these air called panels. You can see we have different tabs in different panels and these air all customizable and by the way, this toolbar and these windows can be moved and customized to, and I'll show you how to do that. But if you click on different tabs in here, you'll see different panels that allow you to do different kinds of work on your photo. So right now I'm in color. This allows me to select a color. For instance, if I was gonna paint on this with a brush. I could go to swatches the Salafi to just pick a different square of color. You can go toe learn. This is a place where you can find tutorials from photo shop. Libraries are where you'll have lists of photos that you may have stored on the cloud. The adjustments panel, which is where you can change the brightness. You can do color corrections. You could do Grady INTs, which is like a blended layer, all kinds of things on here and so on and so forth. You see, we have a lot of these and I won't go into all of them right now, but just know where they are. Case We've learned how to open an image by going to file open right now we have an image open. Let me show you how to customize your workspace now, Like I was saying, a lot of these different bars are movable. So if I grab this here with by left clicking it, I can pull it out of there, and it's now detached. And if I wanted to for some reason, put it right here. I just released the mouse and there it is. I can grab it again and move it. I can expand it to make it a double layer where I can minimize it to make it a single layer . And then once it's detached. If I wanted to get rid of this toolbar, I could click the X and make it go away. But I don't want to do that. I'll just leave it as it is and maybe put it as a double to a bar. And then I'm gonna grab it and I'm going to read Nest it back into here. You can see when I bump up against the side. I guess this blue line that fades out that's showing me that I'm ready to dock this into the left side. And if I release the mouse, it's gonna dock back in there. Okay? The same with this main document, pain or document window. I could go up here and grab this and pull it out of there if I want, and then I could use it over here, for instance, you can also expand or minimize this and minimize it. It's gonna hide, and I have to bring it back. And if I maximize it that is going to take up the entire window. I'll go back to restoring it. And then if I don't want to be small going like this, I can also grab it on the edges and adjust the size. Now, this is not adjusting. My image is just adjusting this window. And then if I want to put it back in where it was, I just go up to here and you see highlights that space in blue where it's gonna dock and then I release the mouse pops back in there. And then finally, same thing with all of these. I congrats these and pull them out. I want to work with that more closely. I could put this somewhere else if I wanted it say on its own little panel down here. I can put it there. Or I could nest it back in with this If I wanted dio notice. If I hover up above, it'll put on its own level. If I allow the box to surround the color pain or panel and release, then it will layer it in as a tab so I could pull this Properties tab out here and bring it up into this one. If I wanted to get that blue box and let it go. And then if I double click on one of these, it will minimize it. So you noticed the other ones jumped up, and then I'm gonna minimize the adjustments to which is this panel, and these will then pop up to the top. You'll see what I mean when I double click it. So now we have everything here like this. If I click on that, it will expand it, and if I double click on it, it will shrink it down, and then you can go to the next tab, click on it. It will expand it, double click, shrink it down, and so there's nothing in path. So that's why it's playing. And finally, I also have some panels hidden in here. If I hover over this, you see, it's called the history panel, and I could do the same with these. I can you to click it, and that expands it so I can work with it. Double click. Click it again to minimize it, and then I can also left click and drag this and place it in here or on its own level. So If I place it into here, you'll see it creates its own tab. Then maybe I wanted to take paths out of there. I'd left click on that and drag it, and I can put it over here and it'll let me place it wherever I want. Okay, so that's how you can kind of move things around and customize them. But in general, you're gonna want to keep it about like this. And then if this starts to get messy and you're starting to lose track of things, what you can do is you can customize this, but you can also reset it. So I've moved some of these things around. But maybe I don't like that. I can go up here and there's this little icon here with a drop down and these air different panel settings presets. And I could gol I'm out essentials right now and I'll have you go here and set yours on essentials as well so that we're working with same panel set up. But if I click on essentials, this is bringing me to essentials. But you notice nothing changed. I can reset it by going to the same drop down and down here. You'll see it says Reset essentials, because I've changed it. So I click on Reset and watch what happens here. Notice it goes back to how we had originally of color and swatches here and history's hidden here and so forth. You can also do that same thing up here at the Windows tab by going windows and work spaces . And then you'll see the essentials is there, and reset essentials is there, and you can even create your own custom workspaces just by clicking here. After you've done some arranging, click here and rename it, you can do your own custom workspaces. Okay, but for now, go on to essentials. And if you've messed with it, hit reset essentials and you'll be back to this so that ours looked the same when we work together. Okay, so that's your interface. That's how to open a file. We looked at how to goto, edit and change your preferences. Go to General and you can take this show. Start workspace off if you like, so that when you go in to photo shop, you start out right into this pain. Then you go straight to file and open an image, and then you're ready to do your editing with all these tools 4. Let's Get to Work - The Crop, Move, and Hand Tools: Okay, let's get to work and do some editing on a photo. First, we're gonna open up on image. Then we're going to learn how to use the zoom tool to zoom in and out. We're gonna learn to use the hand tool to move an image around. We're gonna learn the crop tool so we can crop an image to the size and shape that we want , and then we're gonna learn how to save it in a number of different formats. Okay, so let's jump right in. First. I'm going to go up here to the right hand corner and collapsed these panels just so they're out of the way. And then I'm gonna go back over here to file and open. We're just gonna open this picture right here by clicking on it, and we're gonna leave it as is Don't color manage. Leave that checked. Click OK, And let's just jump right into a few of the tools over here in the toolbar. The 1st 1 I want to show you is actually down at the bottom. It's the zoom tool, or you can just click the C on your keyboard. But if we click on that will be selected into the zoom tool. And remember, we have the options menu up here, but when you're in the zoom Jewell, you'll see this little magnifying glass with a plus son. And if I hover over my image, I'll put it right here so you can see it better and I click on it. It's gonna zoom in to the image if I want to zoom out and press the altar key on a PC or the options key on a Mac by Press the Altar Options key. It's a minus, and now when I click, it's gonna make my image smaller. And depending on where I click, it'll center around that area. So if I want to focus in on this right here, I can release the Ault Key. So I have a plus and I click here. Click there. It'll keep focusing in there. Another alternative that you have is if you're not selected on this, but you still want to zoom, Say, I've selected on just any other tool while I'm selected, Aiken still press the Ault key, and I can scroll with the mouse if you have that on your mouse. Some scrolling and I can scroll in or out, and that will do the same thing. Okay, another one is the hand tool. And if I select on that, I could just move the whole image in the window or the document panel so I could just grab it by left clicking on it and move it like that. If I want it centered, I can kind of center it. And then I can press the Ault Key and scroll or select Zoom Key and Press Ault and click to Zoom out or click to Zoom in. And then finally, if I want the image to just perfectly Philip this window or this panel that I could just double click on the hand and it's gonna put it at 100% in that frame. Okay? So play around with those tools. Do some zooming, do some zooming in and out, grab the hand tool to move things around and just get familiar with that. Now you can send it to 100% to fill the screen. And now let's talk about a crop. So let's say that we just want a picture of this mug. We don't want all this other stuff in there, we would need to crop this, okay, And the crop tool is right over here. And when you click on that again, you'll get some options up here. But you'll also notice that there some little handles on the corners and in the center of each side. So if I grab onto one of these, you'll notice it gives me a grid. But if I slide it in, then I can just crop it to where I wanted to be. And then I can grab the bottom and slide it into where I want to be. And if I like the way that it looks, that I can go ahead and click this check mark and it will commit that crop. But before I do that, I want to let you know about a few things along the top here. The important ones that I want to talk about right now are delete cropped pixels. You want to generally keep that unchecked. If we have that checked and we click commit, then it's actually going to get rid of all these pixels over here or these parts of the image, and they will be gone. But if we don't have that checked the knees. Parts of the image will still be here, and we can still adjust our crop to fit them back in. If we decided that we may be wanted the coffee and doughnuts, so we want to generally leave that unchecked. And then this is so. This grid is set on what's called the rule of thirds, so you could see the images divided in the thirds. But there are other grids here that you can use. You can use a smaller grid. These are just guidelines to give you a sense of where you are in your image and what you want to be. The focal point of your image. Golden ratio. But generally speaking, you could just keep it on the rule of thirds. And what that does is if you want to place a area of interest on these intersections, then it's usually more pleasing to the eye. We don't have a whole lot of options with this image, because we really have to crop it pretty tight to get all this out of the image. So we're just gonna leave it like that, and then over here you can also, rather than you know, using these sliders to crop your image. You can also just put in the actual dimensions that you want. You can go by the width, height and resolution. You could do specific proportions like this one would be a square. This would be a rectangle, a different shaped rectangle. Most these ey're rectangles, but they all fit different purposes. But for now, we're just gonna leave this and crop it manually. And then when you're ready to go, you can go ahead and click check, and it will crop it. You can see there's a little issue down here with that shining through, which is something that we would clean up without any trouble. But for now, you can see that's how you crop an image. And then let's say that we wanted to then save this image as something else. We would just call this not coffee and doughnuts, but we would call it coffee so we'd go to file and save as now. If we click save, it's going to save this image over the old image and replace the old image. So we don't want to do that. We want to go save as it's gonna bring up a save as dialog box. We can decide where we want to save it, and then you'll notice that it's saying coffee and donuts. We're gonna change the name here and I'm just gonna change it to coffee and then click out of here so you could see the next line. And that says, Save as type. It's going to save it as a photo shop document or a PSD. You can see all these images up here. PS teas and what that is is. It's a working file four photo shop. It's not a finished product. It's just a working file that if you create different layers of images, which we won't talk about in this lecture. But basically, if you're making more complex images and doing a lot of different kinds of edits and layers and things, then you can save it all as a PSD file, and you can go back into it and edit it in the future. Whereas if we just saved it as what's called a J peg, which is what this file originally, as you can see J p. G there, then we wouldn't be able to go back and do at its if we had done a lot of complex editing. So for the purpose of this, we're not going to do a lot more editing. Were just saving this and say We're just sending it to a Web designer to put into a website or something. Then we'll just go to a regular J. Paige. You can ignore these to just the simple J peg. Click that and then we go ahead and click Save. It's gonna ask us for some options. You can adjust the file size. You could see a preview of the file says. Over here it's 56 k and if we want higher quality image, that was gonna be a bigger image. We could do that, or if we want a lower quality of its, that's gonna be really small and load faster. We could do that, but this case, we would just leave it right in the middle. We'll leave the rest of these options the same, and then go ahead and click. OK, so this is now saved as coffee. If I go to file open, there's our new image there. I'm not gonna open that yet because I'm going to show you something else. Close this window. Now, if I were to close this one, which is still named coffee and donuts, it's gonna ask me if I want to save it and I'm gonna have to say no, because if I say yes, that it's gonna save coffee and doughnuts as just this cropped image and I'm gonna lose the doughnuts and the little tablet those sitting here so you'll see where I go to close this. It says you want to save the changes. Well, I don't, because I saved this coffee image as a new image just called coffee. So I'm gonna protect coffee and notes and say no, and then you'll notice when I go into my file and open, you'll see I've got the original image here, which is coffee and doughnuts. And then I've got that new cropped image of just the coffee mug, which is coffee. Okay, so now you know how to use the zoom tool, the hand tool and the crop tool, as well as going to file and opening an image and doing save as to save a new image under a new name. Okay, I'll see you in the next lecture. 5. Selection Tools: OK, in this video, we're going to look at a couple more tools. We're gonna look at the move tool, which allows us toe move pieces and parts out of an image. And we're also gonna look at some selection tools and selections air great for you, console elect a part of an image and do edits or work on just that part of the image. So first, let's open up a file. So go to file and open. And I have this PSD file and as we talked about before, this is a photo shop file. It's a working document because I've been doing some edits to it. So I'm gonna go ahead and open that up. And in this I've just been playing around with brightening up some colors and increasing contrast in that. But what we can do with this barn is weaken. Go to one of our selection tools. We have several. If you right click here, you'll see we have ah, rectangular Marquis, an elliptical marquee and a single row in single column Marquis. We're gonna ignore these because you rarely will use them. But if you have ah circle or or oval shape that you need to select this elliptical marquee tool is great. And if you have a square that you need to select this rectangular marquee tool this great, I'll show you how this is used. And then I'll use a different tool for the purposes of this example. But we'll select this. And if I just go to this barn, for instance, if I just wanted to work on the side of this barn, I would just select like this. You click and drag and hold it until you are ready and then your release. So that would be a rough selection of the side of that barn. But it's not really ideal, because in general you want your selections to be really accurate. So I'm gonna go ahead and click Control D, which dese elects that selection so that I can go back and pick another tool into a different selection and the one we're gonna use. We're gonna right click here. We're going to use the political lasso tool. The regular lasso tool allows us to just draw freeform around like this. But the political Astle tool allows the draw in shapes. The tip of the area will show you in the sky here. The tip of the arrow is where your selection is going to occur. So you're gonna take the tip of the hour right in the corner. In fact, here let me zoom and I'm gonna press the Ault key That allows me to zoom. And then if you recall, we can use the hand tool and we can grab it and move it there. That's a little better. Now we can see what we're doing now. I'll go back to the political lasso tool, and I'm gonna put the air right in the corner of the barn, and then it allows you to draw straight lines to see this the straight line. And I don't take that to the corner there and then click again. And that creates an anchor point. And now I have another line that I could not. And each time you want to create an anchor point, you left Click with your mouse and I won't worry about this little piece. You can get as accurate as you want on these, though, if you're trying to do a really accurate selection, come on here to the ridge. And if you make a mistake. Like I missed some got some extra sky, and here you can just hit delete, and it will undo your last anchor point. And if I hit delete again, it will undo to anchor points. I could go back and fix that on. Make it a little tighter. There we go. Get it right along that ridge. Select, and I'll just go a little quicker. Now quick, click down the edge of the barn, cook along the bottom and if you get into grass, you can kind of click, Click, click around it. As long as you have a straight section, you can just keep clicking. You can just drag it out straight. When you have shorter sections, you just keep clicking like that. Okay, Now, I could go along this whole thing, but just for simplicity. I'm just gonna go right along the bottom and then you notice Now there's a little loop, See if I hold it over here. If I hold over here, it's just shows the political tool. But when I get close to the end of this thing over here, they're becomes that little circle out to the edge of it. That means that the next time I click, it will connect my whole selection. And you see the marching ants going around. That's these little dotted lines. And that means that I've selected this entire bar. And the beauty of that is that now I can do work just on this bar. So if I wanted to lighten this barn, I could lighten it if I wanted dark in it like a dark in it. If I want to change the color of it, I could change the color of it. If I wanted to pull this barn out of here, I could pull this part out of here. Let me show you. If I go back to all, I could go to my zoom tool or I could just press Ault, and that makes it the time to an ill scroll out. Now I could go with my move tool. This allows you to grab a piece that's in your image and move it. Click on that and you'll notice. Now it has the's what are called transform controls around the image, which means that it's a piece of the image that I can now grab, and if I left, click on that. I can actually grab it and move it. And the reason there's one behind it is because I actually have several layers here, but normally it would just pull it right out of the image and leave a white hole in the background. But you can see I can move that piece of the image. If I don't like that, I just hit control Z and it will put it back where it is or I congrats. These controls and I hit shift. I can actually stretch it. I want to make the barn bigger. Maybe I want to grab it and pull it into the foreground like this. It's to make it bigger. And if we zoom out, you can see that that changes the image. And just to give you a really good example, I'm gonna hit, shift and hover over this thing, and I'm going to really pull it out and make it really big. We could move it back up on the horizon a little bit if we wanted to, and none of these air edits you'd actually want to do. I'm just kind of giving examples of how you use this tool and one thing you'll notice is so I've done all these moves and changes and drag this around. If I don't like the way it looks, I could just go to this and it will cancel all of that. And it's just gonna drop it right back where it belongs. Of course, if I made some edits and moves, I hit the shift and I dragged this out just to make it a tiny bit bigger. Move it up like that and I want to keep it there. Then I go ahead and click the check mark, and that will confirm the transformations that I did. And it will change that. Okay, but we're not really going to do any of that. I'm just showing how the move, tool and the selection tools work. So I'm gonna go ahead and click, Undo. And then if I don't want to have these controls around the edge, I can go up to here and click, show, transform controls and unclipped that box. It will get rid of those, but it will still leave my marching ants selection around this barn. And then if I wanna undo my selection, I can hit control D or I can go up to this select tab and I can say de select a One other interesting thing I can do is select the inverse, which I'll show you if I click that you noticed there now marching ants around the outside of my entire image as well as around this barn. Which means that all of this area out here is selected and the barn is not. So If I were to go to my move tool Jamaar Dion, and grab this, you'll notice it's gonna move the whole background. Okay, so that's the inverse. And then if I want to get rid of my selection, I just go to selection and de Select or you can see I can hit control the or. I believe it's command D on the Mac. So do you select now? I'm just back to my regular image with no selections made. So now you know how to use the move tool and the religion. A lasso tool 6. Tools and Shortcuts to Use Every Day: OK, in this video we're gonna be talking about some tips and tools and shortcuts that you'll probably use every day. The 1st 1 and most important, probably is the undue command. And in old versions of photo shop that used to work like this, if I took my brush well, better make this smaller. And I brushed over this absolutely to make it more opaque to Okay, I'm brushing over this with white and that I released the mouse and I brush some. Or if I had control Z and then I hit controls the again to undo this one. Look, what happens. Basically, I can undo in action and then when I undo again, it just read, Does that action. So if I want to step back further in time and undo multiple actions, I actually have to use control Ault Z So I can now do control all tse toe under that. And if I hold it control all tse again that I could go back further. Okay, So if I do like four of these separate actions, it was 25 and again, if I do control Z and then controls the again, it will just bring back the one that I undid. But if I control Ault Z, I couldn't do that several times and all the way back. Okay, so that's really important. And I'll show you real quick. If you go to the edit menu and you make sure all the way up to the top, you can see it says a new state change, which is your control Z. And by the way, this is commands the on your Mac. Or you could do a step backward. And that's where you can step backward multiple times, you know, five or 10 steps back. And that's control all tsay. OK, so that's the 1st 1 And most important, probably the 2nd 1 is moving things around in your image. So if I want to move this image, let's first say that I'm zoomed in. I've got Zoom tool and a click. A couple times I'm zoomed in, and I want to be looking at something over on this side, regardless of what tool you're on. Even if I'm on like the I drop her tool, I can push the space bar and watch what happens to my cursor. All right, push the space where it turns into a hand. And then I can use that hand while holding down the space bar. I can left click, and I can drag this around wherever I want to be. Okay. And then when I released the space Bar, it's gonna go back to the tool that I had before and this this one that you will use a lot . Of course, you can always go down to these and scroll thes, but that's not nearly as quick and efficient. It's just space bar left, click and drag. So that's one of this shortcut. You'll probably just get in the habit of using all the time. The other thing you can do with the hand tool itself is if you double click on it double left click. It's just going to completely fill your workspace with the image, which is really handy, because again, if you've been on the zoom and you've been way zoomed in, you don't wanna have toe. Go and push Ault and zoom back out and try and get just the right amount of zoom like websites to Max and I'm gonna go back, and it's so much easier to just double click, it's gonna snap to full screen, OK? And that's using double click on the hand toe. Okay. And speaking of zooming, so to zoom, you can click on this, and you can hover over your image when you have a plus side. If you want to zoom in on this cloud, you just left click on that cloud, and you're gonna zoom in on that cloud if you want to zoom out. You had the Ault button, which is your option, but not a Mac, and you click to zoom out. This is left clicking if I want to see him out over here that I could do that. But if you want to make it even quicker, if you have a roller on your mouse and you can be on any tool. So if I'm say on a brush tool, I can hit the Ault Key and you'll notice it's going to my last tool, which is fine. I'll show you over here, But what it also does while I'm holding the old key down is it allows me to zoom by using the roller, so if I roll up, that'll zoom in wherever I have the cursor And if I roll out, then I'll zoom out. So that one and the space bar with hand tool are two of the most common tools that you'll use just for moving things around. Okay, Another awesome little trick is that if you wanna navigate between your tools without going over here and clicking on them, you'll notice if I hover over this, we get a little preview here that says, Move, tool V. So if I'm over here and I want to use the move tool, I'm on the brush tool. Now I want to use the move tool without going over here. All I do is hit V. Now I'm on the move tool. If I want to use the rectangular marquee tool because it's a marquee, I hit the them. Now I can draw a rectangle. I want to use the crop tool. You'll see it says, See, right here. So I see, and it immediately brings up my crop bars. Okay, so and the way to find out what these are most of them are intuitive. So, for instance, the crop tool see the brush tools be, But not all of them are completely intuitive, like the Excuse me, the move tool, which is a V so you can just scroll through these and see what the shortcuts are for that. And speaking of which, when you have road these you do get the tool tips, and this kind of shows you how to use a tool which could be helpful. But it can also get really annoying toe have these popping up every time you're hovering over a tool. So if you want to get rid of those, you can turn them off by going to edit and all the way down to the bottom to preferences and up to tools left. Click on tools and you're gonna have to things. Here. The main one is used rich tool tips. That's those big box is that it's bringing up, and the other one is show tool tips. So show tool tips is when you don't have those big boxes up. If you hover over a tool, it will give you a little just text preview saying this is the political lasso tool or, if you have over this one, this will say rectangular marquee tool. So if we turn off both of these, then you won't have any pop ups at all, but you can also just turn this one off. But if you turn the show tool tips off, it's automatically gonna get rid of all the tool tips. And when I click, OK, now, when I go on hover over these, I'll get none of that. So probably while you're still learning, you're gonna want to leave those tool tips on. But once you get more familiar with the program, they tend to just kind of get in your way. Because you probably know by then that when you hit the V on your keyboard, it's gonna give you the move tool so you don't need the tool tip. But again, to turn those on off could edit preferences tools, and you can talk to them on enough right here. Show tool tips or use ritual tips. Okay, and then finally, and this is probably one of the best tips I can give you, especially as you're learning from me. If there's something that I tell you about like, for instance, say I'm talking about layers or say I'm talking about adjustment layers and you don't quite catch everything in the video and Then you go back to your main page. You're trying to do some work, and you're like, OK, I want to create an adjustment layer. I think that's what Steve said. But I don't even remember where to look for that. And you're looking around and image and you're looking in at it. And maybe you're just not seeing it right. If you can't find it, you can always go up here to this little search bar. And if you click on this and type in adjustment layers and you have to spell right, then we're gonna get all kinds of help here. So it's gonna tell you about the Layers panel, which is over here is going to tell you about the adjustments panel, which is up here. It's going to tell you about a black and white adjustment layer are color look up adjustment layer all these different options, but basically it's going to help you to find what's going on. And then, if so, fear thinking like, Oh, I want to go to the layers panel that you can click on this and see it highlighted it briefly and I can do that again. I can go click on the adjustment panels. It's gonna highlight the adjustment panels he watch. She had opened up my adjustments, and then it briefly highlighted it. So it'll just show you what you need to see. That's very helpful again. If you hear a phrase you can't think of how it's supposed to work, that will help you find it. Okay, so those are some really just critical tools and shortcuts that you're probably used every day, especially when you're getting started that it's worth watching this video a couple of times and really practicing those I would like you to. You know, go double click. I'm a hand tool toe go full screen. I would like you to click the all button and zoom in and out with your roller if you have a roller and practice these techniques because you'll use them every day and they'll really help your photo shop experience 7. Introduction to Layers: OK, in this video we're gonna talk about layers and layers is a subject that you could spend a lot of time wrapping your head around, but we're just going to do a basic introduction to it so that you can start using them in your photo shop. Editing. The best way for me to explain layers to you is to compare them to sheets of transparent plastic. So in this image here, imagine that we have three sheets of plastic sitting here and two of them have some type on them that says layers. Now, if I grab the top layer and I pull it away from our pile, you're gonna notice that it is a sheet of transparent grey with white lettering on it. And underneath it there's another sheet of transparent gray with red lettering that you probably didn't notice before. That's because the top layer was laying on top of the bottom layer. Now we can even go one step further, pulling this way out of the way, and I congrats this layer with the red texts, and I can pull it up out of the way and you'll notice that there's one more layer down underneath it without any texts at all. And that's the basics of what layers does in photo shop. So layers can be a simple. It's just having two sheets like this one that lays over the other and has an effect on it or covers up part of it. Or it could be as complicated as having 10 layers with all kinds of different adjustments and effects to create a very complex photo shop image. And to better understand what's happening with these layers, I'm gonna go ahead and open up our layers panel here, which I have minimised at the moment. And again, if your workspace doesn't look like mine that you want to go up to here and make sure your clicked on essentials and if you are clicked on essentials, then go ahead and click. Reset essentials and that's gonna pop open are essentials workspace, And then we can go ahead and minimize some of these that we're not going to use, like the color panel and the learned panel. And that's just gonna leave our layers panel open, and now we can start to understand what's going on in here. So if you look over here actually let me move these again so you can see what's going on If you look over here, we have four layers here and you can see each one is labeled. So we have a white text layer, which is this one read text layer, which is that one? We have a blank layer, which is just this blank sheet and then we have a black background, which is the background. So this image is made up of four layers and you can also see that they're stacked on top of each other. So the white text layer is above the red text layer. And therefore, when I slide this down onto that, it lands on top, so the white obscures the red. But these could be rearranged. However you want depending on what you want to show up on top. So if I want our red text to show up, I can actually grab that by left clicking on it. See, I have a hold of it now, and I'm gonna move it up above the white text layer and you see, the little blue bar shows me where it's gonna nest, and then I release. And now the red text layer is on the top, and so now it's covering up the light text, and if I move this, you'll see Now it's on top, and even if I come down below it, it's still going to cover it up. And the hierarchy is one of the most important aspects of using layers because of the fact that you can cover things over, hide things and change things using layers. Another really cool aspect of layers is that you can hide them now. You'll see these little eyeballs over here. This is the show or hide icon, and if I want to hide the red text, layer the entire layer here, let me move it up here again. So it's easier to visualize. Then I just click on this little eyeball and it disappears. If I click it again, it will come back and I'll click it again to make it disappear. And same thing with white text layer. If I want to hide this white text layer, I just click the eyeball and I hide it, and so on and so forth. I can hide all the layers I want, and in fact I could even hide my background layer if I want by clicking here, and that leaves me with no layers at all. And the reason you'll see these gray and white checkerboards is that is showing us that this is transparent. So there's just really nothing on the canvass at this point. So, for instance, supposed to bring back the red text layer, you'll notice that the text comes back. There is still that sheet there, but it's very light grey, so you can't really see it on a transparent background. But if I plop in my block background now, you can see that sheet again. Okay, so all of these layers, you can turn on and off. You can move them independently of each other. And speaking of moving them, let me show you one setting that you can do toe help you to select the right thing. If you go appear to the options are and you need to make sure you're on the move tool. If you're on like the rectangular marquis, then it's not going to show the right options. So you click on the move tool, and there's this little thing that says Auto Select. And right now I have that checked. What that means is, whatever I hover over, it's going to try and select the thing that I'm hovering over. So if I hover over this one, I could grab for hover over this one. I'll grab it and you'll notice the selection changes when I click on it. So if I click on the black player down here, click, it's now selected. If I click on the background, it's now selected. Okay, now that's one of the easier ways to do selections. But you can also turn off out of selection, or sometimes maybe off by default. And if you're going and trying to click on things, for instance, now I'm trying to click on the red layer and, well, let's first select the blank layer. Okay, so it makes more sense now. If I go and try and click on the red layer, notice it's still selected on the blank layer because it's not on auto select. It's just going to select whatever is selected over here in your layers panel. So if I try and grab this red one and move it, see it's still connected to the blank layer. So the moral of the story is, if you have auto Select turned off that you're gonna need to manually select the layer that you want to move over here. Worse, I could do the white layer. But if I do, if I have the white later selected and I try to grab the background, it's still going to grab that white layer. Because remember, this is like a sheet of plastic clear plastic that goes over the entire canvas. Okay, so that's kind of the overview of layers. Now let's just do one more quick thing. I just want to click out a regular image so you can see what the layers are gonna look like on just a regular image that you might open. So this is just a J Peg picture of a road. And if you go and look in the layers panel over here, you notice that there's just one layer and has a little icon showing our image, and it's just called background, and it will always call any just single image background by the fault. And then you'll notice, too, that it's locked over here. And when it's locked, there are certain things that you can't do to it. So, for instance, I cannot click on this icon to make it hide because it's locked. And generally speaking, you want to leave your background layer locked and add new layers by going down here and cooking here and then doing your edits on the new layers. And that way you preserve your background. It's called nondestructive editing. But if you wanted to do some edits or hide this background layer for some reason, which generally I don't recommend, you can unlock it just by clicking there and then it's going to rename it Toe Layer Zero, and it's going to give you more access to it. You can hide it if you wanted to, and so forth. Okay? And if I control all Z just going to go back to where it was the beginning again. This is what it's gonna look like when you open an image. Okay, so in this video we've learned all about layers, and in the beginning of the video, we learned how to select different layers to move them, how you can adjust the auto select to help you grab the layer that you want. We talked about the hierarchy of these levels and how you can overlap these. But if you move these around over here and put the white layer on top of the red layer, then it will cover it up. And we talked about hiding and showing layers, and there's a lot more to learn about layers, but that will give you a good basic understanding. 8. Adjustment Layers - Brightness, Contrast, and Saturation: OK, in this video, we're gonna talk about adjustment layers and we're gonna do some adjusting of the brightness and contrast and maybe even get into hue and saturation. So the first thing, of course we want to do is open an image and we're going to go to this barn Adjustments download. I will say it. Leave as is and click. OK, and here we have this picture of a barn in the field, but we want to soup it up a little bit, give it a little more punch, and to get all of your panels set up. So we all look the same. You can go to essentials. And then if you need to click reset essentials, it's gonna come up like that. And I'm just going to double click on the learn panel to close it up. So we have our layers here, and you can see we just have our one layer. And now, if you remember from our layers lecture, we can add an additional layer to this. And the way we do that is just by clicking on this button here. But there's actually another way to add a layer and another type of layer that we can add, which is right here, and this is a fill or adjustment layer. So if I click on this, it's gonna bring up a whole menu of possible adjustment layers that I can create and these air layers that allow you to adjust your image without making adjustments straight to this layer. And we're going to start with brightness and contrast. It's one of the most basic adjustment layers that you can use, so we'll click on that. You'll see a couple of things happen first. It's created a new layer here, and it even has a little symbol for brightness and contrast. And it has named it brightness. Contrast one. And that's a new layer and that has a little properties box that pops up, which has thes two sliders. And we have brightness here and contrast year, and by grabbing the sliders and just moving them, we can change our image. So brightness is pretty much just what it sounds like. If I go left, it's going to get darker. So I go over the right. It's gonna get brighter. Okay, so you can see that just by sliding this to the right a little bit. I brighten up this image. It whitens up the sky a little bit, gives me some more punch to these flowers. And then contrast is essentially how much difference there is between the brakes and the darks. So if I go down, in contrast, it's gonna make the image flatter. There's gonna be less contrast between the brights and the darks, and I'll go all the way down. Just it's hard to see, actually, with contrast, but it flattens the image a little bit and you'll notice more when I go up toward the contrast E end you'll start to see, especially in the barn here. You can really see the texture coming out in that barn because the darks are getting darker and the lights are getting lighter, then going back to our original, you can see right there you can see the contrast. Okay, so what we would do with this is we've already kicked up the brightness a bit, will also kick up the contrast a bit and in general with these kinds of things, you want to be subtle because if you do too much, then you make your image look kind of fake, but we can try about there. That gives us some nice texture in the barn and gives a little more punch these images, and then you can toggle it off, using the eyeball or over here to see the difference. So if I click there, you can see our original image. Click it back, and that's our more brighter contrasts image. Okay, do that a couple more times. You can get a good sense of the difference. Okay, so that's brightness and crawl on. Trust some really basic ways to adjust your photograph, and then let's do one more. We'll go down to here again, click on the adjustment layers and will grab the hue and saturation. This one's another pretty basic one you notice again. It creates a new layer, an adjustment layer named hue saturation, and you can rename these to you. Just double click right there. Type in whatever you want. We could just call this color if we wanted to. Whatever you want to name it. And then we have our properties box here and the 1st 1 issue, and we're not even gonna mess with that, because what that does is actually changes the entire color if we g o way laugh to see how it just gets pretty Wizard of Oz e here. So we're gonna leave that 10 to maintain our original color balance here. But the saturation is the like, the level of intensity of your color. You can kind of see how it looks on the slider. So if I go all the way down to the left, I'm gonna basically take all the saturation out. In other words, take all the color out and make it black and white that if I go up here to the right, you can see again. If I go too far, it's pretty wizard of Oz like. But if I just go a little bit like save between here and here, you start to see some more punch in these greens and in these violets, right? And then lightness again is the same, basically as brightness and contrast. So that would just make it brighter or darker. So we will just leave that one. Where is you can also just type the number and here with citizen Okay, but we can give it a little punch on the saturation and then you can toggle that off again and you see the difference. It's not too intense, but it sure does make a difference. Just makes the grass looks greener, right? And the flowers look prettier. Okay, so those are two pretty simple adjustment layers, and there are a 1,000,000,000 other ways to adjust these things. But these are two of the most basic ones that you can just dive right into and start playing with to really make a huge difference in your image. And again, I'll show you. If I drag over both ease with left, clicked mouse and release it. You can see this is kind of a bit of a dull kind of flat image kind of a yellowish sky. And then I show these layers again, these adjustment layers and you've got some pop to the pinks and some color in the greens and a white sky, and it just makes the image a little more powerful. Okay, so one more time there's the original. There it is with the adjustment players, and that might be a little over the top with some of the colors. We could dial this back. We wanted to by just clicking here, bring that saturation down a little bit like that. Okay, so that's how you use adjustment layers 9. The Brush Tool: OK, in this video, I'm gonna teach you about the brush tool. And there is a surprising amount to know about the brush tool. But we're just going to cover the basics so that you have ah, general sense of how to use it. So the first thing you need to know is where the brush tool is, and it is right here, and you could left click it to select it. Also, if you selected on something else and you're out here working and you want to just use a shortcut, you just hit the beaky on your keyboard and you'll see I've now changed to the brush and you see this little circle here that is your brush. And of course, when were selected on it. Here we have a new option bar up here, which has a whole bunch of things, and we're going to cover a few of these things. So the first thing is that you have this little drop down menu here, and this allows you to adjust the size of your brush and the hardness of your brush. These are probably two of the most important things the size you can see the size right here. It's a 25 pixels, but if I slide this slide her way up, you'll see I now have a giant brush at 306 pixels, and the hardness is how hard the edge will be. So if I'm all the way the left and I have a very soft brush, you can see it's going to paint very soft edges. And if I'm all the way up to the right and I have a very hard edged brush, you'll see that it paints very sharp edges or hard edges. Okay, I'm gonna go ahead and hit Control Ault Z twice to get rid of those and one more time back to here and then down below. In this menu, you can select different types of brushes, and you can play with some of these different brush effects and whatnot if you want. We're not going to get into that. The main thing right now is we need to know the size and the hardness, okay, and I'm gonna dial these back down for now, and I'll close that menu, and if you click this one, you'll get a bunch of brush. Settings were also not going to worry about that. But you can select different sizes and textures of brushes in here, and one of the other very important things to look at is your opacity and your flow and these air fairly similar to each other. But I'll explain the difference if you have them both turned up all the way and you notice I just hover over the word. It gives me these double arrows and I can make adjustments. You also have a drop down here. But if we're on 100% for both of them and I go to make a line, make a little smaller brush using my left bracket and I make a line, you can see that that's completely opaque, meaning that you can't see through it. Now. If I dial down the opacity to 10% then when I make that line, it's only 10% opaque. Now, if I do alarm over that again, that it will be moral pick and I could continue building this up, see how it builds in layers. But each stroke that I do is only 10% capacity, okay? And if I'm working out here, you see, it's just 10%. And then each layer that I put on is gonna make it more and more of the color that I have selected. OK, but one thing to notice is that if I hold down the brush and I go over the same spot over and over and over, notice how it's not getting any lighter. It's just staying at that 10%. I have to release the mouse or release the pressure on my pen and then press or click again to get more opacity. Now that's where the difference between a pass ITI and flow exists. Because if I go to full of passing 100% and I reduced the flow to 10% now, I'm going to have a similar effect. But now, if I hold the mouse button down and I continue to go over, you'll see that it continues to make it more opaque with flow. You also get more of a feathery effect. It just has kind of a different blending, whereas Europe ass ity is sort of like a computer generated effect. But both could be valuable in the right circumstances, and then one final thing I'll show you right here is smoothing. And if we start with smoothing at zero and I'll make my brush smaller so this is easier to see and I draw. Let me get rid of some of these. There we go. And if I put my flow up to 100% in my capacity to 100% smoothing 0% is going to do no smoothing of my line. So if I'm trying to draw zigzag and I'm doing a poor job of it, you'll see these little kind of handshakes in here. Now if I dial up with smoothing to, ah, high percentage like 75% and then I go and try and draw almost the same pattern notice it's going a lot slower. But it's also smoothing out all of my handshake and giggles. See the difference in those two lines? Okay, so that's what smoothing does. We'll get rid of those two, and then the final thing I want to introduce to you is you're a little color palette over here, and this is your foreground and background culture. And by default, if you click this button right here, your foreground color will be black and your background color will be white, and this is going to come in really useful later on down the road for a lot of different things, like when you're doing layer masks and things like that. But for the moment, what you need to know is that you click on this, it will reset everything. And if you click on this one, it will give you an option to set this color to something other than black will cancel that for now. And if you click on this one, it will give you the option to set it to some color other than black. And then if you hit this little button, it will switch them. So right now, we have black as the foreground color, which is going to be our brush color. But if we hit this little button, it will switch them so that we now have white. You can also do that by pushing the X key on your keyboard. See, I'm pushing the X key and it's switching those back and forth. So let's see what happens when we have black as the foreground color and we go to brush, we get black. If we had the X or we click here. We're gonna have white is the foreground color. Now our brush is going to be white, okay? And I'm going to turn off the smoothing. So when we have white is the foreground Color white, Switch them black is now the foreground Color paint with block. Okay, so let me show you a couple of quick examples of what you can dio, and that will be it for our tutorial on brushes. First of all, notice in our layers. I am selected on the background Right now. You almost never wanna work directly on your background. So if I wanted to do some work on this image, I would want to create a new layer. And you do that by hovering over this icon right here and clicking it, and it creates a new layer. Now, anything that I do will be on that layer and not destroying my original image here. So one thing that you could do with a brush just as an example is we could create a little vignette around here. And there are other ways to do this and arguably better ways to do this like with radiance and things But I'm just showing you this so you can learn about. So what we're going to do is just kind of brush in some dark little halos around this image to kind of give it a little vignette. And the first thing you would want to do is bump up your brush. Us. I'm going to use my right bracket. Nice, big brush. You can also do that up here by changing the size, and then we're gonna make sure the hardness is all the way down. So it's nice and soft, and then we can close that, and now we're going to dial down the opacity to 10%. You can go pretty conservative with these numbers, and we're going to do the same with the flow and I'll that down to 10% and we make sure were selected as black as our foreground color. And then we're just going to brush in around this. Give it a little bit of it Yet then you can check if it's working, but toddling your layer on enough with little eyeball on. See, there's a subtle change will do some more and then you'll see more changed. So I unclipped my mouse and I'm gonna click again. And I'm just gonna do some smooth strokes here and around the edges that I'm gonna unclip one more time because again, remember, if I don't continue clicking, the capacity is going to keep it from getting darker, Click one more time and go around this, and we're just kind of darkening the edges here. We might do one more down here because it's so bright. Okay, And now when we unclipped that, do you see, I was sort of starting to take on a little vignette and I'll just draw your focus into the center of the photo. Okay, so that's one thing you can do with a brush. The other thing that I could do is if I wanted to just make a solid layer. And there are a ton of reasons why you might want just one solid layer of color is I can go in here and let's just to keep it simple. Let's make a new layer for this. Okay, so that was the layer that we're doing. The been getting on this layer has nothing on it. But we're gonna select it, and we're gonna do a new layer, and we're just gonna make a solid fill color. And this would be if you wanted to do a background for some lettering or a poster or something like that. Or if you want to blend layers together and you needed to blend the color into this, and here's how you would create that layer. So you going to go to your foreground color and click on it. And then it's gonna ask you to pick a color, and you can click through here or drag through here to get into the different hues reds, blues, greens, etcetera. And then, if you go up toward the top of this area, you're going to pick lighter colors, and as you go down, they're gonna get darker all the way to black. So if I click down here, it's gonna be black. If I click up way up here, it's gonna be very light, and then you're saturation or the intensity of your color over the left will be lighter. We're less saturated and over to the right will be more saturated, so more intense or bright of a color so you can see when I click down this side there really rich, intense colors. When I click down this side, they're really pale. In fact, gray colors is almost no saturation. When I click across the top there very light because that's the white scale. And when I click across the bottom well, I should go a little higher so you can see they're mostly black. Okay, so you can pick any color and you could change the huge goto a blue We could pick like, kind of a light, grayish blue, maybe a little lighter even. Okay, and we could click OK, and that selects that color, and that's now our foreground color. There's one other thing I can dio change. This color is. I can just go click on this and then you'll notice the tool changes. I now have a color picker, and if I want to go and pick a color out of this image, I just click on it. So So I just click the sky here and it became blue. If I click, the light color here will become a light blue. I could pick this vibrant green. I'll get that so you can pick any colors out of your image as well to go into here and then when I click, OK, that's my new foreground color. Okay. And now, since I'm selected on a new layer and I have this big brush now, if I don't do any changes, I leave the a passage and flow low. It's not gonna do what I want to do. I mean, it will start to cover over a little bit, but that's not what we're looking for. What we want is full coverage. So we need a dial up or opacity and flow. And you can you can use the slider. But you can also just hit numbers on your keyboard to change these. So, Francis, if I had a two, it's gonna change. 20 three is 30 for, uh, six. See how that percentage is air changing. Although up to nine gives you 90 and then zero gives you 100%. Okay, so that just is a keystroke for adjusting your opacity. And then if I hit the shift key, I could do the same thing with the flow ago shift And 23 for five, etcetera. And then if I jump up to zero, that will make it 10 and one cool thing to is if you want a smaller percentage like 55% if you just hit the five, it'll go 50%. And again, I'm still holding this shift key for the flow. But if I quickly hit the five twice, then it will go to 55%. Or if I want 59% I can quickly hit 59 and I will go to 59%. But if I slowly hit them, I hit the five minute takes me a while to find the nine. Then when I hit the nine, it's gonna go to 90%. But we want full flow and full opacity, so we're gonna have zero for 100%. Now, I can let go of the shift key, and now I have a full intensity brush here, and I'm just gonna brush over this with that new bright green and see how it's just covering the entire thing. This is best to use a very big brush so that you can get everything filled in and then kind of go around the edges. Make sure you got it really good. Okay, well, I'll dial back the size of the brushes says, not so distracting. And now we have this full color layer and you can see the color right there. And it's its own separate layer. And if I wanted to do things like mask off part of this image and have some of this color show through or a 1,000,000 other reasons than now I have that Phil later. And if I want to turn that off, I was tuggle it off, and I can tuggle it back on, okay? And just to give you a really quick example of how you might use this layer So this layer is on top of the background, right? And we have what are called blending modes. And right now the blending mode is a normal, and you'll notice these are they're blending modes up here as well for your brushes. But right now, when it's normal, that's gonna make this just behave just like a brush, right? So I brushed over everything, and it just has this full color of paint. But if I change the blending mode, I can make this layer interact differently with these other layers. Okay, so the best example I want to share with you is multiply and you'll find yourself using this From time to time. I click, multiply, watch what happens. See how you can still see the original image. But it's sort of tinted with this color, and what it's doing is this layer is basically working with this layer and blending some of the colors. And Hughes okay, if I toggle this off when we get that bright original image, if I talk about back on, you see that this is basically tinting that okay, but that's giving off the subject. Really. We're talking about brushes and again. If you want to use your brush, you click there where you hit the be on your keyboard and that will select your brush. You can change your sizes and your hardness Here. Hard edge, soft edge, small, large. You can change your lips. You can change your opacity and your flow. And remember, you could use just numbers on your keyboard to change the opacity. And if you want to change the flow, you can just hit shift and these the same numbers on your keyboard, and then you can select your colors down here. And if I want to put this back to normal. I don't like that yellow color. I don't want to use it for my next brush. I could just reset thes by clicking right there. Now I'm back to a black brush, and if I wanted to brush on here, There we go. So again, that's just a really basic introduction to brush is so that, you know, kind of where the tool is, how to make some adjustments to it and how it works. And later you'll see some examples of how to actually use it in a functional way. Get an image. 10. How to Whiten Teeth with Adjustment Layers and Masks: OK, in this video, we're going to look at teeth whitening and in the process will learn about adjustment layers and doing selections and a couple of other really cool little things. So first off, we're going to go up to file and I'm going to open recent and I'm just gonna go grab this lion with yellow teeth. Leave it as is click OK, and here we have this awesome little picture of a lion. And let's just say that this lioness rather vain and he is upset with how his teeth look in this image, and he's asked us to fix it for him. The first thing we're going to do is zoom in on this face and you can either use the zoom tool, just click on his face. Or you can alternately even drag square on this face and it will zoom right in like that or if we're zoomed out. Still, as you recall, you can hit the Ault on a PC option on the Mac, and it doesn't matter what Tulia on it will change to the zoom tool, and then you can use the roller on your mouse to scroll in like that since I have the hand tool, grab it and move him over. Okay? The next thing we're going to do is we're going to select his teeth and I keep calling this a him. I realize it's a girl. This is a lion s. So I apologize if I do that again and you can see that the upper teeth are quite a bit whiter than the lower teeth. So you could actually do this as two separate selections. But for this tutorial will just do them together because it will still improve them quite a bit. So first we need to actually select these teeth so we can go over here and pick a selection tool. And the ones I would recommend would be either the magnetic lasso tool. You could free hand, select it using the lasso tool. But it's a little bit more difficult. Or the quick selection tool for this one will just use the magnetic lasso tool. And I can kind of show you how that works. So you just started one corner click, and then as you drag along the edge, it's going to basically magnetically stick to the tooth. If you miss a little corner you can always. Or if it doesn't catch that there's a corner here. You can always click to create your own anchor point. We just let that go like that. We could do some clicking right there, and then we just follow this edge, and it automatically creates little anchor points for you. You can see that even if I die aggress a little bit over here, it's still kind of snaps to the white. And then it's a little trick here along the top because, as you can see, see, it wants to pull up, up above the gum line now. So do sit back space and click along the top of this a couple of times to make it go where I want to go. And then when I get back to the beginning, it does that little circle see right next to the magnet. And then I click, and that completes the selection that I can a shift key, and I can add to the selection down here and again. I'm just clicking the anchor on spots where I think it might go awry and then letting it do the rest of the work. When I get to the beginning. Click it and we have. Now we have two selections here which are essentially the same selection. And you can always double check this finding to zoom in here. We'll hit the alky again and hit the space bar to do this hand tool and then move this. You can see I missed a spot along here. I can actually go in with the regular lasso tool. And I could just add these spots in like that. So you have that completes it, clear that edge that edge. And if there's a part that you wanna remove from your selection like, say, this little purple spot in between, you can hit the all turkey, and your plus is gonna change to a minus next to the lasso. And then I can just select out a little section of that, see how that removes it from the selection. And actually, I would probably do that along here is well and then get rid of that. There we go. That's looking better. Now I'm gonna hit all and zoom back out and space part of grab the hand and center everything again and you can get is detailed as you want with that, it doesn't have to be super, super accurate. You just have to be careful, because we are gonna lighten this these areas. And you wouldn't want part of this lip selected, because then you're gonna lighten this lips, and that wouldn't be good. Okay, so now we're gonna go down here, and we're going to create a new layer, a new adjustment layer based on this selection that we have and the adjustment layer is right here, I hover over that. You'll see it says, create new Phil or adjustment layer, and I just click on it. It gives me a menu, and there are a lot of things you can work with. Here you can see the like a solid fill color a Caridi in color, brightness and contrast if you have increased the lightness or darkness. But we're gonna work with hue and saturation since we want to take the yellow out of this. And it will also allow us to lighten it a swell. So we're gonna click that you'll notice a few things happened. First, it brought up our properties panel for hue and saturation here, and we'll get into these dials in just a minute, but you'll notice it also brought up a new layer. So we were working on our background layer, but it created new adjustment layer and this little icon you'll notice matches this like on where we created the adjustment layer. So we know that this layer is an adjustment layer, and then it also created a layer mask, which we haven't talked about yet. But where we selected these teeth and then create a new layer. Based on that selection, it has essentially masked off those teeth. And you can even see if you can look closely enough that they're two little white spots here, and this is where we made the selection on the teeth. So the only part that selected is the white area on this little mask at all. The black area will not be affected by the changes that we make, and that's really significant because we're only gonna whiten these teeth right, and I'll be able to better explain this as we go into this panel and change the properties . So we basically have three main adjustments here. We can change the hue, which is the actual color and I'm just gonna slide these so you can see what happens if I change the hue. See how it either adds or removes color from it. So here they're turning really green, blue, green and kind of warms. And then they turned purple back to blue again. So we're not gonna mess with Hugh. It was set that back to zero. But we are going toe adjust the saturation and lightness. So who is the actual color of the rainbow? Right? Saturation is the amount of color in the image. So if we reduce the saturation and note that and keep in mind, we're only working with the teeth here. But notice how, if I go all the way to the bottom here than the teeth become black and white and if I go all the way to the top here, then they're gonna become really intense colors. So the reds get redder, the yellows get more yellow and so on. But I have noticed that when I make these changes, its Onley affecting the teeth which are selected in this layer mask, okay. And then third of all, we're going to it just the lightness and it's the same thing with whiteness for go really dark. It's gonna make the teeth black. They go way up, it's going to make the teeth just burnt out. White. Okay, so I'm going to set these all back to zero for the moment. And then up here we have We have some presets which we're not going to even get into. But you also have your specific range selection here so you can select the master, which is all the colors where you can select specific colors reds, yellows, greens, scions, blues or magenta. As in this case, we're trying to adjust the yellows because the teeth are yellow. So we're going to select that. And now if we go into the saturation and we drop it all the way down again, we pull all the yellows out. If we go big, it's gonna make him really yellow. So this is where we're able to just take out the yellows in this image. Cool, right? So I'm going to drop down the yellows a bit here and one thing to remember is subtle is better. So you don't want to make major changes to think if I go all the way down to here. They're gonna look really gray and kind of lifeless and unhealthy. So we're just going down a little bit, Will Goto like, minus 20 here, and then I'm going to you know? So now they're kind of a little bit boy and looking, so we're gonna go increase the lightness, which is just gonna brighten them up and again, We're not going to go to crazy, and then you'll notice there's a little icon down here and I can hide what I've just done or show it. I think I'll do more on the saturation and a little bit more on the lightness. This is a very vain line, and she really wants her teeth to look good. Now, I can do that kind of preview. Okay, So, see, when I click there, you can definitely see the yellows in here. And when I talk about it back on, definitely. It's brightening up. Watch this one click on my eyeball. Here. See that change? See at Brighton's and same with these seat. They mostly go become less yellow, okay? And I'm a bright and I'm just a tiny bit more. Oops. Gotta have a toggled on. Okay. And We'll talk all that back and forth again. Sometimes it helps to zoom out. I hope so. I just hit the wrong button. Hopefully, don't mess that up. I think it's the same as what I had here. Let's close this for a second and we'll zoom out. So we hit Ault again and scroll out. And now I can use the eyeball over here to hide this layer so we can just kind of see the difference. So this is what the changes that we've made. This is without the changes you can definitely see. The yellow is kind of coming back into the teeth. And there we are again with the changes, and they're this before changes and after the changes, so you can see it's subtle, but it basically just looks like this guy had a good teeth whitening before he posed for the photo or she I guess I should say We'll call her the lioness and that's it. That's how you do a selection and whiten a specific area such as your subject's teeth and just a little recap of what we did. We first were selected on the background. We used some selection tools to select an area, so we selected an area. Then we went down and we clicked on new adjustment layer and we clicked on hue and saturation. It brought up this new panel for us, and it created new adjustment layer. And by the way, this is a better visualization. You can see where I selected that bigger area around the mouth. Now you can really see it in the layer mask here that I have that selected and you'll notice I can do adjustments on this layer or on the layer that I created previously and just to kind of show you while we're in here. I go to this and I play with lightness. See how it's gonna just the lightness of that area that I just selected. And this also shows you how. If I wanted to do just the upper teeth on the first adjustment layer and then go back and select the lower teeth for the second adjustment layer and maybe whitened these a little bit more than the upper teeth, then you could do it that way as well. Now where I don't need that disclose that where I don't need this selection in this adjustment layer. I can grab it and drag it down to the trashcan right here and let go, and it's gone. So that's our adjusted layer that start before with kind of mother of pearl colored teeth. And that's the vanity shot, the white shiny teeth. 11. The Clone Stamp Tool: OK, in this video, we're gonna talk about the clone stamp tool, and this is one of my favorite tools because it's just so darn easy to use and it just has such significant results, and in this example we're just going to clean up some of the blemishes on this subject's face. But first we're gonna go get our tool. And if you over the left, here in the toolbar, it's this little one that looks like a stamp. I just left click on it, and that selects it. It gives you some additional tools up here so you can make adjustments to it, and sometimes you can go ahead and do these adjustments right onto your background layer. But I don't prefer to do that. So we're just going to create a new layer by clicking right here. Now we have a new layer will do all of our adjustments on the layer here and that way. For some reason, we decided we don't like what we've done. Weaken. Just toggle this off and be back to our original do. Some good nondestructive editing case were selected on our new layer. We have our clone stamp tool, selected can. Finally, what we'll do is double check where it says sample. We wanted to say all layers if it just says current layer were on a blank layer, so it's not going to recognize any of these pixels. So we need to say all layers so it can see down to the background layer. And then we take our tool over to our image, and I'm going to blow this up a little bit. So oppressed the Ault key and scroll forward. Oh, but first, I have to make sure this is not selected. So click somewhere else to de select Press Ault and scroll forward to zoom in. And remember, you can also use the zoom tool and just click to zoom or press Ault and click to zoom out. Or you can double click the hand tool to make it full screen, which is probably the easiest, or I shouldn't say full screen but full window and then we'll go back to our clone stamp tool. And by the way, the shortcut for this is s. So if I'm over here, I could just s I'm under the clone stamp tool and then we can use the left and right square brackets, which are right next to the P on your keyboard to change the size of the tool. So we'll make the tool just the size of these blemishes. And then here's how the tool works. If you watch what happens when I hit the old key, it's gonna create this little target. And that is saying that wherever I have this target, it's going to sample those pixels, and it's going to clone them and stamp them where I go. So you always want to find an area of skin that is similar in hue and darkness to the area that you're working. So I wouldn't want to come down here and get some of this shadows area and then try and fill it in because it just wouldn't look good. So I'm gonna sample right here. And so I'm holding the Ault key down. That's what gives me that little target or bull's eye. And then I just click the button and you don't see anything happen. But it sampled a bit of the image right here. Now I'm gonna release the all key, and I'm going to move over this blemish and you notice how it's carrying that. It's cloned those pixels, and it's bringing them over that part of the image. So it gives me a little preview, and then I just click, and then I can move my cursor away. You can see that it just cloned that right over, and actually, you can see right here. If we go over here, you can see what it's cloning. It's a better way to visualize it. Another thing you may have noticed is when I clicked and I'll do it again and watch closely just to the right of this circle, you'll see a little plus sign. See that plus sign that's showing me that. That is where it's sampling or cloning pixels from. So the better represent this for you. If I hold it over here, you'll see that it's sampling from right here. If I go up by her lip, it's still going to sample a spot relatively close to the right. If I go hovered near her fingernail, you can see it's sampling that same spot like 1/2 a centimeter to the right. Okay, same if I hover near her hearing, you can see and I'll even click so you can see the plus sign again. And if I move, you can see the plus sign. It's moving. That's where it's sampling from. Okay, I was I'm going to undo that. So I'm gonna say control busy, and then we'll continue on two other blemishes. So I have another blemish here. Ah, well, I think I'm gonna sample it from a little higher on her job. I don't want to get this darker stuff down here, so I'm gonna go here and click cult and click to sample and then move into the image and click. That's actually a little bit too bright. So Well, maybe look control Z and we'll try it lower. We'll do Ault and click to sample a little lower, a little darker pixels. Try that. And you can also kind of hold the button down and then move over the area. Actually, no, that's sampling right on top of where I want to be. So it's not good. So let's do altogether. Sample that and then we'll move in. Click and click. That's a little better. Still a little off in color so it could maybe try from over here. Sample some this and then bring that it there. That's much better. Much more uniform. Then we could go down here. Same thing. Click cult. Sample something right next to it. Bring across. Looks good. A little sampling from right here and you'll notice there's this little crease in her skin right here. If I was going to clone from up here and clone it down over that, I will obscure that crease so we wouldn't want to do that. I'm gonna control Ault Z twice to get rid of that. But if I'm going to cover up a blanche here as right on the crease than what I can do is I can clone a bit of the crease right here. And I could bring that crease. And you can kind of keep that line consistent if you look closely if I pulled down employing the crease down below, basically breaking the line, see it move. It's kind of hard to see, probably. But if I hold the clone stamp right in the right spot that I can clone it and it will usually keep that crease Pretty consistent. That doesn't look super great. So we'll just controls eat. I'm do that but we took care of our blemishes there. Now, one thing to keep in mind is it's one thing to do blemishes because those were temporary and people don't usually want those showing up. But maybe like this mole here, you wouldn't want Teoh touch up because that's part of her body. And she probably identifies with that in some way. It's gonna be different with every subject some people want that all taken care of, or if it's for a high fashion or something than maybe but in generally want to kind of leave people with, say, freckles or whatever. Okay, now this looks like maybe some blemishes here. So we could still go up into here and do the same thing. Press Ault and click sample that area right there, clone it and just move over and click, and then another one right here that's a little bit lighter than I would like some. I'll try one from appear. There we go. That's better, keeping it consistent and that looks pretty good for this subject and then one other things . For instance, if you now these air smile lines and they again are kind of part of her face that part of her character. But if somebody was really interested in removing their age lines and that was what they wanted, then you could, of course, come in and sample from here. And I don't even need to read sample. If I'm doing a long section, I could just kind of continue moving down and we could maybe do a little bit more left A little bit of a line there. There we go. So you kind of sampled, um, some areas out and pulled that out of there and just erase that line controls. He wants to get rid of a little thing that I did there on. Maybe I would do one more little thing to change this highlight here. I'm gonna click in the darker area and just bring this out a little bit more to make it look more consistent. That didn't really work. It's good Control z twice, and it will go sample from up here. You kind of have to play with it just to get the sample area kind of just how you want it. So you can kind of smooth things. There we go. That's a little better. So we left one kind of smile. And but you can see how we can remove age line if we wanted. Okay. And then I'm just gonna scroll out a tiny bit here, and I'll go ahead and click this layer off. Remember, we did all those edits on a second layer, so we didn't ruin our original image. So if I can go ahead and hit the island, toggle this off. You can see now quite a difference in this image just really cleans it up and kind of brings back the subjects Confidence. Okay, so just a quick recap on what we just did. We clicked on the clone stamp tool. Well, actually, first we created a new layer by clicking on new layer. Made sure were selected on that layer. So we're doing nondestructive editing, not editing are packed ground. Then we went to a clone stamp tool, or we pressed the s key to select our clone stamp. We made sure that we're sampling all layers and to shoot why? It's important to be on all layers. If we were on current layer. Remember the current layers essentially blank. Well, it has a little bit of stuff, won't see if I close the background, basically has the things that we cloned and stamped in here. But do you see how it's? It's blank over here in the lower left. If I go and I do some clones stamping over here say, I'm trying to get rid of this wrinkle here and I hit all and I'm sampling and I'm trying to fill in. You see nothing's happening. It's because of sampling from a blank layer. I'm sampling nothing right here. So it has to be toggled on, and it has to say all layers. So that is going down and sampling pixels from this background image, which is thes skin tones. Okay, so we've got that selected on all layers, and then again we go find a blemish in. This isn't really a blemish, but we cover next to it. Find the similarly colored textured area of pixels and we push the Ault key. And then we left click to select that to sample or clone those. And then we move over what we want to cover up, and we can see that that's doing a good job and we click and there you go. Okay, so that's I use the clone tool. There are a lot of other uses to like. For instance, we could even go in and remove this hearing if we wanted to. It's really that powerful. Or we could give her another hearing up further up in her ear. Um, it takes a little bit more finesse to those kinds of cloning, but it really is a powerful tool that's just really once you get the hang of it really easy to use, and you could use a brush for 1/2 an hour to get those few blemishes that we just got rid of in, like a couple of minutes with a clone tool. 12. Cropping an Image Bigger Using the Content Aware Tool: all right. In this video, we're gonna work on a project here with this barn image. And what we're doing is we're trying to make the image bigger. So we're going to look at a couple of ways that we can crop this image bigger and some techniques and tools to do that. So there could be any number of reasons why we might want to make this image bigger. One might be because we are adding it to some sort of social media profile, whether it's Facebook or INSTAGRAM, and we needed to fit those dimensions. The other reason might be because when we look at the composition of this image, we want this barn to beam or in a central area where it catches your eye rather than sort of crammed up in the top of the image. So first will just look at the aesthetic cropping. And then we'll look at how to crop this to a specific number of pixels. And first I'm gonna click here and hit the Ault key and scroll in a little bit. So we're zoomed in and then we're going to go to our crop tool and you can left click it or press the sea key on your keyboard. And when we click the crop tool, we got our new option bar up here and we get the little crop handles down on the sides and the corners of our image. Now, if we wanted to bring this barn down in the image without causing ourselves too much trouble, what we can do is go grab this crop handle and left. Click it and you'll notice that when I left click it. It gives us a grid, which is showing us the rule of thirds. And as a general rule, I'll move this up so you can see these intersections where the image is divided into thirds are important areas for visual impact and people's eyes air drawn to these intersections. And currently we have nothing on those intersections except for these flowers, which is actually nice. But we want to have the barn on this intersection so it draws more interest. And so if we crop this bigger and bring it up like this, we get the barn door in the side of the barn right into that third. The problem is now we have all of this area up above the sky. That's just transparent. There's nothing here and we have a couple of options. One thing that we could do would be to go back, especially where this is a pretty clear sky. It doesn't have a lot of detail in it. It's just a blank color. We could actually go in with a brush and we could paint this back in, and then we'd have to maybe brush over these trees and get rid of them and then do a little cloning here to kind of match these trees and finish them up into the sky. That would be one way to do it. But the other way is to use content aware fill. And if you go up to the menu bar, it's right here. And if you click on content aware what that's doing, is it saying when we crop this bigger, we're going to analyze the content that is near this edge and we're going to fill in this gap to the best of our ability to the best of photo shops ability and a lot of times, especially if you just have a pattern like this or ah blank area like this It'll do a pretty darn good job, and we'll look at a couple of different ways to do this. But we click on that and then we simply go click the check box, which is confirming that we want to do this crop and we're going to click on it and then you're going to see the little wheel spinning as it thinks about what it wants to fill in there. It's analyzing our image, and it's basically trying to replicate it as best as possible. So now it's filled in that sky and we'll zoom in over here a little bit, pressing fault and scrolling in. I'm gonna press the space bar and use the move, tool the hand and take a look. You can see that, really, all of this sky looks great because it's a really simple solution over here. It didn't do quite as well. You can see that this little three branch stem here actually came from here, right? It's the exact replica, so it just assumed that that's what we want up there. Obviously it's not. So what we would need to dio would be to go in and do a little touch up and we'll do that real quick. We're just going to go get the clone stamp and we'll make it a little bigger using the right square bracket next to the peaky. And then we're gonna press Ault, if you remember this and click on an area to clone, and then we're just gonna move in and we're gonna get rid of that. Oops. My clone staff to his way to Sharp. So I'm gonna go and controls eat. Do all that gonna go in here and I'm gonna make it very soft. There we go. Let's try that again. We'll select an area right here and they'll move in. We're just gonna basically stamp out some of that. Maybe cut that a little bit right there and we'll do a little bit more coming down this way , too. And you could get really detailed with that. And you could even, like, clone a little bit of this or maybe one of these little twigs over here and kind of insert them appear Or maybe get a brush and smooth over that sky a little bit to make it look better. But if we zoom out a little bit and just take a look at it that basically just looks like trees over there. And so the content aware fill basically did what we wanted. It cropped our image bigger and just basically pulled this down into the image, so it didn't feel like it so crammed up against the top and kind of makes it more the focal point. Okay, so that's a pretty simple, pretty intuitive way to go about making a image bigger and using the pixels in the image to expand the image. So let me go ahead and close out of that. We're not going to save the changes. And I'm gonna open that up again in the original version, and we'll look at another way to go about this. Okay, So in the last one, we wanted to expand the sky to bring this mawr into the center of the image. Let's say that we actually wanted to go the other way and expand the flowers out in the bottom so we can see more of this cool kind of sweeping motion of the flowers. We could do a similar thing where we start with our crop tool, we grab the crop handle, pull it down. We make sure we're on content aware and notice it remembered my settings. That's an important thing to remember in photo shop. In most situations that will remember, you're setting so that it is on because it remembered. And then we'll go click the confirm button. See the wheel spinning while it's thinking about basically analyzing these pixels down here to pull him. And then there you go. It pulled basically the same pixels and rearrange them to fit this pattern. And you could see there are a couple of little weird spots where it kind of repeated things . Um, there. And there's kind of a little line here, although if you didn't know it was not supposed to be there, you probably wouldn't know. But you might want to go in with this one and again do a little clone stamping to kind of break it up a little bit. So it used the right square bracket and make that bigger, and I would just hit Ault and target that and then bring a little bit of that just like that, to break that up a little bit, Maybe do some from right there. I don't actually like that very much. Even just like that, it's fine just to break it up. What we need to do is I need to go to current layer. Let's try that. We'll get rid of what I just did. Control Ault Z there and we'll go grab this again. We're gonna hit the We could make this a little smaller. Not too much. Go cult. Target some of those flowers and just you can drop him in about there just to break that, That really kind of repeating pattern up, Maybe do one more something like that. I'm gonna actually undo that again. And I'm gonna make a bit of a harder tool. That's the problem I'm having. So we go back in and we go Ault click to select it, and then we could move it down. It just had too much of a soft edge. There we go. I had a really soft tool, and so it was basically blurring the image. That's something to be aware of, but Okay, See, now we basically covered over that little kind of green stripe and really, the content aware did a great job and it expanded this down and kind of created Maura flow to that, and it looks great. Okay, so that's the second way that you can use content aware two crops, something bigger that I'm gonna close this out one more time and I'm gonna show you one more crop technique will say no. And that will go to back to that barn and its image. And now we're gonna look at how to crop this image to a specific dimension. So, for example, most social media profile pictures like Facebook and Twitter and YouTube have a square shape. And so a Facebook profile image, for example, displays on the screen of a desktop at 170 by 100 and 70 pixel square. But we don't want to create our image of 170 by 170 pixels, because if you look up here, that's 170 pixels right there. So that means our image would be this big. And if that gets blown up at all, or zoomed in on or is displayed in our photo album, it's gonna be a really bad picture. So we want Mawr resolution than that. So it could be a bigger image but still be square. So let's just make cars around number of 500 pixels by 500 pixels, and that will give us better resolution. First we go to our crop tool, and then up here is where we can put in specific dimensions and we're gonna use this drop down. We could use the ratio, but where we want to get specifically 500 pixels by 500 pixels, we're going to go to a different option, which is the width times, height, times resolution. And by the way, you could also just go right here, and it will crop it automatically as a square. But in this case were able to determine the exact number of pixels in our width and height . Okay, so we go ahead and click that and this actually already has some presets in here, and I'll clear it. And then we can just type in 500 space p x for pixels, tap to the next 1 500 space P X, and you noticed. Now it's putting it into a square shape. Well hit, enter. And now we could move this to fit it into our image, and we can just drag the fill handles and notice how it constrains the proportion so it keeps the shape in a square. And if we want to do like we did before where we expanded this sky and brought that in, we couldn't do that. Maybe about right there. So we get the flow of this, but then we're gonna add in some sky. We'll keep it on content aware. So it's gonna fill in the sky to the best of photo shops ability. And then we're going to click on the confirm or commit button, and you can see it now cropped it, and it just shrunk it down. It's displaying it at 16% but if we want to see it at 100% of 500 pixels by 500 pixels, we can click on the zoom tool. Remember, the hand tool will fill the entire screen or the entire window with the image. But if we click on the zoom tool, this is one thing I haven't showed you yet. It will show it at its regular resolution, and of course, this is gonna be different, depending on the size of your monitor and so forth. But it gets pretty close. So now you can see we started zero pixels over here and we go over here and it ends at 500 pixels. See the ruler on the top. And by the way, if you don't have these rulers, let me show you where you can find those you go to view and it says rulers right here. If I toggle this, see, they disappear. And if I go back to view and click on Rulers that it brings up the rulers. And if you're there not displaying in pixels, you could fix that as well, by going to edit and down to preferences and units and rulers. And then you go Two units under rulers, you can choose from pixels, inches, centimeters, etcetera. Make sure you clicked on pixels and click OK. And now you can see the dimensions of your image and same thing over here. You notice where I hold the cursor. It has this little white line that lines up with the ruler. That's really handy. So you can actually, if I put on the move tool that I haven't arrow, I could hold the air right on that edge. You see that zero. And then as I go down here, if I hold the air on the bottom and you see it lines up with 500 Okay, so now we have a nice square profile picture that we could upload to Facebook or YouTube or any social media that takes a square format that's over, say, 100 and 70 or 180 pixel square. Okay, so just a quick recap of what we've learned in this lecture, we basically learned how to use the crop tool in several different ways. We learned how to select content aware, and we can expand our image. And then when we click, confirm content, Aware will do its best to fill in that space. We also learned that if it messes things up a little bit like it did with the trees in one of our previous examples, we can use the clone tool. Or you could use the brush tool to fill in that area and fix it as we did with the sky. And as we also did with some of the blemishes that I heard down in these flowers, and then we learned how to go up here and select the with times height resolution to type in a specific dimensions for your image. And in this case, we typed in 500 by 500 to give us a nice big image for a profile picture on social media. But if you were typing in a cover photo for Facebook, which is like the banner, then you could type in those specific dimensions that you get from Facebook, which at the time of this recording is it displays at 820 pixels by 312 pixels. So then you would get a very horizontal, banner like image, but you just type that in here 8 20 p x. That's very important that you put the pixels in there. So Photoshopped knows you want pixels and not something else, like inches or centimeters. And then you type in the other number, which is 312 pixels, and they enter, and then you can move this to fit it, and it will constrain those proportions. In other words, it will keep the same shape on your crop tool, and you can just get it adjusted. So it has all the things you want but fits that proportions that the social media images need. So those are the basics on cropping your images and using the content aware feature 13. Conclusion: Well, sadly, we've come to the end of the course. I want to thank you so much for taking the time to go through the entire course and to really stick with me through this learning. And I hope you've gotten a ton out of the course. I know this is just a basic introduction course, but I hope that it gave you the confidence and the foundation that you need to move forward learning Photoshopped. And let's just do a little review of what you've learned in this short period of time. So we started out by going over the interface of Photoshopped and learning aware all the panels and tools are we learned how to use some of those tools, like the brush tool, the move tool, the crop tool, and we learned how to open and save images. And then finally, we took all of those tools and skills, and we put them together into some projects. We whitened the teeth of a lion, we fixed blemishes on a girl's face, and we cropped an image both smaller and bigger, even using the content aware feature to fill in space on that crop. And then we cropped it to a square image that you would be able to use for, like, a YouTube or Ah, Facebook social media profile. If you've enjoyed this course and you've enjoyed learning from me, I teach a bunch of other courses and I would love for you to check them out. Come join me in one of my other courses so I can keep teaching you. Thanks so much for learning with me. And I encourage you to keep learning.