Photoshop CC: Adjustement Layers, Blending Modes and Layer Masks | Marcin Mikus | Skillshare

Photoshop CC: Adjustement Layers, Blending Modes and Layer Masks

Marcin Mikus, Retoucher and Photoshop Instructor

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28 Lessons (2h 50m)
    • 1. Intorudtion to the Course

      2:40
    • 2. What are Layers

      7:48
    • 3. What Are Masks

      9:49
    • 4. Fill Adjustement Layers

      5:43
    • 5. Levels

      12:44
    • 6. Curves

      11:52
    • 7. Exposure and Working with Lights Adjustement Layers

      6:53
    • 8. Hue/Saturation

      11:35
    • 9. Changing Color of a Car using Hue/Saturation

      4:30
    • 10. Color Balance

      4:56
    • 11. Black & White Adjustement Layer

      3:32
    • 12. Photo Filter

      2:42
    • 13. Channel Mixer

      8:57
    • 14. Color Lookup/Invert/Posterize

      3:13
    • 15. Selective Color

      4:53
    • 16. Gradient Map

      4:42
    • 17. Introduction to Blending Modes

      3:25
    • 18. Darkening Blending Modes

      4:18
    • 19. Lightnen Blending Modes

      4:55
    • 20. Contrast Blending Modes

      7:10
    • 21. Hue/Color/Saturation/Luminosity

      6:46
    • 22. Inversion Blending Modes

      5:27
    • 23. Creating Luminosity Masks

      7:56
    • 24. Changing Range of Luminosity Masks

      3:55
    • 25. Creating Masks with Color Range

      5:41
    • 26. Creating Masks with Channels

      3:44
    • 27. Color Grade Images Using Masks

      6:34
    • 28. Selecting Objects and Using Masks for Changing Lights & Colors

      4:07

About This Class

Have you ever wondered what are most important features in Photoshop that makes it so unique? 

Answer for this question is simple; Adjustement Layers, Masks, and Blending modes. Mastering this 3 features of photoshop allows you to achieve everything you want in photography or graphic work. 

Starting from the layers which are foundation of every work you do in Photoshop. Whether it's image, some graphic object, text - those elements of your work often lives on it's own layers and with combination of other layers it create the final image. And major part of you layers in photoshop will be the ones called ''adjustement layers''.

Curves, Levels, Selective Color, Color Balance. Sounds familiar? Those are the names of just few adjustement layers without which your work would be much more difficult. They help you with adjusting contrasts, lights, colors of the image. And they allow to do all of those things in non-destructive way.

In this course I will walk you through all adjustement layers in Photoshop as well as we will do few simple tasks using them as adjust contrasts, do color grading or fix color and exposure issues. 

To understand adjustement layers to it's fullest potential you need to understand blending modes in Photoshop, and you are in the right place because we will be explaining them in this corse. But forget about boring theory, I am just going to shop you with the layers behave with different blending modes, so next time you will be working with photoshop you know what to expect!

And finally I am going to teach you layer masks. In this course you will find out what are masks, how to use them in basic way by switching from white to black. How to correct object in non-destructive way using masks. And we will end up with more advanced things such as creating precise masks for shadows and highlights, creating masks for separated colors, or even working woth luminosity masks to change color values of the images or fix exposure issues.

Layer Masks are an essential tool for anyone who works with multiple layers in Photoshop.

In this course you don't get just theory but you will actually see reall time work with adjustement layers, blending modes and layer masks!

Transcripts

1. Intorudtion to the Course: Hello, everyone and welcome to my other before the shop course on layers, adjustment layers, masks and blending modes so crucial part of successful work with for the shop my name's matching. I am professional retouched or photoshopped expert as well as Photoshopped educator with seven years of experience. And before we start learning, I want to tell you a few words about me so you can be sure that I am the right person to teach you for to shop and the subject I started seven years ago doing some photo shop manipulations and also around the same time I decided to share this knowledge with some other people. So I started doing for the shop tutorials on YouTube, which we cried successful. And today I have around 60,000 subscribers, as well as over 400 videos on Simple for the shop tips and techniques. Soon after that, I started retouching images professionally for people, and in the last few years I created very successful retouching courses that helped thousands of people to improve the photo shop skills. My portfolio contains work with such a magazines like official numero nasty and many others international brands, and in this course, I decided to teach you something that can be used in everyday life, whether you need to learn for the shop, for doing some simple task at work, whether you need to do some design work and you want to improve your knowledge on layers and adjustment layers and masks, this course is for you The reason why I did this. I had many conversations with my friends that we're not professional photo shop users as I am, and they were telling me they need to learn photo shop for the work they need to learn what's going on with layers. What are layers and masks and blending modes? Because every time they open for the shop, they're getting confused with this course. You will not be getting confused anymore because it will answer most common Photoshopped questions. It will show you amazing tips that you can use for your every day job, whether it's design or photography, and also you will be able to speed up your workflow so photo shop work will never be confusing again. Enough talking for now. Let's jump in the first lesson 2. What are Layers: in the first lesson. We're going to talk about the layers, and I will try to explain it to you in the easiest possible way when you look into photo shop, whether you already opened the image or not. On the right hand side, working with the essential settings, you can see something like layers. And for many people it's confusing what it's actually layers. What's going on here? I just opened the image and I don't see any layers. So let me tell you, few thinks here in the layers is everything that you have in your photo shop. Your working files, all of them are visible here. So these background, we wouldn't call it the image. But the background layer. This is our image. Our image that we opened in for the shop is our first layer. So everything that you actually have in for the shop has some form off the layers, whether there's more layers or there is just one layer, and what you see in front of you is the final result off combined layers here. So, for example, right now we have on the one layer, so what we see, it's this one layer which is our original image. And there is few different ways off working for sharp than bad way. That I am not going to teach you is distractive way off working. So, for example, if you're going to juice a brush in for the shop and paint with the color black, I'm going to make it a little bit bigger the size. Choose the brush black color. If I would paint it here, I'm adding some different color, and I still have one layer. So I could say I work destructively right now because now it's difficult to fix it. Of course, we can do a step back, but we still covered our layer here. I'm going to press command option and set to do a step back, so if you don't want to work distractedly, you will create some other layer. In this case, I will choose this small icon on the bottom, which is called create a new layer, and if I want to paint on this image, I will paint on this new layer and what we have here. Right now we have two layers. The one layer is our background player, and the other layer that we just create That is this painting that we created here. So now we have two layers and going with this way, we can, of course, create more layers. Now we have three layers and here is the final result. I could choose maybe red color in this case and find a little bit with this color. So now this image I see here is result off the tree layers that I created here and the best part of this when I want to clean it, I can choose eraser tool from the left hand side from my tools, and when the layer to is selected, I want to remove it. I can easily remove it from the layer number two. Nothing is here now, and I don't affect the image. The same with the first layer. I can remove Onley this if if I do some sort off mistake and I want to fix it. So this is why we work with the layers, and this is what the layers are. Everything over here that you create a both your background player are the layers. Whether is there empty layer on which you can paint, or whether it's the layer that allows you to increase, for example, some contrasts. So if you would like to remove something, as you can see on this background player, we actually destroy our image if we would paint off this. So working on the layers also allows you to work non destructively. So these were the simple layers that I created here, and we also have in front of shop something that is called adjustment layers By hidden a small icon on the bottom. We can create new feel or adjustment layer, or you can see your adjustments here. If you're adjustment panel is open, it is not visible. You can simply go toe windows and open the panel adjustments. Here's all off. Low your panels. So if I would decide to work with adjustment layers, I am going toe. Explain you this, of course, but let's choose something simple, like brightness and contrast. And when I'm choosing this, some panel pops out, the panel pops out with the settings and what has happened here in our layers. As you can see, some new layer is created. So now when we going toe, increase the brightness, for example, by dragging this up or increase the contrast. As you can see, it's on Lee on this layer and not on our background layer. But here we have seen our final we can see our final result and it's applied in nondestructive way. So what does it mean? That we can click this? I hear and the effect is not visible. And now we add in the effort so it would apply to this Bagram player. We cannot do it. And now, thanks to the fact that we created this on separate layer, we can manipulate in the different way we can, for example, decrease the capacity on the effect. For example, I went on the 50% off the effect that I applied and now it's something in between. So this is the first introduction lesson just to give you the certain idea. What are the layers? Layers is everything that we create here and in the next lessons we are going to develop, we're going to talk about adjustment layers. I'm going to explain to you different adjustment layers and how they work. I am also then and going to talk to you about the layer masks which allows you to apply the effect, for example, toe certain area. And it's also very important to understand this when it comes to layer off course. When we don't need this, you can just press delete on your keyboard and remove it or heat right and then choose delete layer. Some are information, delete brightness and contrast, and in the next, a son we're going toe, create the layers, and I will explain to you every adjustment layer that is possible and also show you some other things that might be useful for you, whether you work with the images or more with some graphic projects. 3. What Are Masks: Now you really need to pay attention to what we are doing because I am going to move to the mask. So already something more advanced and one off the main subjects off this course which started the layers, which is confusing enough and now masks. So let me show you something. I'm going to start with this basic and adjustment layer, which is brightness and contrast, Right. So I'm choosy. Adjustment layer, finding brightness and contrast, or I am finding days somewhere here. So here is the brightness and contrast. First the panel pops out and I'm going toe, apply some settings. I feel the front area, the closer to us ground. It's a little too bride. So I want to decrease the brightness and maybe under a little bit more contrast. But I want only the bottom area to be affected by this. I don't really want the top area to be affected by this. And what you can see over here with this adjustment layer, The effect is this small icon here. This is the adjustment layer. And this is the round if Inc empty half and half filled East natural panel. But next to this, we have this white square, and this white square is the mask. So it is the layer mask. What represents the white square it represents. That effect is visible, so as long as the squares wide, Every time you open some sort of Phil layer or adjustment layer, you will have the White Square, which will be telling you the effect is visible. So whatever you're going to apply here, it will be visible. So want tells you done. The effect is non visible is inverted this layer. So if this square will have color black, the effect is not visible, and we can easily do it by pressing on your keyboard, command or control. And I, which means invert so command and invert or on windows control and invert and together. So now this effect is not visible so quickly. Explaining this mosque is basically think that allows you to control once visible and what's not visible on your image. So I'm off course going to invert this back command or control, and I like invert again. So the ethic is visible. What? It's really great about the masks that you can manipulate by painting on them with the brush or using some other methods, which I'm going to show you. But first lectures that branch from the left hand side and change the size. We can also change the science using the shorty and the short keys are will include in the lesson here. So there is there lecture with short case, you can find how to manipulate with everything. And then instead of color white, I'm going toe if you have white and black, or you can press de toe reset so you have white and black calorie compress X So the primary color is black or you can heat on this and choose the black color. And now I make sure I click on this square. And as I said to you, for example, I don't want this visible on the top part. So I paint with this black color over the brush in this area, and now let's have a look before and after. So what happened now? The effect that we just applied. It's not visible in the top part off the image, So this is why the masks are so important. No matter if you work with the image or you work with some graphic and, for example, you have to change the color off the element. You can use the mask to control what needs to be affected. In certain case, that would be the elements that you want to change, for example, even more. Here, let's do something more. So I'm going to go again with brightness and contrast because it's simple and the beginning . I'm going to make this guy darker with the more contrast. And I want to invert this some pressing command or control and I and now X to invert to white color as the primary and with the white color, for example, I paint on the sky, and, as you can see, this guy's darker. Of course, it's not perfect and the way better methods to manipulate with this guy, and this is just the presentation. So don't get crazy and donned and change your images yet. And as you can see, the effect is visible just on this guy. So let's go to some element. For example, I created the white file, so why dim? Each above this, we have layer and I make the red line on this layer, and when we create the layer they don't have the mask with them, but we can simply create a mask next to your adjustment layers. You have this small icon which is called a layer mask. So not sure if you can see the sign you can see but the sign popping out. But it says on a layer mask with small icons. So to this layer I can heat this. And now, as you can see, the White Square next to is is created. So I want to give you some example. I'm making this smaller. So, for example, not working on this layer mask first, but on the actual layer, you decided you want to make this white on top, so you will use eraser tool toe, remove this red color. So I'm trying to remove eraser tool and it's done. And then you did plenty off other steps and you suddenly decided, No, I think the line should be connected. We shouldn't have this space here, and you cannot paint here and create this, especially if you did many steps on. And if you did many steps present command option and said to go back doesn't really solve this because you will have many steps to do so. You don't really want to use a razor toe. But once you have created the mosque and then on this mask you're going to paint with the color black to make this space because that's what you want to do first. And then later you create other layers here on the top and you want to go back after some menace types. You did anything? No, I want to get this back. So on this layer, we have this black dot and you conceit by pressing our corruption and hitting on this mask , you can see this is the painting with it. And this black area is where the effect is not visible. So, toe, see the preview. You press interruption heat on this. If you hit on this, you see how your mask looks like If you hit again, you go back to your image. So if you want to get back, you change the color off your brush to the white color. And what you going to do? You just painting with the white color on this mask and you get your effect back. So wrapping it up, what mask helps you to do. It gives you really incredible control over the image, and it allows you to work really non destructively applying and effects and do some small changes and very selective changes, especially once we are going to develop how to build the masks, for example, just for the highlights. Or imagine building that mask just for the color green so you can really push the saturation to the green color or to create the mask on there. Some specific car to change. It called it the color off it and not affecting on their areas. So think off how many possibilities once you're going to learn to make proper selection, which I'm going to show you, how much control is going to give you and how much easier your work is going to be. 4. Fill Adjustement Layers: in this section, we're going to talk about all adjustment layers that photo ship has to offer. And before we start, you need to know that adjustment layers are responsible for property around 80% off old photo shop work. Why is that? Because whether you need to work with the lights whether you need toe on just the contrast and hands the color, do some color grading. Change the color off the object field, the object with the color. All of these tasks you will do using unjust mint layers. So as you can see any for the shop, work is pretty much impossible to do with found knowing on jasmine players. So let's have a look what we have here. Adjustment layers. We can split them toe few different categories, and you can see this Finn lines between each few of them. It's on the top. We have feel layers, which is solid color, Grady and and pattern below. We have adjustment layers. Dart are mainly responsible for unjust in lights and contrast, so brightness, contrast levels, curves and exposure. Then we have adjustment layers that are mainly responsible for the color, such as vibrance hue, saturation color balance black and white and others. So in this, using this and jasmine layers, mainly you will be doing color grading. On the end, we have some more diversity. I would call them more off farm, creative and just Milius such as invert posterized, Fresh hold, Grady in map again. The color and selective color very powerful for the color grading. Let's start simple, and we're going to start from top from the field layers. So starting with the solid color is nothing more Astros in the color here, so you can choose any color that is available here, which is huge. You can choose different color. You can choose intensity off this color, which is the saturation, and you can simply check and find the color you want and also off course, going down luminosity off the color because going more today a color black. Of course, we have less light within the color going up. We have more light within the color going right. We have more saturation going left. We have less saturation. So, for example, I could choose some orange color hit OK, and I have the image field with this color so it doesn't help with anything in this case. But this is very powerful feel layer for now to actually see something, we could decrease some capacity. So, as you can see, we create this sort off orange fog on this moment, which could look a little bit better. But for use off feel layers. Mostly, we need toe. Learn a little bit more about this, blending much so we'll have whole section about the blending months. We can always plead them for a few different categories. Ones responsible for contrasts once responsible, more for and the light itself for brightening image, some for darkening. So, as you can see feel layers sometimes can be quite useful. For example, if we just want toe warm up the image. So this is first of it. We also have feelings such as gradient, which is basically the color bad from certain direction. So you create the Grady Int, for example, have a senior and you can choose the angle. So if you want to create some sort of flair on the image, that would be absolutely useful. You can make the scale smaller, which is basic transition. Within the color we could hit okay, and once again change the opacity and manipulate with some blending mode without deep explanation off. This, this is great in, and the last one is pattern. So pattern offer. You choose off different patterns. And, of course, by the fact what is it? I can't find days Phil Layer. Very useful for photography. Maybe for some design, you could use some patterns, but this patterns are not that useful. And, of course, once again manipulating by the Christian capacity or blending months just going with the same bending mud because don't want to get you confused right now. Um, about this will be for sure more. But this is the information about the feel layers. So what you need to know about the feel layers that it's nothing more as putting the layer above the other layer with some color or pattern or the Grady int and no more philosophy in this. So let's move toe some other, probably a little bit more interesting adjustment layers 5. Levels: in this lesson. We're going to talk about the adjustment layers responsible for the lights, and we're going to talk about the levels really extremely powerful tool when it comes to unjust in light, shadows, contrasts and I am going toe open adjustment layers at first were working a little beat with the brightness and contrast I presented you. It's extremely simple in use, and it doesn't mean it's wrong with the first leather. You can increase or decrease the brightness and the same with the contrast. You can increase or decrease the contrast in a men off the adjustment layers. We have auto button, but I don't really recommend using the auto button. It never really gives you the result you really want and use for the shop for the reason that you want to have control off the image and daughter batons never give you that. So I'm going to remove this brightness and contrast, and we are going to talk about the first adjustment layer below that and it's levels which is much more powerful. And right now, in front of you you can see the panel and on the very center we have some sort of shape, and this shape is the historic Graham. He's telegram tells you informations about how the light is distributed on the image, and I could say, and this image has really amazing distributed client. As you can see, we are starting low from the darkest point and also to the brightest sport. I could say maybe a little toe bride is this image. But as you can see on the lights are really distributed well in sight. So this is the first information that you can read, and everything that will be happening in the levels will be happening in this area. As you can see, we have Autobot on that we're not going to use. We also have some presence available, like the darker present, where you can choose something like darker the image, increase the contrast and you can have the look for them. But once again, we are not going to work with these because in most of the cases you want to get some certain result. So I'm going to jump into this three. Snyder's. As I said, the history Graham represent the distribution off the lights on the image on the left hand side. You have dark slider, and this lighter will help you to manipulate with the shadows in the center. We have the grace lighter, which is responsible for the meetings. It allows you to manipulate the meetings, and the white slider that allows you to manipulate and change their highlights increased the highlights. So, for example, in this case, the first task would be if I want to increase the contrast on the image of the grand, this dark cider and go to the right area. And as you can see, this image right now got darker. And then I would like to increase also the highlights because we want to increase the Contras in general, go down, and we increased highlights and the shadows now. So we created more off the contrast. Let's go back. How about the slider in the middle? So slither in the middle sort off allows you to increase the wrench off the highlights or increase the wrench off the shadows because it's in between so bad manipulating this, we change the balance between those. So, for example, going toe left hand side. As you can see, I increase the area for the highlights. So now this image hurt much brighter, mainly in the highlight that area and a little bit in the shadow era and going opposite once again, I increased the wrench off the shadows and the crease, the wrench off the highlights. So, simply speaking by these three sliders, you can get the look you want you are looking for. If you want to increase, or the decrease the brightness of the image or the contrasts, let's go back to it. Lets reset everything, Um, and Syria. So now we have also three. I'm droppers on the left hand side of the panel, so the one is dark, the other is gray and the other is white. So this lenders represent this point on our history, for example, choosing the dark slider you want toe, choose it and peak the darkest point off the image, for example, or at least you want to choose the point till which everything will be fully dark. For example, I'm going to hit this place, and what I said here is I want this color. The shadow of gray be completely dark. So as you can see, the image went fully dark. Let me recent the adjustments and the eye droppers always also allows you to do some sort off wide balanced corrections, and that will be more visible right now when I'm going toe, choose this gray, I drop in and it does try toe jazz the things to the great color. So, for example, if I'm going to choose my meetings here, as you can see, it does try toe, make my shirt my T shirt That was the blue color into the gray. And as you can see, the outcome off all image is changing, including lights and the colors. So going back and the same with on the white, I drop it here. I can see I have a little bit off yellow, actually. And once I'm going to heat on this, this area going to become absolutely wide. So also the wives are corrected. If you want a certain area to be completely wide, you will use the wide eyedropper, and everything will become white, and rest of the colors will be adjusted on the wide balance off rest of the image. So let's do something more. For example, I could choose also this dark I drop path and also some great color maybe somewhere here and as you can see, something completely abstract. So this is about the history Graham and I droppers. Let me reset this once again. What's really great about levels and not only allows you to increase the contrast and manipulate with the lights, but you can also decrease the contrast. So that could be the question, because even brightness and contrast allows you to do it. But here on the history, Graham, we don't say it, but below that, we have one line and it's going from the black color to the white color. And below that we have one slider, which is a dark color and one that is color white. And this lighter shows you where you want to cut out the darkest or the brightest color. So right now, on the output level zero, this lighter stays on there completely dark. So it doesn't really affect the image, because if something is completely dark, it a dozen half area to cut out. But then I can get this lighter and go to this gray color. So what it says right now the darkest color off the image can be the shadow off gray. So right now what it happened, it washed out our shadows. I hope it doesn't sound too complicated and the same with the highlights. If you feel your highlights are too strong, what I actually feel on this image, I could decrease that brightest point of the image. And if I would go to this point, As you can see, the brightest point is this shadow of great. So as you can see, levels allows you to work really selectively and in many different ways the Christian increase, in contrast, in Christian rights of the highlights shadows. So let's do something like this. Increase a little bit off the doctors darkness and hear this. Let's stay with this very simple effort we created, and this is all when it comes to the work with the lights on the image, the other possibility that levels give you is working with the color. We not only have RGB mode, but we have also the color channels such as red, green and blue that allows you to on just the color light off the image. So, for example, when we choose the Channel Red, we can manipulate with Fred and the color that is opposite to read, which is science. When we go to the Channel Green, we can manipulate the green light as well, a slight and the color line that stays in the opposite toe Green light, which is magenta. And with the blue. We work with the primary blue and secondary yellow, which stays in opposition to color blue. So let's do some tests using our sliders, for example. So if I'm going to a Fred and grab the dark slider and I'm going toe, drag this to the right side. As you can see, I am increasing the color that is opposite to read so science into the shadows. If I'm going to grab this white slider and goingto opposite, I am going to increase the red on the highlights. So on the two colors in each channel toe work. But I'm going toe grab the great slider. As you can see, I will increase the wrench off the shadows with the sion because we have sign here and on the opposite area, where will be increasing the color red? Not too much theory, a simple way of working and Sinar think. Of course, we are able to do below So, for example, can cutting out here will be adding a little bit off, washed out off the reds for ah, the shadows here for this area. And when I will be going up here for this highlight that area, I will be adding the Sion so we can do some test and run some simple color correction for example, what we want to do here. I think this image should stay actually warm. So what kind of I can actually this blue color? So I changed in my mind. I can apply a little beat off the blue to the shadows and maybe a little beat red in this area of the shadows A swell and also what I would like to do Not cold here but some of the yellow for the highlights because it's simply Simula to the sun and off course. I can't use the slider than because I would make it cooler, but toe and red, I'm going to use this slider, so not something that has too much sense. Don't treat this as the effect that I want to do. I just want to show you how this certain tools works and show you the power off levels and you can see it levels. Dust really allows you to work in money different ways, depending on your own need. 6. Curves: in this lesson, we are going to talk about most powerful adjustment layer in front shop, which is curves. So I am going straight away toe curve adjustment layer by opening my adjustment layers and choosing curves. I'm not going to rename it. I'm going to keep this as the curves number one. And first of all, you can see some similarities with levels. So at the center of this, you can see the history Graham, which is basically how the light is distributed on the image and straight away you can probably not, is that we don't really have fully black area on the image so we can grab this curve and go down with it. And also here we don't really have something fully bright. So when we have want to have really proper contrast, we were to do something like this. But I didn't even explain your curves. I just wanted to do this simple move to show you that using curves is no more difficult than using levels. That's why we are going to do our step back. I'm not going toe Explain history, Graham once again, because it's exactly the same thing. Us. We're doing before. But instead of their sliders that we had on the middle, we will be mainly operating with this line that is inside the history, Graham. And at the very start, this line have two points. One point is on the bottom, left hand side and other point is on the upper right hand site, and these bottom site off course is responsible. As history. Graham says to you for the shadows and this area here is the highlight. So when we want to operate with this, we can easily manipulate with this. And if we want to manipulate with very basic way, for example, you want to brighten up or dark and the shadows you will grab this point and to brighten go up. And what is happening is exactly what you were doing with this. Align below with levels toe show you precisely what I mean. I am going toe open levels and in levels. We want to cut out the dark point. So how to do it in curve adjustment layer, you cut out the dark point and you wash out the image, then for opposition you want toe dark and the shadows. So what? You will do you will go this way and in the curve adjustment layer. This is how you dark and shadows And then with the other step you want toe bright enough highlights here maybe for the opposition in curves You will go this way also moving your slider here. But you can grab simply this point and opposition toe wash out highlights. You will go this way and this is the basic usage off the curves. But it's not even 10% off. What curve adjustment offered to you? Off course. On the top we have pres. It's about which we're talking about so you can check them also on the left hand side, you have the eye droppers and they work exactly the same as the eye droppers in the level. So, for example, you want to choose the black area and you want to choose something to be wide. You will go this way off course. This is not something that we want to do. But this is the same thing us you had in the case off levels also what you have here you have this hand so one of these hand next to your channels offers to you if you want to know what? Where is the certain area? It can show you where you are on the history, Graham, if you go for this. And so, for example, here we can clearly say these are the highlights with this eyedropper here using the hand and at the same time on the history. Graham, it shows you where this highlights are located on the history, Graham. And this is really powerful. Because by using this eyedropper, for example, I'm going to choose highlights. And my highlights are here. And as you can see, by clicking on the image, I create a dead point on the curve adjustment layer. So then I am going again with this hand and this eyedropper, and I want to choose the dark spot. So I am going maybe for this building press and I created another point. And this shows you the advantage that curve adjustment layer has over levels. You can create the points and first usage basic. If you don't feel sure, you can create that points using this hand or manually. So, for example, I want to darken a little beat the shadows that I choose here and brightened up our little beat. The highlights that I choose here and very basic contrast is created. So this is not on the one way, because if you feel confident and you don't want to use this hand off course when you have point, you can drag it down and you will remove your check point on the curve adjustment layer. But by clicking on the curve adjustment layer, you can choose as many points as you want. So, for example, shadows here going up highlights here. And also I'm going to hit on the middle and I want to darken a little bit off the meetings . So, as you can see with the curves, the advantages you can create us many points as you want and manipulate them as much as you want to achieve the perfect results that you want off course what you see right now, it's not something that you truly gonna do bad. I show you how many options you have. So some basic exercise let do on some other image. We have this image and what I see here Ah, little bit dark and ah, little beat a moody band. This moody presence of this image is not fully expressed. So what? I am going to dough. I am choosing curve adjustment layers and I want to bring Bank some more details from the shadows and work this out a little bit more, some grabbing this curve and going up here. So as you can see, my shadows become brighter and at the same point I want to dark and a little bit off highlights. But this effect this a little flat, and I don't want to keep this this way. So what I could do? I could choose the hand and locate my shadows somewhere or a jazz heat on the curve. Adjustment layer two point. Want to decrease some shadows, keeping them washed out and increase the highlights? Our little beat? Maybe something on this. Let's have a look before and after and with this few simple steps I created on this sort off ethic using curve adjustment layer which could be made slightly more difficult using levels. So now another thing. We not Onley half rgb mode, but we can switch between channel red, green and blue, the same us in case off levels. So I am chosen red and now it works in the same way us the channels in levels works. So for example, we have Reg Channel curve. We can graham the curve somewhere on the needle on the moment for training, and I will go up with this curve. So what is happening? You basically make the image more red in this case, probably a little beat more in the highlights area. If we grab the same curve and go down, you will feel days with opposite color. In this case, Sion, which is opposite to the Red Channel. Then with the green and growing up with curve, we make the image more green going down. We make this more magen tick. I'm going toe remove it, then go to blue and going up with the blue I'm and in blue and going down I'm adding some yellow. So because of this, you can really perform amazing color grading. And also you can be very selective when it comes to this. So, for example, on the shadow area and maybe you want to add a little bit off warm color. But you don't want toe on that much off the worm color for the highlights. So I get down with the red on the highlights and brought up some red to the shadows. And let's have a look before and after always when I do it, I prefer to create new care of adjustment layer, and probably I would recommend you to do the same because it might get a little bit more complicated at the end. So that's why I am going to create a new curve adjustment layer and perform on this one. So we're going to do the same thing and what else I would like to do on a little bit off yellow for the shadows. So I'm going down here and a little bit blue for the highlights. So it has more balance, but it's still no perfect, so I want to add a little bit more reds to the shadows. We can also see if some magenta works well here. So I would like to also aunt just a little beat off magenta for the shadows and using these simple steps using curve adjustment layers off course, we make the image much more colorful, a much warmer, off course. If it's not something you're looking for, you come and go in many different directions because it will always depend to you. And if the color effect, for example, is too strong for you, you can always grab the opacity and go down with capacity. In this case, I will go down to 50%. So this is how kerf and jasmine players work in for the shop, and this is the reason why curve adjustment layer is most powerful. Adjustment layer in photo shop because first you can manipulate the lights and adjust contrasts as well as you can perform very complicated color grading on your images using different RGB channels. 7. Exposure and Working with Lights Adjustement Layers: Now I'm going to show you how exposure adjustment layer works and this will be rather creek . So after that, we are going to do some exercise where we can connect different adjustment layers that are mainly used for the lights. So I'm going to start from this image that I took in the city. I leave Hong Kong 90 minutes. Really good example. Toe work with the lights. So I'm going toe adjustment layers on. I'm opening exposure and how it's often with adjustment layers. They actually have much more sliders than and just what it said here because exposure is amount off the light as we could say it. But we have someone eruptions. So we have tree sliders and once again we have on different presents. Here s O. We have lower exposure, even lower exposure. Here we have higher exposure and more exporter. So something very basic. I wouldn't say something that is very useful, but that simply explained how differs slider works. If something is too dark, you can simply go up with exposure or go down with exposure. If you think something is too bright or over exposed or under exposed. Ofcourse, the best way to do it. It's probably camera filter or even curve adjustment layers. So this exposure slider is not something that I use often but exposure. Haas. Also some other options done. I truly like, for example, offset. So my profession is fashion retouch ER, and as the fashion researcher, I often have to come up with some creative ideas. For example, create washed out image and we're actually doing this using curves levels. So offset allows you to really, naturally wash out the image by increasing offset. As you can see, I can create the effect that sort off imitates their old camera effort, then ofcourse decreasing offset, making something very harsh, very strong contrast E. So I'm going to go back to zero the moment and at the end we have gamma correction, very similar. As you can see increasing gamma, we also kind off increase the contrast Christine, we add in washed out effort. But it does strongly gives you very fake effect giving you some noise and this result give you something a similar effect. If you drag out too much details out off the shadows. So what I would do here, for example, we're going to do some simple training. Let's wash out a little bit off the image, bringing up some more details from the shadows. Maybe, uh, but not as much. Mainly given this old image effect and then, for example, using levels. We can work a little bit more with the contrast. And by using this to undress mint layers, we simply could create washout effect and money polite with the contrasts. So I'm going to do some other training on some other image. For example, the meat that we used before I would like to use exposure increased, offset to create this worst out effect, go to care of adjustment layer, work a little bit with the contrast this way and also work with the colors over here toe. Create some nice quick color grading for it. So that would be this way. And as you can see, a very simple effect. I can create a group and put these two layers to the group right now. So to create a group, you need to press shift, select two layers or tree layers, depending on how many you have. Then you press command or control and G like group. So now the effect is in the group and this image has look more positive in this case. So we can really work on different levels. For example, here, using levels, we can wash out the shadows a little bit, increased the light, and then this case, I would use the curves, work a little bit more with the shadows here, maybe wash this out a little bit more. And now with this also very simple lights, we could brought out some more details because the image was dark and we can go feather with it. For example, create another curve adjustment layer. Work this out even a little bit more about drag it down because maybe you want to create some moody affect. So now we have this. We can also decrease the opacity, and you can see that using different creative ways off work with lights. You can actually achieve different results on the images, and there is not said that you have to work with the curves or Onley with levels, but you can mix different and husband layers depending on how comfortable you feel with each one off them. And there is nothing wrong with using off course. brightness and contrast. For example, this image let's make it a little darker, increase the contrast to give sort off vintage effect. And also let's work this out just a little beat, maybe using exposure and offset this way and then contrast. And as you can see, we created the image with very old fashion effect a little bit strong. But this is just for show and this issue. Your lights adjustment layers in for the shop, and this is how you use them, and now we are going to move toe color adjustment layers. 8. Hue/Saturation: Now it is time to explore our little beat about color and now the difference about saturation and vibrance. That's why, in this lesson, we are going to work with to undress mint layers, one hue saturation and the order is vibrance, and we're going to start from Vibrance, which is actually very simple and has two sliders. But it gives a lot off confusion to the people because they're very similar. And many people could ask the question. What is the difference between vibrance and saturation? Instant off, answering you straight away. We're going to see how they work. So first I am going to increase the vibrance. And what can I see? I kind of increased a lot of blues, as you can see, dumb kind of blown out as now I am going to see How does it works when I'm going to decrease that And what can you see? Are we sort off preserved yellows and oranges and everything else don't have different colors and no connection to the yellow and orange tones, because here I think I can see sleight of beat off green. But everything else got very d separated except this colors so the same with increasing these colors. Didn't get it done saturated. Okay, Now let's see how the saturation works. So the saturation. I am going to increase this to maximum and what you can see when it comes to the blue colors, and they go saturated to the same level us with the vibrant slider. But the difference is on the colors that are yellow. Oranges got saturated way more, then during the vibrance and when we decrease the saturation. As you can see, all colors are also fully the saturated. Not as before, that vibrance preserved that yellows and oranges. So what is the difference? Once again, they work very similar. The difference with the vibrance is the vibrance preserve, the kind off orange tones that could be also considered as the skin tones. So if something has color off the skin, so that will be orangey tones, a little bit red and yellows, they sort of colors are preserved as much as possible during vibrance, while saturation decrease all of them. So this first adjustment layer under the name Vibrance is on about manipulating the saturation values. So now I'm going toe, remove this layer and show you the example off what we did here because what I was telling you, it does preserve the skin tones very well. So I'm going to try the vibrance again. And, as you can see when I increased the vibrance skin tones are oversaturated, but not as much as the blues. And when we take down, as you can see, some of the yellow tones stayed the same, while other things are fully saturated. This is why the vibrance is really powerful when it comes to working with the people with the portrait's and everything that is related to the skin. So now it's time for another adjustment layers, which is hue saturation. On a day start, I must say there was no slider, which is in the same us in the vibrance. Even the saturation slider in the vibrant preserve the lights pretty well. As you can see, it increased the saturation, but only till then certain point, even though it increase match more than vibrance when it comes to the yellows, it doesn't destroy the image and in the hue saturation who also have saturation slider. But as you can see, it does really affect many other things and When you go with the saturation upto 100 your image will be completely blown right, and I believe with Hue saturation, that saturation slider with this vibrant adjustment layer, this would be probably the level how much you can increase. So this wrench over here is much wider toe what offers the vibrance adjustment layer, but also when we decide rate, then we will get completely black and white results so even, and this letter is very similar. There's some small differences, but main think about hue saturation slider. It gives you complete control over the color because as the name suggests that its main about the saturation there is much more to it. For example, the first difference is that moat, so we not only can affect all image in total, which is the master mode, but we also can switch between the colors reds, yellows, greens, science, blues and magenta as but except that we can manipulate the colors off the image. Not only the saturation, which is the hue and also manipulate lightness off the image. So, for example, on doing a simple thing in this master mode, we can increase, um, saturation and then for example, you don't like the colors that exist here. You can completely sleep the hue on this image, and it will not look natural bad. It does help you when you need to do some more on difficult tasks like completely changing the color off some object, which is possible. And I am going to show you this as the practice last son. And also the other thing. You can manipulate the lightness off your image, so increasing the lightness, you sort of blown out the lightness, and you can also make the image a little bit darker. So this is all about this master moat. You can also switch, and this is most powerful. Think when it comes to the hue saturation, you can choose the color. So, for example, we have a lot off oranges here, and maybe you want to make sure that the oranges will be a little bit more saturated. So then I will go with threats, increase saturation on Retz and then two yellows, and I will increase the saturation on the yellow. And then what happened? We also increased the saturation on this to picked up colors when we have some greens for example, let me show you. I am goingto go down to zero with yellows and Retz, and then I want to increase saturation on the on the greens, for example, because somehow I want this windows to be more visible, so I trust the greens and increase the saturation on the greens. If you're not sure which color has an object, there was a very easy way to define this by trees in this hand. And once you get this hunt, you can do some a certain color. For example, maybe this building, probably something about the reds, and it can show you which color is that? So once you define this, you can increase the saturation on reds. You can maybe fleet the human make it, and it will be the darker And as you can see what is happening here, we also affect many other buildings. But it doesn't have to be a case, because on the very bottom you can see the wrench off your effect. So here we have to, um, sort off closed sliders. And this is the area where his transition between the colors and insight is the exact area that we affect. So this is red, but we are affected. Some of the yellows. So what I would do here I would grab this cider and make the wrench off the effect smaller . I don't want Africa this color and don't want to affect this yellows. And because of this, as you can see, we do not affect these oranges as much anymore, but mainly this building. So this think on the bottom. To be honest, it could be very underestimate, but it's crucial for you to do ready, good job. And I've seen many pictures off the city where people trying to manipulate with the saturation and hue. But unfortunately they do affect many other areas that should be not affected. And by working with all of the elements off hue saturation adjustment layer, you can make sure that everything on your image will be really precise. And there is also a last thing, which is the eye droppers on the bottom, and they will be working very similar to this hand. For example, you want to be even more precise and you want to define your own exact color. So let me think maybe we can work a little bit with this yellows here, but we are not sure if this is on the yellow that we have here. So I will try to choose the color that is least visible here. So maybe magenta as and I will juice this eye dropper. And then I'm going to heat on this color and it's recognized as the yellows to So now we have to yellow modes in hue saturation adjustment layer, and then we can simply increase the saturation. Once again, we do affect many other areas, but if you want to affect on the yellows, I'm going to make the wrench off the color much smaller psyching. Preserve the oranges and just make sure that the yellows here are more visible. So because of this, I increased the reds and the yellows and orange is not as much. So this complete explanation off hue saturation adjustment layer, and this is really powerful. Whatever you going to do. This allows you to change fully the color off the object. It allows you to manipulate with the hue with the saturation. If you have very color for image, as you can see, it allows you to be very precise and achieved the exact colors that you want. So because of this, you not only can saturate old image, but just the parts off the image that you're interested in. 9. Changing Color of a Car using Hue/Saturation: in this lesson, we're going to use the knowledge about hue, saturation and adjustment layer to change the color off this car. So off course, I'm going to open hue, saturation adjustment layer and first thing that we need to do. We need to define the color that exist on this car. So I'm going to choose this hand, and I want to find some universal, pure red color that exists here. So probably I would find something around here. Or maybe this area. So let's try with this one here. And I think our red is pretty well defined. If you want to extend your wrench, you will choose this. Plus, I drop her to add the sample and then you can also truce this color, which is very similar. As you can see, it's not extending. And this one here actually allows you toe extend the color a little bit more. And at this point, I believe we got in math off the definition of color to change it. So the next step is we just need to manipulate with the hue slider and choose the color we actually want here. So I would go with something evil so So probably something blue. I don't really want to change it too much on the red color, really, and was nicely composing into the background. So I don't really want toe change this too much from the red because I still want the car to stand out. So we'll go Maybe with the color blue like this and I can see it's really well defined. If I will want toe extend this a little bit more, I can get also with this plus on the end here. It wasn't fully covered. So what we can do now we can hit this. And as you can see, our color is really nicely changed. What kind? See, we affected some areas in the background. So we have some knowledge from before how to do this about the masks. I would choose the brush, then the to reset the color x two truce black one as the primary flow 100% capacity and 100 with the color black. I want to paint over here toe bring the original color and then I'm going to present zoom in on my image and also mask the area here with the color black on the mask because, of course, the lines have there color orange, which is very similar toe. The color we had here, one other probably chance would be trying toe make the range on a little bit smaller. You can see we could recover from it, but it was actually quite easy to fix, so I don't think we have to use this and it can be easily solved using mask. So this is very simple Properties lesson that actually tells you how easy it is to fix or to change the color. I can see some arrests on going back to the Reds, and with this plus, I'll try to get this wrench even bigger. But I believe that's a little bit too much. It doesn't actually give us the natural color as I wished. So we're going back with this. And, as you can see, changing the color extremely simple. Using hue, saturation adjustment layer and, of course, masks 10. Color Balance: in this less on, I am going to introduce to you my favorite adjustment layer and then for the shop for color grading. And I'm talking about color balance. So let's open color balance, which is really powerful, and I'm going to tell you why is it so powerful? Eso we have also rgb moat with primary red secondary sand primary green, blue, secondary, magenta, yellow are swell, so everything is very similar to the curve adjustment layer. But the point days with the curve adjustment layer, you have to define shadows, meet tones and highlights by yourself using curves and what color balance offers you. You can truce the Thanh and it will automatically they find that tone for you so you can choose, for example, the shadows from the tone above. And by manipulating the RGB colors, you will be affecting Onley. This selected area, which is the shadows and sometimes when you work with curves, you cannot be a selective as here because right now and the color balance recognize where the shadows are, and by applying the color, the color will be on the applied to this areas. So, for example, I want to start with the shadows, and I am going to start with the first color red primary and I'm going toe on a little bit off, read to dish. Also maybe a little bit off yellow and a little beat off magenta. So simply speaking, trying to make this a little bit warmer. Maybe something around this. Let's have a look before, after and also below that on the bottom. You have the box under the name preserved luminosity. So by default it probably won't be checked bad by definition, for the shop. If you want to prevent luminosity values from changing while working with the color, these books should be checked. So have a look before and we can see if I actually changed the luminosity values. And to be honest, in my own opinion, when I look at the image, this preserve luminosity never and us really preserved the luminosity values that well, and I think it actually affected a little bit more. But whatever by definition is this. I often actually preserved the luminosity values here, and by definition, you know, for what is this to prevent luminosity values off the image. So simple delights from changing. So we applied some colors to the shadows. Now we can manipulate a little beat with the colors for the highlights. Maybe I want something a little bit cooler. We are apply some blue and cyan, and now I'm getting really nice and interesting colors. And maybe I'm going to work because of this, and it'll beat more with the shadows. I'm going toe under even a little bit more red and yellow. And for the mittens, we can also choose dish this option toe work. So for the mittens, maybe in just a little bit off red man gentle might be too strong for it. And here, whether you want and the image to be a little bit cooler or warmer, I'm applying something a little bit as the presentation off color ballons, so you can see how actually powerful and selective it is. And there is no other tool that allows you to manipulate this way because when it comes to the curve, you have to define the shadows by yourself, and you have to select this point and the care of an adjustment layer toe. Apply some color, and you actually have to field how you manipulate your curve adjustment layer. But when it comes to color balance, you don't even have to think What are you doing? But you can be forecast on the color you have to apply and not necessarily the wrench where it has to be applied, because wrench will be defined by itself. 11. Black & White Adjustement Layer: in this lesson, I will show you how to work with black and white and just meant layer, which is actually one of the easiest and most intuitive adjustment layers in for the shop. So we're going to our adjustment layers and I am going to choose black and White Adjustment Lee. So I'm going to open. And as you can see, my image already switched in the black and white image. And if you seek for a simple conversion, sometimes it can be enough. But of course, there was much more for you to control your black and white ethic. Off course. On the very top, we have default so you can actually manipulate with different black and white outcomes. I don't really think that will give. It will give you the perfect outcome, but sometimes maybe you don't have time. Maybe you want to go with it. But as you can see, for example, if you go toe high contrast it not necessarily give you something that looks very nice. That's why we are going to keep it default. And I'm going to explain to you ones going on with this sliders. So see, our image is converted into the black and white. But we have much more option and there is the reason why I choose this image, which is very colorful. We have some reds, we have some yellows. We also have some greens, and I can see some of some of the blues over here, which allows you allows us to use this lighter, very well toe present. How does it work? So what's going on with this Landers? Black and white? There's nothing more like the picture off the lights because we cannot see the colors. At this moment, it's only life. So on the sky it's a little bit brighter. The shadows are a little bit darker, so this sliders allows you to brighten up. There's a certain color Ah, that exists on the meat and manipulate with the lights. So, for example, the windows here hot color green and by extending the green as you can see, you actually brightened up the windows on affect the green areas that were visible. It's not really so much, but as you can see it did us increase the light around the windows the same way. If I am going to increase that reds as you can see I am increasing their areas. That handsome off the red color you could ask, Okay, but I'm actually increasing sort of oranges. But you need to know that this orange color that exists here has a big amount off red. That's why we are able to brighten his arm. But we not affect in the sky. We just colored blue right now and also the same with yellow. So these buildings Haas a certain amount off yellow and red. And this is why when we work with this two sliders, we can manipulate the light here. So probably we have on the image a little bit off blue. As you can see this building around here and the sky some of the blue color, probably also some of the science color. And this is the area that we can manipulate with the sliders. We could make it maybe a little bit brighter. Increase the contrast. Everywhere here are a little bit darker, and this is the colors we have. So, as you can see, the sliders allows you to aunt or take down certain amount off luminosity to the color off your choice 12. Photo Filter: and now, once again, we going back to this image because we are going to learn a little bit about photo future. Another very simple adjustment layer. So Imo being my adjustment layers and I'm choosy photo filter adjustment layer and this one also very intuitive. We have two options to truth. First, this filter and other color, and every time you open the first, by default will be chosen filter. Any have different filters to choose? Actually, for example, you countries warming futures, as you can see on your image, they me to become a little bit warmer. You can choose Colin Filter mask. You can see the image just got colder and also countries pure colors of the futures off course in the most of the cases you want. Probably work with those futures, because why not to choose the color on by yourself? That's why you can just hit the color on this square over here and from the color you can choose any color and that you want to apply to this image to make it the way you want. And as you can see once you hit on the color, um, it straightaway chance your choice to the color. So for this image, I think the perfect choice for sure will be something warm. It's holiday image, so this called colors on Don't probably suit as well as something more off a positive subcultures. Also, maybe some pre me like this. And then we have another option, which is density. So by default it's 25% and, of course, increasing density. You increase the strength off the fielder and 100% it looks very similar. A simple feel layer with a blending mode color. So I'm going some with 70 verso, something between 30 40%. As you can see, my image is a little bit warmer. Also, we have this box preserve luminosity, as you can see when we preserve. We don't actually lose the details on our light, so I wouldn't say it's something very come on the years. But it can be very helpful also with the masks. When you want to warm abject just a certain part of the image, you can simply paint on the mask and apply their photo filter to your image. 13. Channel Mixer: Channel Mixer is probably the least understand it adjustment layer and for the shop, and there's very good reason for that. There is really a lot of information, and working with different channels might be really confusing. That's why, in this lesson, I am going to tell you everything you need to know to understand how Channel Mixer works. So right now, let's open Channel Mixer Adjustment layer and first of all, on the top, we have pres. It's all of this. Presents are actually black and white presents, and the reason for that is because Channel Mixer is really powerful when it comes to work in and converting your images toe black and white. In some cases, it might be a little bit better than the black and white adjustment layer and why you are going to understand. So then next we have out with Channel, which is red, green and blue. So output channels. It's the same thing us you had in the case off the curves, for example. So you have read, which is increasing the curve on the right, of course, gives you more off the red light, the Christian This make the image a little bit colder because opposite to the red light. So Sion Light Onda And below that we have also three sliders, which is red, green and blue. And this sliders are not the same thing as this output channel. But this sliders are the wrench off them. Certain light color and on the image on the widest wrench is the red. So most of the image contains the red light, usually a little bit less. There is the wrench for the green light and the least for the blue. So you can also see this in your channels. When you switch from layers two channels, you can have a clear look to what I'm saying on this is exactly this sliders here might visualize will be visuals very well in the channels here. So we have the Blue Channel, and what you can not is with this channel. It's really very contrast e. On. The highlights in this case are very blight, bright and darker shadows when we go to blue. Still in the highlights bright not us much us in the Blue Channel or very similar, but you can see more details now from the shadows are visible, so this Channel green is slightly more flat than the blue. And then we have read which, as you can see, all the images very bright. A lot of details, very flat, and so more details are visible. And this three channels represent our RGB image and the same here in the sliders. We have this wrench. So, for example, off course in each off Output channel in the Red Channel we have on the wrench off direct, 100% green will be green 100% and blue, 100% a swell. With this sliders we can manipulate on the wrench off this. So, for example, increasing the red now indirect will be increasing the red light in the wrench off the Red Channel. So we increasing the red light in this channel so it effects this areas. Then when we will be decreasing off course, we make that we go back with the amount off red lights. So we take away the red light in this wrench off them red channel. I'm going to go back to 100% now, for example, Now, if I'm gonna increase the red light in the wrench off the Green Channel it's a little bit different. The ranch is not as wide and going back the same. And then if I'm going to increase the red light as you can see now, you can see the big difference. I'm increasing the red light in the blue wrench. As you can see. Mainly highlights are affected, so I know it was a little bit confusing. But that's how it works and the same here. Now we have 100% in, then green wrench, so increasing the green in the read channel wrench. As you can see now, we increase much more green because this red wrench is really white. Going down it's opposite, so opposite to the green is actually magenta, so it works exactly like the curve adjustment layer. But it's way more complicated because we also have this wrench and that we can affect here . And I said to you, um, it's actually very powerful Onda. Let me explain why, because you can really precisely manipulate amount off each light in each tunnel, so it gives you really amazing possibilities off the color grading. But yet it's not really so commonly used because it's also the same time. It's very complicated process, right? So and for example, I'm going to read this here. We are going to do something. Random eso Now maybe. Let's apply. Ah, a little beat more off the yellow color. You can see what suits here Maybe actually blue today, A wrench off the reds and yellow to the wrench off the blues. So we have this yellow sky as you can see more off our bluish rock over here. So something not very precise. I just want to do something toe present you how those things works and also on the bottom. We also have this constant slider. And simply by this we can increase fully the red light on the Red Channel or decrease it and the same in the other output channels. For example, in the Blue Channel, we can complete increase the blue light for the Blue Channel or the Christian. For us, you can see So this is how it works. But actually mentioned to you that it works very well that it's actually very powerful for working with black and went with converting the image into the black and white. So now we are going to do this. I'm going toe president box, which is says monochrome, and I'm going to heat monochrome. So why is it so powerful? Now we have three channels, um, at one place. And this is so powerful because increasing or decreasing each off this light in, um, the channel allows you to manipulate with the color values off the inch. So, for example, I'm going toe increase the light on their blue channel. And as you can see, you already know that the wrench of the Blue Channel is smaller. It's mainly located in the highlight, so increasing the blue light blows out the highlights in this case. So, for example, I want to go down a little beat with the blue light on Blue Channel and what I'm going to do, I want to increase the light on the read channel. So I'm increasing total image. It will be a little bit more front. But now we will have more details visible because increasing the light on the Red Channel gives you a lot of details. Here in the shadow area, we took down the lights from the skywriter, which, where wasn't really that many details. Also, I'm going to decrease a little bit off the light around the Green Channel wrench increased that. And as you can see, we are very clear. Black and white image, not too many contrasts. And the details over all around all image are, as I read, visible. So as you can see, this channel mixer can be actually very useful and very powerful when it comes to manipulate with the light after converting the image toe black and white. 14. Color Lookup/Invert/Posterize: before I will jump to the two last adjustment layers, which is great and map and selective color on to talk to you about the adjustment layers that there is not too much to talk on that will be color. Look up, invert and posterized something that I can't imagine You would be using a lot during your work except coral look up, which is actually the lot. So if you are looking for tricky lots, if you have treaty Lance, if you install treaty alliance, this is something like fielders in photo shop, so you can actually down on them from the Internet. You can create them by yourself, and coral look up is the filters that you have. Eso. You can have some color blue camps that are already installed with foot shop, or you can install some other color lou camps that you have. So, for example, this Fu JIA Turnem 250 is the lot that on the reason for the shop and actually can see. It's simply speaking on the filter. We can lower the opacity. If it's too strong, we can see how others looks like, for example, edgy Amber as you can see if you use your mobile device. Thes work very similar as you can see. Just different kind of filters that you can use on your image, but not much to do when it comes to manual work. So it's simply applying the filters. I'm going to remove color. Look up now and then. Ah, use adjustment layer under the name invert And as you can see on this is nothing more us inverting your image. So, for example, if I have this background player and if I am going toe invert information existing on the image by present command or control and I this is how it looks like this is inverted, all of the information's on the image. I'm going to press command or control and I to get back. And this and just mental here shows exactly this. Of course, in this case, I can manipulate a little bit with the opacity, but I can't imagine this being any kind off useful. And then we have also posterized. I can't imagine you wanting to do this to your images turning this and apply in this weird eso the fielder. Of course, you can manipulate the strength off the effect. But this is not something that people rather use in photo shop s O. That was quick lesson about the three things on that There is no reason to go to waste on three separate lessons. And I hope you get some of the information. As I said, color Look up. Sometimes you might apply some extra fielder. Check how it looks like inver posterized on Not something you will be using for your father ship work. 15. Selective Color: and once again we are at this image because the adjustment layer I want to present to you, which is selective color, is really good to be presented on a colorful image. So I'm going to open selective color and let me tell you few words about this adjustment. Lee. Of course, we have presence as well on the very top. But selective color allows you to work selectively with major colors like red, yellow, green, blue and manipulate the cars. So whether you to make red areas a little beat more yellow or magenta, the selective color will be perfect for this. If you, for example, have a portrait and the skin has very unhealthy yellow tones, selective color could be on good choice for this, of course, Samos hue saturation, allowing you to change these tons. So once I opened this, we have different colors to choose your country threat yellows, green science, blues, magenta slides, grace and blacks and each of the scholars. When you choose, for example, now we are a dread, so probably will be affecting them yellow areas on this orange area here as well. So if I am going to at a little bit more science, what you can see as happening to the colors that are in orange tints, that getting very, very dark because we taking away the red from them and applying science. If we go opposite way, as you can see, the same areas will become more punchy, something very similar to what we're doing using hue saturation. And then, for example, we can also work of different colors so we can add some red. We can, uh, also aunt some more magenta two reds or opposite to magenta, which is green. And of course, we can also aunt a little bit more yellow color in tow. The reds. So as you can see this deep not and Steve, but red building become now more orangey and the buildings here half punchy yellow color and going opposite. I am actually taking away yellow from the reds and applying more off a blue. And if you haven't notice yet, you can actually realize that these sliders are extremely similar to red, green and blue yellow secondary color for blue magenta secondary for green and cyan, second Arab for red. So then I could go to yellow sun, for example, apply signed to yellows or maybe more off our red to yellow supply, a little bit more magenta as well, and maybe a little bit more yellow. Same I am going to do with reds and applying a little bit warm colors. What else? We could go. We can work a little bit with the blues, but I don't think on we could affect this really strongly and accept the colors. We also have whites, no trust, which I say grace and blacks. Simply speaking, we countries on brocade, the white colors off the image, which will be very similar to the highlights and apply the color we want. So, for example, want something maybe cooler, so my sky will be a little bit cooler. We can choose the blanks, which will be in this case, shadows. And I would like the shadows to be a rather warm in this case, and also no trials, which will be something like a meat. Tons like to go with something universal. Would entry go too far? I think it's actually maybe to warm on the stage, so a little bit down. So as you can see, selective color is extremely powerful for the work you need to do. We also have the last cider, which is black. So you want toe and more black to the reds or take down to the wretch, which, simply speaking, change the luminosity values. And I would say selective color is probably one of the most powerful adjustment layer available in front the shop. 16. Gradient Map: in this lesson, we are going to talk about their last adjustment layer. We have left, and I am talking about grating map. So I'm going toe open great and month right now. And as you can see what happened, our image turned black and white. But it doesn't mean that the grading map creates black and white ethic. It means that our color for the Grady and map, which is from the shadows to the highlights or set us black and white. And by this line going from the black color to the white color, you can see how does it work. So on the left hand side, we have the shadows on the right hand side. We have the highlights as usually, and the color for the shadows who set us black. The color for the highlights will set us wipe. Once you heat this, you can see the bigger picture of this, and it's settling this because it was probably said for the present as black and white. So on the top we have the presence, and we can choose any color we want here. But of course, as it's usually with presents and then presents are never really perfect. And you can see what is happening here on the grain in map. So you're not on the can choose to colors, but you can set a really white range of colors going from their shadow areas to the highlight area. So whether you want to go with some, for example blue color for the shadows, green color for the meat, tons and some yellow color for the highlights. You can do this by created as many color stops as possible. Off course you have more present. You can load them by heating this battle and choosing some of the presence that you want to choose. For example of you choose pastels, you can heat on this and then he tapping and new presence will be load. I'm not gonna do it because, of course, I am not using present in this case. When I use this, I usually work manually here. So radiant type. He always will keep as a solid the noise. It will never look really good. So you want to keep gray and type us solid, and I'm going to chew some colors that I think suit for this image so we can actually do some decent work here. I'm going to choose the color for the shadows and for the shadows. I will go with this on dark, bluish colors. And then I am going for highlights. And I'm going something bright. Nice again. Okay, now what can I see? In this case, the shadows ranch is very small and the shadows ranches massive. Obviously, because we have more shadows on this image, I'm going to grab this battle on the middle. I'm going to increase the wrench off the highlights. Also, I want to manipulate a little beat with the smoothness now, so I'm going down with this. And as you can see, the transition between the color is really smooth. So as I chose the colors I like, we can heat, okay. And our great and map is supplied on interest. Two colors because I believe choosing less is always more. And on this moment, it will not look nice. And this is the place where we need to do some small introduction toe blending much So the blending modes are here on the top, the normal blending multi stuffing more as applying the effect as it is, and by operating by different blending modes that blends with your image in different ways . Some blends and in the darkening way someone's in the bright and in way. Some blends in the contrast IQ way you can apply the ethic, and it will give you a little bit more natural results and isn't great. And map without blended months is more likely impossible in this case. For example, I'm going to go with color color, allows you to effect on the color areas, not the lights, and it gives natural for. Then I'm going to go down with capacity. And as you can see, I achieved Everglade this. So this is the information I'm upgrading map. And now we are going to move to blending modes, which are crucial part off understanding, working with layers. 17. Introduction to Blending Modes: in this lesson, I am going toe introduce to you blending modes, and this will be split into a few different lessons because there's few things to talk about. But let's start from very basic. So as you can see where you have open the image, you can't really switch in between different blending modes. But you actually have to have some a layer above. So whether it's empty layer created even though nothing would be changing because it is just empty layer or adjustment layer, for example, we could go with curve adjustment layer. Then you can start changing and blending months and what are blending modes it something that allows you to blend the effect that you apply with your image in the certain way. So, for example, in the way that will be brighten in the image in the way that will be darkening the image or maybe increasing the contrast or doing something for color or luminosity. So, for example, when he opened the blending modes, of course, normal blending mud is something fully regular, and it does affect image in a very normal way. Like if I don't do anything toe adjustment, layer nothing, we're really happened different than things applied toe adjustment layer. But if we apply something, it affect the contrast and color. So luminosity, level and color in very balanced way. If we don't want to affect certain, think will be switching between blending modes. So this is the blending month normal and then and below we have another part, which is darkening. Vending monsters dark and multiply color burn. Then we have lightened screen color Dutch. So this blending modes are responsible for brightening image. So we have dodging and in darkening it would be something like the burning. Then we have blending modes that are mainly increasing. The contrast, such as overlay soft light, overlay somewhere in between soft light, very soft. Increase off the Contras. And then we have hard light or vivid light, and this one's increase the contrast in the stronger way and below, we have something more often abstract, which is difference. Exclusion. Subtract eso. This one's give you a quiet of abstract results, and you will see this once we get to the lesson when I will be presenting to you another bottom. We have the regular values off the image, so it's hue, saturation color and luminosity. So depending on what blending monte going to choose, you go into effect. Only this area, the wrench or the information off the image, such a few saturation color or luminosity. So let's move to the next lesson, and we are going to start with explaining off darkening blending modes. 18. Darkening Blending Modes: in this lesson, we are going to discuss about the darkening, blending modes and few things at the very beginning. We have to say when you have regular adjustment layers such a scourge exporter, it could be another adjustment layers when you will be changing the blending month to end. Whether it's multiply or overlay, the effect between them always will be the same as you can see the not when you don't apply the effect and you switch the blending much. Um, whether its brightness contrast levels curves, exposure, vibrance, whatever you choose, that it gives you the same effect. In this case, we will take her off the darkened, darkening Blanding much, which is dark and multiply color, burn, leaner, burn and the darker color. As you can see once the common trade for them, they simply affect the image in dark anyway. And the best way to present this sort of blending modes is with the field layer. That's why, and shoes in the color, which is creamy and looks just like this with normal Blanik Month. Let's go from the very beginning. We're going to start with darkened. So what is happening now? Because our image then we get darker. So let me explain what happened here. We have this very bright color and in the areas where this color is dark and then the brightest area of the image, this area got affected. So, for example, you have bright areas here on the sky. You have bright waves, maybe beach, and this color a slightly darker. So it does affect this areas. But it doesn't affect the areas that are actually darker than this color. So, for example, if I would go with something dark rash can see we affect more and more areas off the image , excluding this area deep in the shadow. Then we have more people. I which will deploying them at this lawyer with a background. And I would say this is most universal over here and then go into color burn and others. This are just different results it will give you with blend in with the background. But the common trait, as I said, is the fact that your image get darker. So if you have very bright image and you want toe at some effect, you can always try to see one of these darker blending months Will give you and the ofcourse darker color you can see works similar, if not the same way. Us. Dark and multiply most universal, probably most soft in this case and when you have bright image. As I said, this could be the good option to use. We have also other layer, which was very similar to the field layer, and this is great and map and I am going toe manipulate a little beat as you can see. For example, switching toe multiply just darken. But we can't forget that we actually have black and white color chosen here. So I am going to choose something nicer, something maybe more universal. And I am going to chew some bluish color and some orangey color, some nice, soft orangey color for the highlights. And then we can see how this defect. Of course, we have this darkened and again in the highlights. Over here we have this bright color which strongly affected this on, and then we have the colors that are more natural, which is multiply linear burn, color burn. In this case, it's way over, um, over deadline with how strong is the effect, and I would say darker blending months. Duncan, in bending months is something off our not so common. Think, Yes. I don't want to say least common, but probably somewhere on the bottom, off usage. And I'm saying this based on my own experience. Now we will be moving toe another group off blending Moz. 19. Lightnen Blending Modes: Let's go with another group off blending modes and we're going with light and blending modes. So I am going toe, start with the light and maybe alleged to some and a different color. And the start something that it's not so hard for our eyes and I want to show you what is happening. As you can see on the thing that is going on with lighten is opposite to what is going on with Darken. So it's same theory behind but opposite effort. So if lighten, we actually brightened up the things that are darker, then this color So what? I'm gonna grab this down. You go down to this, and as you can see, let's go toe complete back. Nothing is affected. This is the darkest point of they meet somewhere here. When I go up, it will start picking up this area. Right now, you can see this area is getting brighter. The more I go, it's going toe pick up, order darker areas and then all the rest. So, for example, even going into the black color, you can see if I'm going to have gray it, wash out the image going up, it will wash out the image even more. And to complete black white, you will see nothing off course. When you change the color, you will see a more when you unjust, they feel a little bit. Then we have the screen very similar as well. And with the screen we will see again what's going on here So the screen doesn't, um It blends the color our little better, then the light and before any conceit over here, it's and doesn't create this wash out effect over here. But where the color supplied, of course, all will be going the same us with the dark and blending mode. As you can see, you still can see all of them deedles off the image, even on such a high value, because this color is blended much better to what's going on here and going to the very top . As you can see, you still see the very dark areas over here. So the screen, I would say, really popular effect very commonly used. I use it often when I need to create some sort off pastoral outcome off the image I could present you. Maybe with some color, right, you choose some passed out from young jazz capacity In case you needed this, then we have colored ach which creates the effect very single to dodging on the image. And you can go from the darker going up and you can see how it blows out. Um, the brightest points off the exposure can check with the other color. How does it go where eight. Firstly, effect this already bright areas. So of course, this one in opposite to color burn. And then we have lean er dance which blends very different depending on the color we are going to choose and you can see when I'm gonna choose the color and money. Pilate The color can see completely different outcomes off the image, depending on the color and how this color blends with the image, not something very common. And also we have a lighter color which is, um, much different on them. And you can see also once you change the color start is, for example, brighter than all the dark areas. But working in different way on, then the light and cover nearly old dark areas. Here we have yell over bright car, But then when we go to this darker colors. We uncover the certain areas conceit, and now here only the darker serious are affected. And now we go to brighter again and lower. And that's how it goes. So light and color, some screen, obviously the favorite and lighten also sometimes used, but this to not as popular as probably over next blending mode group, which is responsible for the contrasts. 20. Contrast Blending Modes: in this lesson, we will talk about contrast blending modes. And I would say this is probably most important part off blending modes because contras blending modes are blending most that you will be using ah lot and the first blending mode is under the name overlay. So I chose some color. Maybe I will choose something different and that is given and it'll beat more pleasure to your eyes. So okay, we got this kindof brownish color and how the US overlay works. You see, you just multiply, you choose the screen and then the screen blending mode works in the half strength in the areas that are brighter than 50% gray, and then the multiply blending month works on the areas darker than 50% gray with half strength are swell, so you can see how, if the areas actually darker, not really affected, because this multiply doesn't really have the place toe work here. But once we go darker, as you can see, image gets very dark and the bright areas are very well preserved in opposite. So going up the same when we go fully bright as you can see, the bright areas will get blown out, but the dark areas are rather not that strongly affected. So this is about overlay and simply speaking it strong. Increase the contrast. So now I'm just using the color. So as you can see, keeping this somewhere in the center and doesn't really change it so much as you can see. But when we start shifting with luminosity values, then the effect will be more extreme. And of course, with Grady and Map. And this effect for sure will be more extreme. For example, if I'm going to choose colors and this will be much more presented well presented in ah, this blending months, I'm going to true some maybe glow soft like this. Not very strong, because I don't really want my image to get extremely dark and something bright for the highlights here as well. So, as you can see, I'm going to switch toe overlay now. Maybe a little bit more unjust ID for the shadow area. Okay, maybe something darker and this one might be actually little too bright. And this will present you very well. So this blue color will affect the areas which are darker than great. And this highlights affect the areas that are brighter than great. Eso multiply screen combine used at 50% off strength, which doesn't mean 50% of capacity. It means the strength off the effect and then we have soft light, which is also very similar to the overlay, but instead off using the values off your base layer. It makes its own can calculation based on this layer that you're actually blending. So as you can see, it depends everything on this layer and not so much on this base layer that you have. So now we are going toe. Vivid light and vivid light is sort of extreme version off contrast, so as soft light was soft, version off overlay, then vivid light is very extreme version off of early everything that is brighter than 50% . Gray gets brightened and everything darker gets darker. So, as you can see, the contrast is really extreme. With one color, it will not be really eso visible because one color we don't split this, so it will always depends on the color set. As you can see whether I'm going to a brighter color darker each way, the effort gets very extreme. Next, once again. I'm going to great in mind because it's good to present this on the contrast blending months. So then we have linear light, and when it comes to the linear light, it combines the linear, burn and lean. Are Dutch together sold in your Dutch affects the brighter pixels and leaner burn affects the dark peak. So So this is what on the linear light is the next one. We have been light, and when it comes to the teen light, it use dark and lighter together, so it doesn't really give you very specific results off course when it comes to the color, as you can see what I'm going to choose peen light, the effect will always depend. Where I go, you can see it's applied above this light and or dark and blending more dependent on the color you choose together on the image. So I wouldn't say it's very useful when he applied the color. And also, I think when it comes them great in my bus, you can see we split the colors. So in many cases the effect is actually barely visible because off the split colors and that we applied and at the end. We have hard Meeks, and this is probably something more complicated. You can already see that it gives you re extreme results. And it's not something that you will be using often ing in your work. But it applies the blend by adding the value off each RGB channels. So in this case, red green and blow into the blend layer to the corresponding red, green and blue channel in the base layer that you have. So I know this is theory and this really you need to actually listen for the few times to know where the RGB mode are applied. But the truth is, um, you don't really need to know theory off everything. You don't really need to know the teary off and off this blending months. But you need to know what effect it gives. So in case of soft light, it gives you soft contrast effect overlay. It gives you stronger contrast effort, and then you have vivid light that gives you extreme contrast effect. Hard light gives you really the FX that cannot be applied to many things, and this is how I operate. I just no one gives you which strength off the effect. And I do recommend a very similar way off understanding this and similar way off working 21. Hue/Color/Saturation/Luminosity: and now I am really excited because we're going to work with you. Color saturation luminosity, which are probably most underrated, blending months in for the shop and probably most important, blending months in a photo shop that allows you to a world selectively just with this one element off the image. And imagine if you can affect on the color but nothing else on the image. How important is this for processing landscape images? How important is this in retouching when you have some certain areas on which you don't want to affect the saturation or center areas on which you don't want to affect luminosity ? And this is what I'm going toe talk about now. So, for example, I choose a few different adjustment layers. First grade in map and what's going on here. Random Grady in map for shadows, read for highlights. Green and Blending Month issue. So what is happening now? I will let you see before and after it feels like nothing is changing on off this image, but just this color here suddenly changed. But this color also then change the saturation. So exactly this is exactly what has happened. We don't change saturation with this brand month, and we also don't change luminosity values, so the image stays fully the same. But the applied color is different. And what's best that the color that is supplies look, look really natural. Even something feels odd because you don't see this color naturally, but it does feel natural. The question why red wouldn't be visible because we don't change the luminosity values in saturation here, and this area is really dark, so it's impossible to get on the visibility on this. You can see slightly red, but not too much and, for example, the same when I'm going to choose a color field, as you can see the same just a different color now, where there's great in my affect on the hue. And also I chose something from some adjustment layer that you have to work a lot, and this is, uh, color balance. And so I applied something to shadows and something to highlights and can help you a lot because, um, there was not many things that give you discomfort. If sometimes you don't affect luminosity, usually will be affecting the saturation values. But this gives you really very precise color grading abilities and then we could go to saturation. And in this case I don't feel the saturation is very useful because in case of saturation you affect the saturation and you have frank this really strongly, but you don't really affect. And the color itself, just the saturation is absolutely blown. Any don't really affect the light. So in this case, as you can see on choosing the saturation from least useful, I would say, um, blending mode here. But then we have color and another very useful, not as precise issue, because in this case we not on affect you. But we also do affect saturation so you can see color, and it gives you a really nice, precise effort when it comes to the color grading. But it want to give you with the color very precise, I think. But for example, when you go of color grading and you want to do some really solid color work, as you can see, we apply to re ah lot with color balance. But when it comes to the color blending, mud went to work with this and I would say color blending month will work perfect with color balance photo filters, curves, levels, anything where we apply the color. In this natural ways, that will be just great for you and Andy. And we have luminosity. So something opposite to color we affect on the light and not the color. So, for example, choosing luminosity here, as you can see on this image got completely flat and why it got completely flat. Let me explain you this and this color day in change, you might feel it did. But when you can see in, this is actually still orange color that we have here and on the top it gets into this great bluish and this is what is here. But it's very bright. So we didn't change the color rattle within change saturation at all. But we only change the light which flattened the image quite flat in the image. Because when we open this, as you can see, if there were strong red and the green, I believe, is also very same. So they're wrench of the light is probably on it. This this amount off light. That's why very flat, but still some difference. And I actually like it because I believe luminosity can give you a nice, washed out effect. As you can see, choosing one color as you can see, also get very flat. But whatever each is, you can actually work on the with great color. Here, it doesn't recognize the color, so it doesn't mean what we applied your butt luminosity. First usage would be a de fact. Don't you can create this nice washed out effects or other things when you actually wants to do something. So I will give you some quick example. I am going to choose the curves and bright and this up a lot, and I will invert this layer mask to make it invisible. So something. We talked a little and we will talk more and then I want to bring back in some areas on their effect. So I'm choosing the white color off the Bradby person x. I switch this I paint on this and as you can see, it's blown because it just the curve effect that is visible here because we affect everything we affect, not on the luminosity will affect saturation, were afraid, the hue. But what I'm going to change this to luminosity. I am not changing anymore. They're saturation values, but on on the only the luminosity. So as you can see when it comes to certain work, this was actually a lot. But when their work is very soft, luminosity values also helps you with these things not only with affect, like washout image, but preserving the areas where you need to be very detailed. You need to do this detailed work and you don't want toe affect saturation. Luminosity. Is there a way to go? 22. Inversion Blending Modes: in this lesson, we are going to talk about inversion blending months which are least used blending months in 40 shop. Which, of course, doesn't mean that completely useless. And I'm going to start with simple feel layers because it will show you very clearly what is going on here. The result off difference Blending mode is simply the difference between this base layer, which is background, and this layer that we chose to blend. So, for example, right now I chose the white color and what you can see. It shows the inversion off the image. As you can see the background player, I can press, command or control, and I This is inversion. I'm going to press the same again to go back, and if I trust white color it represent, it shows you the same result and then as the opposition. The black color doesn't show, and the difference doesn't show any invasion. But then let's see what is happening when we are going to choose some color and with the color, as you can see when we have the areas that are darker than the chosen color, the chosen color is applied over here. We can't get anything different. But then in the areas where this this color this red color is darker. As you can see, we have inversion of the color. So in the red it will result in sort off scion IQ colors in the highlights and treason for example, different color. If I would go with yellows off course inversion off yellows in this case will result with this blue on nearly purple color and the shadows will keep us yellows. So let me close this. Maybe some other example which will be a Grady in map and I'm going to go with difference. Once again, the difference is done and I could clearly judge what's going on here now. As you can see, we have kind of purple sky, so purple, magenta, which is secondary color for their green and in the shadows we have red, which is really easy to guess. And as you can see, that's exactly how it is. And then I am going with a some other color, which is explosion, which is actually very similar. It shows you very similar ethic. The white color shows you inversion exactly the same effect. Then when you goto perfect gray. You will get clear gray color once united this perfectly and black results in no difference , then choosing the color, as you can see goes with the same result. So it's very similar. The differences are not that massive. You would have to manipulate a little bit different with plenty much, and then we'll difference, but exclusion extremely similar to the difference. And then we have next blending mode, which is subtract and as we have color wide, it turned black. But let me explain to you why this Bennett mode is actually very simple. Maybe sound a little bit more on difficult when we explain that it simply subtracts the blend mode color from the layer below from our base layer the background in this case, pure back. It's not affected because you can't subtract a color and get anything that is darker than the color black. But then the bright pixels, as you can see, turn completely black. And when I go with the dark color, as you can see, you can't get anything darker than black, so it doesn't have an effect. And the same when we go with the color, as you can see if I go with the red well again, The color that a secondary to the red in this case, science strongly visible in the bright areas. Whenever I will go with other color, we will get the inverted color off the chosen one and then off course, if I am going with divide divine works in the opposite way. As you can see, the color now is mainly strongly visible in actually the dark pixels. So whatever I'm going to choose. As you can see, this will be visible in the dark pixels, the secondary color off the color that is chosen, and then going over the black gives you complete white. And then going with the white gives you no difference because you can't get anything brighter than it's white. So this is how this inversion blending modes works. I know that quite confusing, but likely you don't use them on that often, and simply by experimenting, you might get much more confident with them. 23. Creating Luminosity Masks: in this section, we are going toe. Talk about luminosity masks. And if you think about really good image processing, this is absolutely important thing to do, especially when it comes to the images. And if you work with the portrait, it's This will be extremely helpful for you. So I am going to start with unjust meant layer. I'm going toe open curves because it's very popular. We can use this not on the four color grading, and we can use this for lights. So this will be good example on which we can present to you luminosity masks. So, first of all, I want to show you how you can define lights on the image and the shadows in a very simple way. So, first of all, we will be defining this using R G B channel, So we will be using combined channels to difference the highlights and shadows. It will be absolutely perfect selection, and the easiest way to do this is through the image. Apply image and what you need to do here as the layer it has to be merged. Eso make sure as the source this is much layers, it marriage all of the layers, whether you have on the one layer here or more layers and the blending multiply or normal on doesn't make any difference. So make sure one of this to I'm not gonna tell you about more. There can be also darken. And, um, we can see not all of them overlay will not work light and will not work. So normal, darkened and multi play Three of them will be working. How can I know that? Because I will see this in this little square as the mask here. So then I am going to hit, okay? And let's have a look how our mask looks right now, when you will be doing this you also want to make sure that your mask here is selected so you will know the definition will be created on the mask. I am going toe Press out corruption and heat on this layer on As you can see, we have black and white image. But this is not black and white image, but this is representation off the lights on the image. So white color is Where is the highlights and back color or dark color is Where is the shadows I'm going to press out corruption and heat on this once again to get the regular view. And why is it so powerful? Because, using that you can open curves, increase the curves and you can be sure that you will be affecting Onley. The highlights that are selected on this curve on Jasmine Tire and this is something absolutely deal breaking when it comes to creating really precise shadows and highlights and, of course, assess. You know some information about the blending months right now, the blending mode. It's normal, but we want to make sure we will not be affecting color and saturation values but on the luminosity values. That's why I'm going to change this normal management into the luminosity blending month. And this is before and after. And then when I want to create the shadows, I can create another curve adjustment layer. Change this to luminosity, and there's two ways we can go through image, apply image and keep the same settings, and then just press invert, hit, okay, And as you can see, your shadows will be very precisely defined. So this is the first method off doing this. I'm going to do step back. The other method will be. You can simply press command or control hit on the highlights. The adjustment layer layer must quit, the highlights defined. And once the highlights are selected, you're going to this order layer mask and by pressing command or control. And I you will be inverting this selection that you have here into the shadows. So impressing command and I, as you can see, inverted the effect into this other layer already, and I have shadows defined. What you can not is is that the shadows usually are much stronger. This is why we're applying the shadows. I don't really let myself to go that much with this curve adjustment layer, but a little B class to make sure that and the shadows don't get really too dark and to not destroy any details. A nasty considers is probably the easiest way to create precise selections for the highlights and shadows. And this is the first method off and doing this. So I'm going to put this to the group and going to name these metal up number one and let me turn it off, and then we'll do Method number two with a selection from RGB and I'm going to create curve adjustment layer already and I will switch this toe luminosity planning mud. So if you don't want to go through image, apply image and everything else we did, you can just go to channels hit on RGB press command or control heat on this RGB and then you go back to your curve adjustment layer and make sure you select the layer mask and then you press commander Control and I And now we invented this. So we have the shadows, have a look and then you come press on this. You can create another curve adjustment layer with the same selection once you do it and one on days, you can simply, for example, until the 1st 1 askew. See, this is a selection for the shadows. So one of them we need to invert our press command or control, and I And now I'm inverting this into the highlights. And this selection off course are exactly the same as the ones we did because whether it's through image, apply image or for the channels both off this selection said this luminosity masks come from RGB channels. So then I am going toe. Make selection on this. Both command all control and G. I'm going to name this method number two. So two basic methods allowing your creed very precise selection. And in the next lesson, I'm going to do how to get even more precise in case you need toe widen or increase the wrench off your luminosity mask. 24. Changing Range of Luminosity Masks: do not create any confusion. I'm making this another less son for showing you how toe change the wrench off your luminosity masks. So right now I have highlands and we can press outer option heat on this layer and see, how does it looks like? And you could easily say what if you want to increase something on this finest lights, I would assume that would be probably the increasing the lights, increasing the highlights. So there is one method that you can change the rate wrench off anything not only if the mask is created in this way. And first of all, we need to press command or control heat on this layer, and it defines this election. So now if I'm going to create another curve adjustment layer or any order adjustment tire is going to have exactly the same wrench as they have as this highlights here. But then, when you're going to press command out, shift the street keys together and you're going to heat on this highlight. As you can see, your selection on the image is changing. This is because you make the wrench smaller. So now when I'm going to create some adjustment layer. As you can see, the mask is looking different. So let me press out corruption to have a look at this. And as you can see there, highlights are actually barely visible on the the finest highlights are. And if you think this mask your is not enough and this is the wrench that is too wide, you could use this one and increase on Lee the finest highlights here. So if needed, I don't think on this image on this is very needed. But I'm going to name this age one as the highlights now as the highlights now just as an example and the same for the shadows and in the shadows. I believe in this case it would be a little bit more useful because the wrench for this shadows is really wide. So I would press comment or control heat on this, then command other options. Shift and heat on this, the wrenches changed. And then I'm going another curve adjustment layer. Let's have allowed her Look how it looks like And the rent for the shadows is a little bit smaller. And as you can see, if you don't really want toe increase the shadows that much. This could be even about their choice for you so I could turn on this channels. I named this as the shadows number one, and we could be probably need to be more precise on this layer. We don't really have to do another correction here because as you can see, our history, Graham doesn't go that far as it was going in this case. So this is pretty good option if you want to be careful with your shadows and I wouldn't use this layer with highlights. Number one I think the highlights are really good enough on this moment, but this is the method. If you need to change the wrench off course, you can get even smaller than that. So whether you will go from this H one or this highlights, you can makes election Pres District. He's hit once. If you're gonna hit again, the ranch is smaller and smaller and smaller and so on. So this is how you manipulate with your luminosity masks, changing the wrench for you our own purpose. If you need to do something very specific 25. Creating Masks with Color Range: in this lesson, I'm going to show you another method off, creating luminosity masks for shadows and highlights. And once again, in this case, we need to create curve adjustment layer. Which one? I am going to name us highlights. So let's prepare for everything. At first I'm going to change planning not to luminosity already and duplicate. And this will be shadows. So make sure your A mask is selected because every time when we want to create the mask when we want to manipulate with the masks, this mask need to be selected. And for this I'm going to use color wrench. So I am choosing select from the top and going down to the color range. What color range helps you to do it helps you to define and a certain color or certain light area on the image. For example, if I'm going toe true threat, you can see below here kindof mask that will be reflected on your mask. So the red, this is where it is located and we have few different colors. Off course yellows. Red red would be probably quite good for the highlights as well. But what really interests me is the highlights is the meat ones and especially shadows, so highlights shadows. Meat terms might before some color Grady, but especially this to highlights and shadows. What is important to do here is changed a wrench for very smooth transition, and once it's done, you need to go that up with the food easiness. And on this level, you might see the little bit different if you don't have photo shop CC. This is very important. You will not have the sliders, and then you can't really get a very good selection. So I would recommend you to go with the first technique. If you don't have this band as long as you have for the Shop CC, this will be good method off selecting highlights and the shadows so I can see quite well now. But what's the problem? Looking at this mask, your it's not exactly the same reflected. I'm not sure why it happened, but sees the recent updates the mask shown here and one here wasn't the same. That's why I am letting myself with the fuzziness a little bit higher, and then I'm going to hit. Okay, so now let's press interruption and see how the mask looks like. As you can see, the transitions are quite harsh in this case. So what I would do do not have this harsh transitions. I could blow this out just a little bit. So once again I make sure that the mosque is selected. And then I tried to blow out the light selection just a little bit. So it's done. And now I am going to shadows and I'm going the same to color wrench. And this time for a difference. I'm going to truth shadows and the wrench will be different. And the rent will be different because this time I'm going to the black color and I am increasing fuzziness opposite. And then I am going to hit OK, and as you can see now, we have shadows created and once again, to not make this so harsh. We can go to filter blue and the guards and lure wrongly clicked filter blower Gardenville to blow out this selection. Just a little meat, and then I'm going to increased first highlights and then a little bit off work for the shadows. And let's put this to the group. So Shift Select is both players command or control N G before and after us, you can see image stands out more so depending on the image on different technique could be better. I think the highlights a little too strong. Also the shadows a little too strong. So I would go lower out, name this ass contrasts and this would be the result before and after. Of course, using this room is not city masks. You still can change the wrench of them. For example, selecting by Commander Control Command out corruption shift heat on this and you can change the wrench as you can see. So this is sort off. Second, we could say third, but the previous method was strictly from their RGB. So this is the second method that I would use for some luminosity masks. And I use it less often than the previous method. Just because this works perfect for some studio images when you have really good, like transitions and in some other cases, not always work so well 26. Creating Masks with Channels: Now we are going to talk about the channels and creating luminosity masks from the red, green and Blue Channel. So I'm going to sweet. Two channels were looking at this image before and you already know how does it work? But I just want to say that for light and shadows, probably the previous techniques I showed you are the best because channels doesn't allow you to create such a precise selection for this certain areas. And you can see this now we have a lot of patches. The distribution off the light is not really so perfect as in the previous example. But when it comes to color grading, this is not such a bad idea. And for example, we can chew some sort of channel selection. I could go from read at first are making selection from the red, and then I will go to my layers and I made the selection before, So I will not be inverting this selection, but just applying and whatever I'm going to truce. It could be saturation curves, color balance. This mask will be created, so I just hue saturation and I have luminosity mass from the Red Channel, so I could do other by want. If I want to increase the saturation on the Red Channel, I can do this. I can increase the saturation if I want to manipulate the hue on the Red Channel. I can also do this and this is the major pearl how I like to work. I like to work with the hue and the saturation and believe on this is really best way if you want to work with channels. So I did some very small adjustments at this moment. I believed it slightly improved the image off course I could also manipulate with blending month. I did actually all of them. So I don't want toe go with hue, saturation or car because I used all of the sliders here. But then I can go to the Blue Channel. I'm going to make another selection and also I am goingto apply hue saturation. In this case, I would like to go down with the lightness a little bit more. I can also increase the saturation a little bit and let's see on the huge. So now and the image got a little beat flattened and once it would be done, I would be ready to actually increase some contrast. So for the contrast once again I could probably take selection from this hue, saturation red channel, and then go to curves This image good, dark and I would increase the lights here. And it really give me nice and crispy Look, and all of this I did just by using RGB channels. So, as you can see, days gives you really a lot of important. It is. And you need to know how to work with this from the other things. Off course you can change the wrench off the mass. So, for example, this is the mosque from the Channel Blue. If you want to change the wrench, makes election Commander control heat on this command option shift or control out shift. And then I am going to heat on this mask, the righteous smaller. And then we could open this. And as you can see, you can adjust their wrench to your own need. And then you apply the effect from unjust mental years on Lee to the areas which are defined by your layer masks 27. Color Grade Images Using Masks: masks are really powerful when it comes to the color grading. That's why, in this lesson we are going to do some soft color grading on this portrait image, and then we're going to move into this image and do some more very selective color grading . So when it comes today image like this, you want tohave selection for the shadows and highlights just as you had before. So for this you can always go the same way us you're going before. So whether you will choose color, balance, hue, saturation curves or anything for all of them, you can later on choose some masks. So, for example, I would go with curves and we can do everything on this image with curves. Then I will goto image, apply image and first I would like to do some shadows. So okay, and I believe the shadows will be quite well selected. Then I'm going to open my curve adjustment layer and just see what suits for this image. I think we should go with their warm tones for the shadows and then maybe true, something a little bit cooler that works really well with this colors. So I money in just a little beat off yellow and a little beat off red color and I switch blending mode to color. Let's have a look and if you don't want toe affect saturation, you will switch to the hue. So then, as you can see, you're only manipulate with the hue and what can I see? I think this got a little bit cool air, so maybe a little bit more red, and I think it will give us a nice balance also over here on the water. And once you are happy with this result, we can create another curve adjustment layer or another layer that you want to use for your color grading and then go to image apply image. And this time we're going to create the mask for the highlights. Suffer the highlights in this case. I will go with Blue and I want to go up with this curve adjustment layer to apply a little bit off the blue color for the highlights. And then I will go to reds and also a little bit off Sion. Not too much, because it will cool down the image toe too big of an extent. If you want to be a little bit off precise where it has to affect your image. You can, for example, create a stop on the curve adjustment layer on the middle and then dragged down on Lee the areas which you want to make sure will be affected. Then we can see if applying some magenta maybe toe highlights is having any sense. So before, after we can put them to the group control or command G. I just need to make sure that I'm changing this into the hue here before him. After very small color change, nothing really too crazy just showing you the option, what you can do with the image. And you can't really forget that you have much more off the adjustment layer. So the fact that I'm showing you now on the curves doesn't mean you cannot use hue saturation. You cannot use color balance, which is actually my favorite when it comes to the color grading. And now I'm going toe other image, and this time I'm going to do something a little bit more selective. So we're going to work with the hue saturation first, and with this hue saturation, I want to increase some saturation on the sky on this blue area off the Skype. So for days I'm going to use select color wrench, and I want to choose the color that exists on the sky. So first of all, we can check if the science or blues exists somewhere there. But as you can see, it doesn't really exist to the extent that it would make us satisfied. That's why I am going to choose the sampled colors and with the sampled colors. I tried to heat on the top and make some nice selection here. So once it's done, I am going to increase the saturation on this layer. Have a look. I think it looks already really good. Maybe a little beat too much it waas So the saturation is extended here, and then I am going to create another adjustment layer. In this time it could be curve adjustment layer, and then I'm going once again select color rent, and this time I will choose shadows because many I want to work on this area here. Once it's done, I'm going to hit Okay, of course. Remember on just the fuzziness and then with the curve adjustment tire I want to change the outcome a little beat. So I'm actually going to add a little bit off yellow and a little beat off red to this because I believe this image will look much better with this colors off course. Once again, if you don't want to affect the luminosity values, I will change the color in this case and before also, I'm going to change this to the color. So I'm going to put this to to the group perceived this two layers control or command G, and this is before, and this is after I truly believe, really improve the colors. But what's most important, you know how to work selectively with the colors, whether it will be selection for the shadows and highlights or selection for the specific color, just to make sure that you get the colors you really want. 28. Selecting Objects and Using Masks for Changing Lights & Colors: as the last less son. I want to take this image as the example, because when it comes to some sort of design, often you have to work with certain element, and I want to show you how easily create a mask and change the color off the object to any color you want. So what I'm going to do, I'm going to make the selection off the object and the area I want to be selected, So I want to select the black case off the phone. I'm going to keep it natural where there is the camera. So to do this, using quick selection toe plus and making the selection, then I want to change a little bit off the light values which will help me to change the color a little bit more later. Because when the color is black, it might be a little bit difficult to change the color. So I am going toe Goto curves in curves. As you can see, I already have the selection done in curves. I'm going to increase the curve for the shadow slightly darker because still I want to get some contrast and then I'm going to manipulate with the color in case I want to change the color later. But we were talking about this, that we will want to change the color. That's why I want to manipulate with this a little bit now. So let's apply some random color, maybe something blue. And once I am on this stage, what I want to do, I want to make correction off the element that are not right. So I'm choosing black color of the brush and this area here. Off course. I want to make sure that it will be a little bit better. So with the black color, I tried to cover this blue color and a little bit your and then, if you want, for example, this apple to be color black also can paint on this and bring back the black color. So I am going to paint around. And of course I'm painting on this mask. So I'm bringing this back the original color that there waas here in the middle. I don't have to be so careful with it. And also this early from the top. Then I am going toe. Make the selection So command or control heat on this toe. Copy this again. And then I am going to hue saturation. So for Hue saturation, I have the same mask right now what I am going to do, I am going to define the color that exists here using this hand. So somewhere here I have the color we can treat the plus toe, extend the wrench as well as you can see. And then we can off course manipulate with the color. So it was recognized as the blues. So if I'm going to change the hue, as you can see, I can change the hue right now. Toe any color I want or at least toe most off the colors I would like, for example, I'm going to choose red. I can also increase the saturation a little bit. And at the end, I can also manipulate with the lightness off it. And this is, I believe, the easiest way to change the color off the object in photo shop. Even if your object is black color