Photoshop for iPad: Creating Stunning Images | Amelie Satzger | Skillshare

Photoshop for iPad: Creating Stunning Images

Amelie Satzger, Photo Artist / Art Director

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38 Lessons (2h 17m) View My Notes
    • 1. Introduction

      1:38
    • 2. Supplies

      1:19
    • 3. Downloading the App

      0:32
    • 4. Getting Started

      4:16
    • 5. Class Project: Exercise Files

      0:42
    • 6. Shortcuts: Touch

      1:48
    • 7. Shortcuts: Gesture

      1:43
    • 8. Shortcuts: Keystrokes

      1:28
    • 9. Tools: Move & Transform

      3:09
    • 10. Tools: Selecting

      3:31
    • 11. Tools: Brush & Eraser

      2:43
    • 12. Tools: Bucket & Gradient

      1:37
    • 13. Tools: Healing Brush & Stemp

      3:00
    • 14. Tools: Crop & Text

      2:11
    • 15. Layers: Basics

      4:34
    • 16. Layers: Masks

      2:50
    • 17. Layers: Clipping

      1:57
    • 18. Blending Modes

      4:42
    • 19. Adjustments: Basics

      3:15
    • 20. Adjustment: Light

      3:04
    • 21. Adjustments: Color

      4:41
    • 22. Exercise: Changing Colors

      7:14
    • 23. Exercise: Cleaning image

      5:50
    • 24. Exercise: Skin Retouching

      8:26
    • 25. Exercise: Blending Modes

      5:19
    • 26. Exercise: Final Touches

      6:51
    • 27. Intro to Hands-On Steps

      0:23
    • 28. Hands-On: Step 1

      4:12
    • 29. Hands-On: Step 2

      7:23
    • 30. Hands-On: Step 3

      5:06
    • 31. Hands-On: Step 4

      3:57
    • 32. Hands-On: Step 5

      9:43
    • 33. Hands-On: Step 6

      6:25
    • 34. Intro to Tips & Tricks

      0:26
    • 35. Tips & Tricks: Website

      2:23
    • 36. Tips & Tricks: Reaching Clients

      3:15
    • 37. Tips & Tricks: Galleries

      2:59
    • 38. Tips & Tricks: Stay Connected!

      2:56
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About This Class

You can download the exercise files HERE

Have you ever wanted to edit photos and create stunning images? Or wondered what it would be like to sit on a train or plane and work on the go? Now you can with Photoshop on the iPad!   

Starting in November 2019, Photoshop has officially come to the iPad. Join me in this comprehensive guide that teaches you every little detail you need to get started. I've broken down the class into a few different sections:

Section 1: Getting Started with Photoshop on the iPad

At first we will learn all the basics, such as how to work with the shortcuts that are available, which tools we have and for what they are for, what layers, masks and adjustment layers are, and how to work with different blending modes. Here are some of the basics you will learn:

  • Working faster with the Touch Shortcuts, Gesture Shortcuts and Keyboard Shortcuts

  • How to Move and Transform your layers

  • Using Brushes and Eraser

  • How and when to use the Bucket and Gradient Tool

  • Cleaning your image with the Healing Brush and Stemp Tool

  • How to write text inside your image

  • Clever ways to structure your layers

  • Working with Blending modes for image manipulation

  • What Adjustment layers are and how to use them

Section 2: Editing Photos to Create Stunning Images

After you learned all the basics we will jump into some hands-on exercises, where we will edit some of my personal work together and I will show you step by step some of my best tips and tricks for:

  • Changing colors in my images

  • Cleaning my images from dirt and unintended elements

  • Techniques I use to retouch skin

  • Using the blending modes in a real composition

  • Structure my layers in my PSD files

  • Final touches I have to finish the editing

  • How to create a stunning photo manipulation in Photoshop on the iPad

Section 3: Promoting Your Work

I will explain how I created my website, which websites I used and which one I use now. I will also let you know which social platforms, in my opinion, are the best to connect with clients and how I was able to get my work into gallery exhibitions in New York and Paris.

So whether you are just starting off with Photoshop or you already have some experience but want to be more mobile with the iPad, this course will give you everything you need to create stunning photo manipulations with Photoshop on the iPad and become a successful image retoucher.

Take this course today to bring your own imaginations to life with Photoshop on the iPad.

Transcripts

1. Introduction: Being flexible where you work is becoming more and more important nowadays. Having your favorite program as an app is a big step in the right direction. Hello, my name is Amelie Satzger. I'm a photo artists and retoucher from Munich, and today I'm going to teach you how to work with Photoshop on the iPad. As an artist, I create colorful digital art, which has been exhibited in multiple galleries all around the world. Last year, I've been chosen to be one of the Adobe Creative Resident, so I was able to work closely together with the developers of Photoshop on the iPad. I'm really happy to share my knowledge with you in this course. We will go through everything, starting from the basics such as what tools do and how to use them, what layers, masks, and adjustments are, and how to work with shortcuts. I will show you some practical techniques such as how to change colors in your images, how to select items, how to clean skin or your image, and most importantly, how to structure your PST file and the layers within. Also, I will give you a super intimate insight into my workflow as I will add one whole photo I created from the start to the end together with you, showing you step-by-step how I edited and provide you some useful tricks you can use for editing your photos on the Photoshop on the iPad. As a bonus material, I give you information of how to promote your work best and how to get it seen by big magazines and clients. If you're a beginner or professional, this class is something new for everyone and I'm really happy to share my knowledge, so I hope to see you inside. 2. Supplies: What do you need for this course? Of course, you need an iPad where Photoshop works on and it's any iPad with IOS 13.1 or later. Also, I would suggest anybody to get a pencil for your iPad, I have the Apple Pencil, but I know it's pretty pricey, and I know there are a couple of cheaper options on Amazon. It starts, I think, from around 20 bucks. I would really suggest you to get one because it really helps your workflow. If you don't want to spend the money right now, you can just follow along with your fingers, and if you feel comfortable after a while using the program, you can still get a pencil. Also, you will need a subscription for Photoshop and there are different plants you can choose from. I would suggest either to get to the Photography Plan which includes Lightroom and Photoshop and it's 9.99 per month, or you can get the Students and Teacher whole Creative Cloud Plan, which is really cool because you can use all programs from Adobe, and it's 19.99 per month. If that is still too expensive for you, you can just try it out, you have a seven day trial, so you have to sign in, but you can try it for free for seven days. Let's see how to download the app. 3. Downloading the App: So how do you download the app? To download Photoshop, you have to go to the App Store, type in Photoshop. It will be the first result coming up at your screen.You download and open it.And there will be a screen where your asked to sign in.You type in sign-in with Adobe, type into Adobe email address you use for your subscription and your password and you will be inside the app. 4. Getting Started: When you download the app and sign in, the first thing you see is the start screen. It's pretty similar to the desktop version, but I'm going to explain it really briefly to you anyways. At home you see all the recent pro checks you worked on this iPad with Photoshop on the iPad. You've probably seen nothing yet, if you haven't worked with Photoshop on the iPad. I have a couple of files I worked on before. On Learn, you have a couple of tutorials which help you a little bit to understand the app better, but we're going to go through every single detail anyways now, so you don't really need it. At Cloud Documents you see all your Cloud documents in Adobe Creative Cloud. This really useful because can work from different devices for with the same files, and it will synchronize anyways, which is really helpful if you work with from the desktop and from the iPad and have the same file where you can work on. In Deleted you see all the files you deleted of course. If you go back to your home screen, you can see that there is important open and you can either open an image from a camera roll from files, or take a brand new photo with your camera. Down here, it's exactly the same buttons, so you can do exactly the same down here. If you type on "Create New", you can create a whole new document and you can change the sizes in whichever you want to. I hardly ever do that to be honest because I added photos. But if you would like to paint something, you can just create one brand new document. In the upper-right corner you see Settings and there are a couple of settings which could be important for us. First of all, you can, of course, change your color theme from light to dark and dark to light. I personally prefer dark because it's on a desktop like that and I'm just used to it. But if you prefer light, you can also switch into light, which is really important for us here in the input because there are some settings you can change. There's a Touch Indicator, Touch shortcut, stylus double-tap and stylus only painting. I'm just quickly explaining to you what that means. Touch Indicator means that you can see now with this blue little dot where I'm putting my pencil along, which is really useful for us right now, but you don't really need it. So I turned it on, you can turn it off if you like to. Touch Shortcut means that there's this little shortcut. It's a little circle on your document, which is really helpful. I'm going to explain it to you in the next lecture. But I would highly recommend you to turn it on. Stylus Double Tap is only useful for people who have a pencil which works with that. It's any Apple Pencil of the generation 2 have the generation 1. So it doesn't work for me. I don't really mind, I just turn it on. But if you have an Apple Pencil generation 2, you can personalize the settings of the pencil because you can change with the pencil between different tools. To customize size, you go into your iPad settings and down on your paints LAN, you can customize all the settings you want to have. Stylus only met painting means that it only realizes when the pen is painting something, not if your finger, which is useful if you just accidentally get something painted on your image with your fingers while you are actually painting with the pencil. I just switch a lot between my pen and my fingers so I don't turn it on. But if you find it annoying that your finger does something on your image which you doesn't really want to, you can turn that on and it will only realize your pen. So that was the settings you have to know about. Now we're going to discuss how to access the exercise files. 5. Class Project: Exercise Files: You can follow right along with me. I created a folder with all the exercise files we need for this course. To access it, you need to click on a link attached to this lecture. If you click on a link, a Google Drive folder will open and you can either download all of the exercise files or you can download each folder if you just want to learn about tools or layers. I'm now going to download all of them. As soon as it's downloaded, it will automatically load in your Files folder of your iPad. From there on you can access it over your iPad and Photoshop. 6. Shortcuts: Touch: First of all, I'm going to explain to you the Touch Shortcut. The Touch Shortcut is nothing more or less than this little round thing and you can just strike it around wherever it's comfortable for you, but I'm going to leave it down here in the left corner because I always going to need it with my left hand side. Basically what it does is changing the function of the tool you're using depending on which tool you are using. I'm going to show you what that means. For example, if you're going to brush in your image with your brush and then you put your finger on the still Touch Shortcut, it changes the function of your tool to erase. Now you can erase what you just painted, which is super useful. If you let go, you can paint again. This was option one of the Touch Shortcut. There is a second option which is activated if you drag your finger in the border of the circle. Then you have to Eyedropper function, which means that you can select any color in this image and if you let go, you can paint with this color. It's super useful and it's changing whenever you are changing the tool. Every tool has another function at the Touch Shortcut. For example, if you select something and you now think maybe that's too much selected, you can point into this Touch Shortcut and assess subtract from selection. Now you do your subtracts selection and you see it's subtracted from the selection you did before. It's super useful, and as I said, it's changing with every tool and I'm going to explain the Touch Shortcuts functions with the tools in the next lecture. 7. Shortcuts: Gesture: The gesture shortcuts are not as complex as the touch shortcuts, but still really useful. Let me show you. For example, if you want to paint in something like this, and you think it's not really good so you want to undo it, you can type in with two fingers and it just does undo for you. If you want to redo it again, you can type in with three fingers and it does redo again. So two fingers undo, three fingers redo. Super practical. If you stay longer with one finger on a tool, it shows you the different options of the tool. For example, at the brush, you can see different kinds of brushes. If you stay a little longer on the selection tool, it shows you different kinds of selection, like the quick selection, et cetera. Also, you can drag around this function bar with your finger, which is helpful sometimes as well. I just leave it down here. I like it if it stick to a bar. One thing that's really practical for me as well is if you type double finger, two times with one finger, it just does 100 percent, so it shows the image in 100 percent. You can also zoom in with two fingers if you drag them out of each other and towards each other so it zooms in and out. I think everybody knows that. If you want to review all the gestures, you can use, again, you can go on this little question mark, say view gestures and then you see all the gestures. Let's see what you can do with your keyboard. 8. Shortcuts: Keystrokes: If you already work with Photoshop on a desktop, you probably pretty much used to the keyboard shortcuts and to be really honest, I was to and was a bakery orientation for me to change this habit. But I'm really happy that I did because the reason I'm using the iPad is because I want to be flexible. I want to use it in a train or in a plane and stuff like that. It would just not work with a keyboard for me. But if you still want to use a keyboard with your iPad, you can see all the keyboard functions over here like a question mark and a keyboard shortcuts. They're pretty much the same as at the desktop, so I'm just quickly going to go through all of them, V is move, N is transform, L lasso, W is quick selection and so on. So B is brush, that's what I'm using most. You can still use a keyboard. I'm really happy that I didn't because it helped me speed up at iPad as well. You can see that all of them here and also I attached a PDF with all the shortcuts, like with all the touch shortcuts with older gesture shortcuts and all the keyboard shortcuts. You can look them up, you can also always look them up in the app and now I'm going to explain the tools to you. 9. Tools: Move & Transform: Let us have a quick look at all the tools Photoshop has to offer. To do so we open the first exercise file. We go on Import and Open on Files and download of our iCloud Drive or folder on files and then on tools. I see the first exercise file. At the left-hand side of the interface, you see the toolbar The first tool of the tool bar is the Move tool. Basically, what it does, it moves the layer around which you selected. Right now, I select the whale layer so I can make the whale swim.The same thing happens when I select the birds layer, so I can move around the birds and the same with the background layer. What happens if I use the touch shortcut with the Move tool? If I use option one of the touch short-cut, you are only able to move the layer you selected either horizontally or vertically or diagonal, but you can't move it randomly anymore. Also, if you use option two of the Touch shortcut, it says duplicate, so it duplicates the layer, which is super cool and really helpful very often. Just keep that in mind: option one only allows you to move it horizontally, vertically or diagonal and option two duplicates the layer you selected. The next tool in the toolbar is the Transform tool. You'll see there are different options if I click on the Transform tool, so you can either scale, distort, escape perspectively or skew whatever you selected. Right now I selected a second whale and if I scale it, you'll see I make it bigger or smaller. If I select the second option, I can distort it. If I select the third option, I can just move around every corner, so you skew it. That is super helpful. The third option is that you change it perspectively, so you can make it look far away or come closer, etc. You change the perspective of the whale actually. Also, you see that the little Touch short-cut tool is only visible at the scale option. You can only use it with the scale option. Basically, what it does is to allow you to change it or to scale the layout without aspect ratio. If you let go off the touch shortcut, you see it is fixed. If you click on it, you can just move it however you want to. This was the Transform tool and the next one will be to Selecting tool. It is one of the most important tools, so let us dive in. 10. Tools: Selecting: The third tool in Toolbar is a selecting tool. There are different ways how to select something and I'm going to show you all of them right now. But first of all, that you are not confused. I just merged all the layers down into one layer because therefore, I can show you the selecting tools a little better. If you stay a little longer on the selecting tool, you see all the different selecting tools you have in Photoshop on the iPad and the first one is called vessel. Basically what it does is that you can select something, with your palm or with your finger freehand, any item in the image. Right now I select this is little bird. It's sometimes very useful, but a tool I use more often or I like better, is the second tool which is called the quick selection tool, and I'm going to demonstrate what it does at the Whale down here. You just paint inside the object you want to have selected and it just automatically finds the borders. More abrogated contrasts is highest, so it finds the borders much quicker. If there's a high contrast between your object and the background. Now it's quite difficult with the Whale because the sea has a pretty similar color than the Whale, but it still does a pretty decent shop. You can click here to deselect areas again. But what is much quicker is to use again the touch shortcut. If you click in the middle of the touch shortcut, it says subtract from the selection. It does exactly the same as this one. It just subtract areas. Maybe if you don't want to have like this fin, you can subtract that again and select a diagram like this. There are two other selection options. One is the rectangles. If you want to select any rectangle area and your image and the ellipse tool. If you want to select an ellipse area and new image, and if you use this touch shortcut with these ones, it just goes into a circle and with a rectangle the same thing, it goes into a square. There's one other option how to select something in your image, analysis, select subtract option. It's really new. It just came out brand new, I think in November 2019. If you click it, it just automatically find subjects in your image and select some. You should see things like the landscape over there sets up trick this Whale. But it made a really decent shop in selecting the Whale, for example, and also selected the bird pretty okay, it forgot to add, but it's a really small object around here, so it made a really decent job. If you have a really clear image where it has clear background and a clear subtract in your image, it's a really good thing to do. But if it doesn't select properly, you can still fix the selection wave the Quick Selection Tool or the lasso tool. 11. Tools: Brush & Eraser: The next tool at the tool bar is the brush tool, and it's pretty obvious, but what the brush tool does is paint inside of your image. I just selected green color and I can now paint inside my image with the green color. I can also switch the colors and now the blue color is the front color. Now I can paint inside my image with the blue color. You can also change your brush into different brushes if you just stay a little longer on this little brush icon. There are a lot of different brushes available and what is also really, really cool is that the touch shortcut works really well with the brush. If you use option one with the touch short cut, it erases your selection so you see I can erase now. The eraser has the same function as the brush, but just as eraser. If I choose option two, I can select any color in this image, move to eye-trapper, which is really cool. Then I can continue painting with the brush again with the color I selected. Down here, you can change the size of your brush if you want to have smaller or bigger and here you can select a transparency of your brush so you can make it quite transparent as you see here. You can just play around a little bit. I honestly don't use the brush often to paint inside my pictures, but I use it a lot for masking and if you don't know what masking is, right now, that's no problem at all. We're going to go through every little detail in the next section where I'm going to talk about layers. But just so you know, I use it for layers and for masking a lot. The next tool in the toolbar is the eraser and we talked about it right now. Anyway, so little bit. I'm not going to dig in much deeper, but I just wanted to show you if you stay a little longer, you'll see it has exactly the same eraser brushes as you have as normal brushes. You can erase in the same way as you paint, which is cool, has some cool effects. You can just try it out a little bit. You can also ask if you were painting with a brush, you can change the sizes of the eraser. You can change the transparency of the eraser and it's just pretty similar as a brush. But you erase but not paint. 12. Tools: Bucket & Gradient: The next tool is the bucket tool and the gradient tool. To explain it better to you, I'm just going to create a new layer by clicking on the plus over here. Then you see it pretty clearly what it does. So if I just tap in one time, it just fills the whole area with the color I selected. So it always shows a color which is in the front. Now, it's just pink. That's what bucket tool does. So it just fills the whole area. I usually use it with the masks, but I'm going to explain it really clearly to you in the next section anyway, so don't worry about that, but I just use a bucket tool for mask to be honest. Then to add a one, if you just stay a little longer on the bucket tool, you see that there's not a tool available, and that's the gradient tool. The gradient tool creates a gradient from the color in the front to the color in the back. So if I maybe changed the back or the background color into a greenish tone, and the foreground color into maybe blue. The you can see there's a gradient from blue to green. The touch shortcut has no function at these tools. As you see, there's something coming up and it doesn't change anything. These two tools are quite useful sometimes. 13. Tools: Healing Brush & Stemp: The next tools at the Tool Bar are the most important ones for cleaning your image. It's the healing brush and the stamp tool. Let's look at the healing brush. It's the first one of these two. If I zoom in to the whale, you see that there are little dots, white dots, which can maybe imagine they're pimples or anything you want to have removed in your face. I just stay at these dots I want to have removed and let go and it just easily goes away, which is super helpful. It's like magic. Basically what it does, it searches through all the surroundings and sees what colors are in the surroundings and fills in the area with the areas around. But it's random so you can't really choose which areas it's selecting and which is not. Most of the time it's working really proper and really descend, but sometimes it's just not right, it doesn't look good. What I do when it doesn't look good is I use the stamp tool. What the stamp tool does, it just picks up any area you want to in this image. I just picked up this area and I just paint with this area in another one so I remove the dots I don't want to have of an area which doesn't have the dots. That's where actually the touch shortcut through really, really helps you. What the touch short cut does with this one is selecting the area you want to have selected. If you let go, you can paint with this area. You can work really quickly with the touch shortcut. Selecting and painting over, selecting painting over. You can also sometimes if it's too hard at the edges, you can change the transparency, you can change the brush, how hard or soft it should be, and how big the stamp tool should be. It's really fun also. You can use it to just, for example, duplicate something. If you want the whale to have two eyes, you can just stamp the second eyes in there. Just to give you an idea of what the tool does. Here the touch shortcut is really handy, with the stamp tool it does not [inaudible] to healing brush, it doesn't do anything. I use these two tools like half and half. I use both like 50 percent if I clean something in my image. If you want to know like how I clean my image, because I have some more techniques of how to clean my images. We have a whole lot of section about this later on. 14. Tools: Crop & Text: Last but not least, I'm going to show you to crop in a text tool. First of all the crop tool, of course crops your image so you can either do it free hand or if you want to keep the size, you can use the touch shortcut again. You go into the option one of you touch shortcut and it keeps the aspect ratio, which is really helpful for me at least and if you use option two of your touch shortcut, it's also really helpful because it just goes out of the middle. When you have something centered in your image and you want to keep it centered, you can crop it this way, which is super-helpful. We also have a text tool, of course because you can write something in your Photoshop files. For example; I can write down. Welcome to my Photoshop on iPad course and then you can, for example, say select all and then you can change to any font you want to. But you see there are a lot of fonts you can choose from and you can of course also change the font size. Can say if you want to have a bolt or regular etc, so there are a couple options. I don't write too much in my photos, so I hardly ever use this tool. But if you want to write something down, that's definitely a good tool to do so. I also wanted to show you this little [inaudible] so this is the import tool you can import any photos, pause etc Into your already existing PST file with that. Can again choose from a camera roll files, libraries all you can take a brand new image with your camera. These were the tool I hoped I helped you and I explain a little bit to you which you didn't know before and in the next section we're going to talk about layers. 15. Layers: Basics: Let's talk about layers. To do so, I would suggest to open the second exercise file. You go on "Import and open" on "Files", then on the "02_Layers" folder, and there you see the second exercise file. There are different ways to show the layers in your image or in your PSD file. First way is to click the icon on the top, and you see that you can see all the layers. I personally don't prefer this way of showing the layers because it doesn't show you really clearly where you have masks a layer. This is really important for my way to work with Photoshop and I think that is going to be important for you as well. I would highly recommend a second way of showing the layers, which is the second icon on the right hand side. You can see all the layers again. But you can also see the masks which is this little black and white thing which is clipped to this layer. What are layers? Layers are like sheets and they stuck onto each other. The layer at the top is the layer first visible in your image. All of the layers together create this image we see right now. You can see at this little icon, I can make this layer visible and invisible. You see the first layer are the riders, second are the clouds, the third is the foreground, the fourth is the background, and the sky is the furthest away, so it's the background of this image. That's actually how you should structure all of your PSD files, if you do any compositing or just any kind of Photoshop work where you need a couple of layers, you should always think about what is the furthest away. In this case, the sky is the furthest away. Then you have this mountain, skyline in the background, and you have to mountain in the foreground. Then as the main part of this image, you have the clouds with children on them, and they are in the foreground, so they are the first layer at the top. This is really important because else it's just going to be a whole mess. I know what I'm talking about, I had this mess before. That's how I structure all of my PSD files now. Always think about what is the furthest away, and what is the closest to me. There are a couple of layer properties. For example, you can change the opacity of your layer here, which is helpful. You have different blend modes, but I'm going to talk about it in a second, so I'm not going to talk about that now. You can, as I said, make a layer invisible and visible, which is helpful. You can also create a new layer with this plus button. You have a layer which is just transparent and you can't do anything with that right now. If you see this little checkerboard in the layer in here, that means that it's transparent. Here it's a little checkerboard in there as well. But you see that the little riders are in there as well. This layout includes only the little children but nothing around them. You can create a new layer. You can also use your touch shortcut with the layers, so you can select multiple layers if you click at the first option of touch shortcut. Then you can select a couple of layers and you can, for example, group them, if you type on this little folder here. You now have a group where there is the riders, clouds, and foreground in there. It's super helpful because it structures your PSD file if you have a lot of there's. You can also rename it. We may name group, you can say now "Foreground", or whatever you want to rename it. You can also rename separate layer. You can tap on these little three dots, say "Rename layer" and then you can rename that. That's basically how layer's work. Another important part of layers, are they a must? That's what I'm going to talk about next. 16. Layers: Masks: The next thing is that we talk about layer masks. Layer masks are super important if you want to do compositing in any way for your Photoshop files. If you want to select something or change something, it's really good to know what layer masks are capable to do. First of all, what are layer masks? Layer masks are these thing clipped to your layer, and I just clicked on this little icon, and layer mask was popping off. Right now, the whole layer mask is white, which means that everything in the layer is showing. If I now paint inside the layer mask with a black brush, you can erase something inside the layer because right now there other riders which are shown in the layer. You can also make your brush harder and softer. You can just basically cut the head of the dad child right now. Sorry about dad. You can bring it back when painting in with white again, with a white brush. You see, I'm bringing everything back now. This is super helpful because you can select something without having to worry that you just erase too much, etc. Because if you erase with the real eraser, it is gone and you can only redo it if you just did it, but if you just kept on doing stuff, you can't redo it anymore. It's deleted. But if you paint inside this layer mask, everything is still available as material but it's not showing inside your image. You can always redo it with painting in with a white brush and just take off stuff you don't want to be seen in the image while painting in with a black brush. Let's say for example, I don't want to have the first thing of the cloud inside my image. I selected a black brush. I went into this layer mask which you can also show by making a double tap on the layer mask. You can see here right now, the mountains are already selected with the layer mask as well. I now paint inside the layer mask of the clouds and erase them without erasing them basically. It just don't let it show in the image which is super cool. That's actually how layer mask work. Make it visible with a white brush, and make it invisible with a black brush. 17. Layers: Clipping: Another function I wanted to show you is called Clipped Layers. Clipped layers are super helpful to structure your PST file and the layers within, and to help you work much faster. Let me show you how it works. You just open a new layer in clicking on this little plus button. You'll see there's a layer one at the top, and then you go on the fourth icon down here. On this little clipped icon, and you can see now this little arrow pointing to your layer riders. That means that this layer one, whatever you do in that is only showing at the same area where riders is showing. If you, for example, paint in with a clean brush into the layer one, it's only showing where the riders layer's also showing. It doesn't show on the background. If I paint in here , nothing is coming up but if, for example, paint in this little man and this little horse thingy then it's showing green. If I unclip it, you see I painted everywhere. I painted randomly but if I clip it, it's only showing on the layer where it's clipped on. This is super helpful if you have for example, a jumper, you want to change a color. I use it so often. I used for a lot of things. For example also, if you have a background and then you want something only to show on the background, so you clip it on the background. There are a couple of options where you can use it and you should have it in mind that it's possible to clip a layer up on another one. 18. Blending Modes: The last really cool thing I wanted to show you are planing modes. If you already paid good attention before, you already saw that at clouds, the planing mode is differently than on the other layers. Because on the clouds it's green and on the other layers it's normal over here. If you go on normal at clouds, you see how the layout would have looked normally. You see it actually had a black background. What screen basically does is removing the black background and planning it really softly over into the background, so it really looks like the clouds are actually in the image. Screen as one of my favorite planning modes especially because of dysfunction, that you can plan clouds and bright objects really good into the background. There are two other planning modes I use really regularly. One is light. It's pretty similar as screen, a tiny bit different as you see, and it always depends what background you have and what you want plan over. You have to choose differently in every situation because sometimes not up planning mode works better, sometimes screen works good. Another one I really like is darken. So you see it just does the complete opposite of what lightening and screen does. So how do I use to planing modes? You see one option, how to use it right here with the clouds. I often have clouds on my images as well, so you can plan them over really easily. But where I actually use planning modes more often are if I have really like heavy, light and dark areas in the image and I just want to like make it all softer So I'm going to show you how I do it with this little chump or of this little guy. I know it's like a really small, so it's crazy, but I think you get the point anyways. So I'm going to create a new layer and I clip it on riotous again. For this extra layer, I set it into the dock and planned mode. So what I do now is I want this area like this, a little too bright area to be darker. So I select the dark color office jumper and use selected with the touch shortcut. I trapper so the option two. You can select any dark place of his jumper, and then you paint inside the layer with this dark column. Basically what it does, it sees if the color underneath to layer like if color in the right as there is brighter or darker than the color I just used for painting in. If it's brighter then the color I use, it's going to overlay. If it's s darker or it's not going to overlay. Pretty simple, but you just have to get it and use it a couple of times so you know how it's behaving. Get away round, it works through flighten. So if i may be see like this brighter part is actually what I really like, and the darker part is just too dark. I just want to lighten it up. Then I can go on lighten. I select the part I think, which is good from the color. Then I'm going to paint inside the jumper until the darker parts with this bright color, which is like far too heavy right now. But you can see over here like the light parts are not painted inside. I usually use the opacity to just soften it up a little. That's actually how you can change the color of jumpers when he really quickly, or soften like the image a little bit. I wouldn't do it too much because you can see it that you painted inside the image at some point. But if you like, use your eyes to realize when it's good and when it's too much. I think this is a super great tool. So my three favorite blending modes are lighten, darken and screen. 19. Adjustments: Basics: First of all, what are adjustment layers? Adjustment layers are layers that have some kind of effect on all the layers underneath the layer. Let's have a look. I'm still working on exercise file too and I click on the same press button and say, Adjustment Layer. There see all the different adjustment layers which are available in Photoshop on the iPad, I'm now clicking, for example, on use saturation. There I can change the colors and I can make it more saturated or less saturated, but I am just changing it like this for you to have a look, and you see it's on a top of all the layers right now. So it's applying this effect on all the layers. But if I'm moving it down, you see now it has only the effect on background, but not on the kids and not on the clouds of the kids. Now the foreground isn't affected, etc, now only the sky. That's actually how the adjustment layer is working. It's only working on the layers which are underneath it. What I am doing a lot, that's how I'm working most of the time, is painting inside the mask of an adjustment layer. So you see the adjustment layer has this little white thing over here, which is the mask of the adjustment layer and I'm now painting inside this mask with a black brush, for example. You see I can remove the effect of the adjustment layer in this part of the image. What I can also do is select maybe if I only want to have the sky in this way, one way would be to just put it down here and then, the effect would only be at the sky, which would be like the most simple way but sometimes that's on working. Sometimes you don't have all the layers separated like this. So what you could do is select the sky with the Quick Selection Tool, like I did right now. Maybe the selection was not really good. I'm now selecting the head of the charter. Then go and mask of the adjustment layer, you say invert because it was the wrong way around of the selection, because you don't want to have the effect on all the foreground, but you want to have to affect on the sky. So I'm now painting in my selection with black bucket tool, you see it. Now only the sky is selected and the adjustment layer is only working on the sky. Now you can actually change the color of the sky without affecting the foreground. This is how I'm working most of my time and that you have a better knowledge of what different types of adjustment layers we have. I'm going to explain all of them now. 20. Adjustment: Light: Let's look at the different types of adjustment layers we got here. To summarize it better for you guys and put them in two categories. The ones that changed the light in the image and the ones that change to colors in the image. First of all, we look at all the adjustments that changed the light inside the image. Let's go on a little plus button and say adjustment layer. The first one that changes the light inside the image is obviously brightness and contrast tool. You see you can change the brightness with just tool and contrast. You make the lighter part slider and the darker part stock or with the contrasts and he makes it more flat. Another tool that does almost exactly the same is the Exposure tool. You see it's over here. It's exposure and what it does basically, I think everybody who handles a camera knows what exposures is. It either over exposure or under exposures. You see the difference between the Brightness and Exposure tool is that Exposure is much more sensitive. If you go up the whole way, it just turns almost wide and if you go down all the way, it turns like black. You have to be really careful with the Exposure tool. You see here, it just puts more wide and the offside. I think everybody works with that as well. Last but not least, we have one other adjustment layer which helps us change the light inside the image, which is the Levels tool. I really liked this tool. You see it's also changing the curves if I put on these. The Levels tools actually doing exactly the same as contrast. But you can control it much better and you have an overview of what brightness and darkness areas you have in your image. You see the curves here, down here, that's the dark parts and over here that are the light parts on the image. You have a few light parts and you have a lot of middle tone and a couple of darker parts. But you see here, it's now only gray, so we don't need that because there are actually no dark parts in this area so you can't crush them. If I put it that way, it's getting more contrast you see, but it can be really controlled with all the tones. These are the middle tones and you can make the middle tones brighter or darker, or you can make the dark parts even darker, or the light parts even lighter. That's how Levels work. Now, let's have a look at all the adjustment layers that change colors. 21. Adjustments: Color: Let's have a look at all the adjustment layers which help us change the color inside our image. To do so, let's go on this little plus button and then on Adjustment Layer. The first tool that helps us change colors is black and white. What it does is pretty obvious. So it changes your image into black and white. But there is one more function which is super helpful and that is that you can change the color inside your image into lighter or darker. So everything that used to be red can be made darker or lighter and with every each color, you have like yellow, green, cyan, blue, and magenta. Therefore you can create really, really powerful crisp black and white images. If you are shooting a lot of black and white images or if you want to create a lot of black and white images, this is the tool to use. I do a lot of colorful images so I don't use it very often but I sometimes use it and I think it's really, really cool, really powerful. You can make the sky more dramatic, you can make it look really, really dramatic. Another tool that can make black and white images but I wouldn't suggest for doing black and white images, it's the Hue Saturation tool. You can turn off the Saturation here but you can see that there is no tool such as a [inaudible] tool where you can change all the red tones and all the other yellow tones, etc. so it's only making the image black and white. But there is something else where this tool is really useful and that's for changing colors. You can see I'm changing the colors here. That's one tool I use a lot if I change colors with Photoshop on the iPad. I'm only using it as I showed you before with selecting areas inside my image. Then only changing the selected areas, not all of my image because elves is going to look like that and that's not my style. I just select different areas, if I maybe want to have another skin tone or I want to have another jumper like color of the jumper or other hair color, or if you want to change your eye color, that's a tool to use. Another cool tool where you can change the color is Color Balance. As hue and saturation, you can change the colors over here. It's CMY so cyan, magenta, yellow; or RGB like red, green, blue. If you have some color space knowledge, you know that red is a complimentary color of cyan so you either put more red in or more cyan. The same goes with green and magenta and with blue and yellow. Actually, with this tool, you can change every color. You just have to have a little knowledge of how colors are working. If you have a yellow jumper and if you want to change it into pink or something, you have to take the yellow out and put more blue and more red inside that. That's where really color knowledge helps you a lot. That's the other tool I'm using a lot for changing colors. There's one more and that is White Prints. You see White Prints is pretty similar to Saturation. Saturation is just underneath. But if I do it like that, you can already see some difference. What is the difference between White Prints and Saturation? White Prints realizes which colors in the image are already saturated and which ones aren't that much. It only saturated first the colors which are not that saturated yet and in the end it just continues saturating all. But in this sod, it's just saturates the colors which are not saturated yet. That's helps a lot to give the image are not over saturated look. So that's why I'm using White Prints more because it looks more natural but you just have to see what works for your image. These are the last two tools for adjustment layers. Now we're going to continue with some hands-on exercises. I'm going to show you how I clean skin in my images, how I changed colors, how I select Items, etc. Let's do it. 22. Exercise: Changing Colors: So first of all, let's open the exercise file. Go and import and open on files. Then you go on clean and retouch and there we have the image. So, we're going to click on original and it's going to load in. This is the original image I shot. Who maybe doesn't know it, I'm creating a lot of south portrays who haven't checked out my images yet. This is basically me standing in front of a green wall with two really cheap soft boxes and I had a glass table where this cup of coffee while standing on, just to let you know how I shot this image and now we're going to reattach it. In the end, it should look like this image and I'm going to show you step-by-step how to do that now. First of all, we're going to learn how to select and change colors. You saw that the final image had a yellow background so I'm going to show you how to do that now. We're going to go on the selection tools and say, select subject. It really finds it pretty well, I would say, because it has a huge contrast between background and foreground, but not too well because there is still something missing at this head so, I'm going to adjust that with the selection tool. You saw I just had the wrong way round, so it should add it, not subtract it. I'm just going to add my hair here. Down there, everything's good. Then I create a new group and I say inward, because I want to have the background selected and not the face and the cup and I go on mask. Now you see here that I have pretty well selected only the background and not my face or the cup. Now I have a group and what am I going to do with this group? I'm going to put in two new layers. I'm going to select a green color from my background and I'm going to fill these layers with the bucket tool in the screen so both layers in the same color. Now I'm going to go on my Layer Properties and I say on one layer I want to darken it and then one layer I want to lighten it. Then I can adjust it a little with the opacity. I'm going to lower the opacity a little. There's still some change of the light in the background. But I want to have a pretty much flat and so that's what I'm going to do. What is really helpful to set a mask is now on the group and not on my layers because then, I have only to change the mask in the group and every layer is changing with it. That's how I usually do it and it's super practical. Now I have a pretty good and flat background. What I'm going to do now, is I'm going to add an adjustment layer in this group. I say add adjustment layer and then I'm going to say color balance, I think that's the best. Now I'm going to look how the colors changing when I'm just switching the slides. I see it's getting more orange in this direction and it's going to go more yellowish in this direction. I'm just going to see how it works, like how does it fit together. It's already yellow now, which is good. You can see that over here and the hair, is not really well. So, I'm going to do that after that, after I changed the color. I'm not a 100 percent happy with this yellow tone because it's just like a little washed out so I'm going to create one more adjustment layer and say again color balance. You can see it adds upon my first color balance and now I can really get this yellow tone I have in my final image. The sun, yellow color is what I wanted and it's only possible if I add two color balance adjustment layers because one doesn't do the whole work you can see. So, what am I going to do now? You can see it's not really perfect over here. So, I'm going to paint inside my mask of the group with my brush and lower opacity, maybe not as big as the brush. I'm going to adjust that and then I'm just going to paint inside that. You have to be really careful. You don't want to get rid of the hair, but you still have to get rid of the green so that's how I actually manage to do it most of the time. Just a little detail work and you can see over here as well. You just have to be careful maybe, you also have to harden your brush because the edges are quite hard and make the pressure a little smaller. You don't have like this green borders for my face. Then here it didn't really work well as well. That's how you do it. That's how I most of the time change my background. I first of all, flatten the background with dark enlightened blending modes and after that, I change the color with my adjustment layers and the color I wanted to have it. I wouldn't say that everybody does it like that. It's just the way I used to do it and it's working pretty well for my images. But sometimes maybe if there's more detailed items in front which shouldn't be changed, it's not the best way to do it, but usually it works well. Now we'll change the color of the background and in the next step I'm going to show you how I clean skin and how I cleaned the cup, etc. 23. Exercise: Cleaning image: You can already see a little how I structure my PST files, because it's super important for my work to have it structured, because else, I'm just going to get all confused about all the little layers I have in my PST files. So now I have a group and my background there and this group I usually also call Background. So it changes the background. That's basically what it says for me. Then I'm going to create a new group, and that's the group where I'm going to clean, first of all, the basics. So I'm going to create a new layer and I'm going to go on my Healing Brush. With the Healing Brush, I'm going to clean all the basics right now. So I, for example, don't like the hair over here. So I'm going to paint with my Healing Brush over this hair and it's going to be removed with the Healing Brush. The problem about the Healing Brush is that the Healing Brush just really smoothen the area. But sometimes especially at skin, if you want to have this structure of skin, still, then it's going to look a little unnatural if you always use the Healing Brush for every little detail. So I'm basically just going to use it for hair or maybe a pimple, I'm going to remove it with the Healing Brush. Also this little scar I have over here, I'm going to remove with the Healing Brush. Maybe here, this little red dots, I can remove a little. But I'm not going to do it too much because the most of my skin, I'm going to re-touch with a technique which is called Dodge and Burn. I'm going to show you how it works in a second. So you see my skin doesn't really look that nice. I have this huge line underneath my nose, and I'm going to show you how I'm going to re-touch it after I just make the basics with the Healing Brush. For example, I don't like the reflections over here. So what I'm going to do is, I'm going to try to do it with the Healing Brush as well. So let's see. Works well. Just going to make it a little smaller. Sometimes you have to go over it a couple times so that it works. I don't like if you consider reflections too much, it's just my personal feeling about this. Also, this coffee cup doesn't look really tasty. So what I'm going to do is, I'm going to remove all these little dark things at the edge. I just created a new layer. You can try to do it with the Healing Brush, but I know that's not going to work pretty well. So what I actually wanted to do with this one is that I'll go on the Stamping tool and I'll select some area here and I'll then just paint it until the edge of my coffee. You have to select again and again some areas at the edge where it still looks good. That's how it's working. I think better than with the Healing Brush. So that's how I clean my coffee. That wasn't too good. Sometimes if there are hot arches, I still come in with the healing brush and try to get it a lot smaller. Then I paint inside that with the Healing Brush and just smoothen the edges a little. Because sometimes if you use the Stamping tool, it doesn't blend in super well, so sometimes you have to combine it with the Healing Brush. The good thing about that is, now I also can go inside this layer with my mask and just get the edges right, so it looks really, really good. One thing you have to take care of if you use the Stamping tool is that you have to see if the Stamping tool says, Current and below, because it has to pick up everything which is on the current layer and all the layers below. It doesn't make sense to make just the current layer, or most of the time it doesn't make sense. It almost never makes sense to make it with all layers because you usually have all these other steps like creating a look at the top, etc, so you don't want to select all layers. So be careful that you selected Current and below. So now I cleaned a little bit cup, and now I'm going to show you how I actually clean the whole skin. 24. Exercise: Skin Retouching: Now I'm going to retouch my skin. The skin is not looking really smooth. I just told you that it's done with a technique I call, or it's called dodge and burn. I'm just going to show you how it works. I'm now going to create a new group. In this group, I'm going to put two adjustment layers in. One is brightness and contrast and I'm going to put up the brightness a little bit and lower the contrast. The second one is brightness and contrast again. But this time, we lower the brightness and higher the contrast. Basically, what we do is we're going to go into the mass of the adjustment layers and just fill them with the bucket tool, all black. Now it looks exactly the same as before, but now we're going to go into this mask of adjustment layers and paint inside a mask with a brush by both the brush tool and it's put on white. In this way we're going to make it bright top heights darker which shouldn't be that bright and the darker parts like this line here at this nose and lower so it just looks really smooth. I'm going to show you how it works. I have selected a brush and I'm going to make it really small like this. I also lower the opacity and make it all smooth edges. I also going to name my adjustment layer so I know what it is. But this one is bright and this one is dark. Then I'm going to go in and I see this line here and just paint in with the wide brush inside this darker parts of the image and lighten them up. You don't see it right away. What are changes, how it changes. But you're going to see it when you click on this. Do you see on the little eye of the whole group? You see how it's changing and it's really important to check it from time to time because sometimes you change too much and then you have to go back. You paint in with the black brush again and just redo what you've done before, at some parts may be. Always check what you've done. That's how it's actually done and it seems really complicated or pretty confusing at the beginning. But if you get more and more used to it, you can do it within like 5-10 minutes. That's what I usually do it. Most of the really high-end skin retouching the standards way because this way you don't hurt the structure of the skin so it looks natural but still really smooth. Yeah. I'm just going to do it now, and you can see how I'm working. I just speed up this video a little bit so you don't get bored. But that's basically how it's done. One thing I would recommend is that don't go too far in because it always has to be like a hundred percent it should look smooth, but you don't have to go inside like this and just do every little thing because you don't see it anyways later on. Just make sure you are at a distance. Maybe this, and then you'll start painting. Sometimes I'm also like doing more than just one bright and one dark adjustment layer. I just create like two or three because then I can separate it a little bit and I don't have everything on one layer because if I have to reverse it, it's just a mess, if I have it pretty smooth, but there's one little dot which is too dark and then I go in and then everything is white again. Just make sure you can maybe separate it in two or three bright adjustment layers and two or three dark adjustment layers. I'm now creating a new adjustment layer. I'm just going to do exactly the same thing again. I'm just doing it a little brighter and contrast a little lower. I'm going to go in with the bucket tool, which is painted black. That's my second bright adjustment layer. I can separate it and I'm doing exactly the same thing again with two dark layer. I'm going to create a new one, make it a little darker, and make the contrast a little higher. Then I'm just going in like this. I just want to make sure that I don't have everything on one layer. Now you can already see a huge difference between before and after. I made a couple of little mistakes you see over here. I'm just going to fix them. Then I'm going to show you what else I'm going to do. You can see now the skin is really clean. There's a third step I do for skin retouching. The first one was to just clean the really, really basic things like hair or pimples are scars or something with the healing brush sometimes also the stem tool depends on what item it is or how easy it is to remove. Second of all, I do dodge and burn and clean the whole skin. The third thing we're going to do, right now, is to adjust the skin color and maybe also the tone of your lips, maybe the tone of your eyes. Usually if I have eyes, I bright them up a little bit so the wide is really, nicely wide and not gray. I'm going to show you now what I'm going to do. 25. Exercise: Blending Modes: So before we put the steam inside the image, I'm going to name the groups. So I really know what is going on in all of the groups. So this one is for example, clean. This one is touch and burn, and this one is skin color. Then we have another group which is called steam, or just name it may be coffee and in this layer we're going to make the coffee more dark because I think it looks really too bright for the whole image. A good coffee usually is darker and then we put steam on it. So first of all, we start with the steam and therefore we go on this little sign which helps us to import new stuff. We go on files, and I prepared this Adobe stock photo for you already in the folder clean and retouch. We're going to open it and we can transform it in whatever size we want to. So you can choose from whatever steam you would like to have best inside the image. I think I don't really care to be honest. I just really think this one looks best. So I'm just going to transform it and just put it almost on the cup. I can change it like in a couple seconds anyways, so I'm just going to put it somewhere where it may be fits and best, and then, of course I'm going to put this layer inside my coffee group and choose as a blending mode for this layer. I choose screen. Here, it's screen, and you can see already what happens, it's just blending over, so it already looks pretty good. Of course they are like the other steams right now which we have to remove. So what we do again, we create a mask for this layer and we're going to go in this mask again off the bucket tool, just paint it black. So we're just going to paint over our coffee cup with the full opacity and maybe a little bigger brush. So just a steam above our coffee cup comes back. What I would suggest is just maybe paint in really softly underneath here, just a blended over better and also I make the opacity much lower for this one because, it looks more natural. It just doesn't look natural if it's too bright the steam. So now we have seen our image, and now one other thing I wanted to do is to change the color of the coffee. So I'm just going to create a new adjustment layer, you have to see what works best.I just choose exposure, but maybe brightness also works the same way. So I just paint in with my bucket tool again, just make it black. Go in with a brush tool. Make the opacity really high, make the brush really small because I just need to be careful here. Just paint in almost as if it's okay. Not really, but I'm going to fix it right now. So I'm going to make my brush smaller and harder, and then I'm just going to cut it out like this. It really doesn't matter if light exposure or the adjustment layer you put in this is really too much or too low. Because you can adjust it anytime you want. Again, as long as you select it, the part you wanted to select really well, so I'm just going to paint in here. To get [inaudible] this just right, I have a trick, so you just paint over the edge like this, this thing here in the corners and then you go in to black mask and just do it like this and like this. That way it's getting really [inaudible] edges. It's not good. So this is how a good coffee should look like probably, and now I'm going to show you what my final touches look like. 26. Exercise: Final Touches: For my final touches, I of course create a new group. I have all the groups and I meet each other. If you have paid attention really well you would realize that I started with the background then I cleaned the whole image because sometimes when you clean something or adjust something, the silhouettes of stuff changes. So clean then I just move the skin then I change the skin color, then I just fixed all the coffee stuff and now we have my final group. That's my Look group and I'm going to create Look for the whole image now. For the final touches, I have two different things I usually do. One is that I do something which I call painting with light. It's just something I made up but it's basically working like Dodge and burn and I just create a new adjustment layer with higher brightness and then you already know it, go in with the Bucket tool, make it black, then make another layer, adjustment layer brightness and darkness, apply brightness and contrast, sorry, and lower it and make it black again and then what I do is paint in with a little bigger brush, maybe like this, really low opacity, really soft edges and then I actually basically change the light inside my image. I'll make it a little bit more surrealistic because my images are usually really surrealistic and what it looks like basically is like this.You can't see much at the beginning but as we've Dodge and burn it changes when you just switch off the visibility of the group and just see what you've just done. You already have an idea of what I'm doing, I hope so and I'm just changing a little bit the light on my face.I just want to dark my cheek a little because it looks more adorable in my opinion. It's just my personal style. You don't have to do it. You can try it if you like. It's just my personal style, how I get style of my images, I usually lighten that a little. Maybe that's a little too much and also do same of the cup. I just go in here. You can almost only see it if you turn it on and off but it makes a huge difference in the image. Darken the cup a little here so it looks more graphical kind of good and what usually the very last step of every image I create is creating a new group and calling it Look and that I'm changing whatever I want to change. If I think maybe the yellow is a little bit too orange and I wanted to have it a little bit more. I don't know, like changing this color a little bit, at least, but right now, I'm pretty much happy with everything I've done and one thing I always do at the very end is creating levels and then I see like there's space down here. So there's nothing, no coloring. The image is as dark as it could be. I can change that and move the brightness as well, the contrast is high, it's popping out more. It looks just clearer the whole image. It's not really reacting. You see the difference? It's just popping out a little, it looks clearer. So that's the very last thing I do. Usually there are more layers and look because I'm just basically changing some things in the end because I'm not totally happy about some stuff I created. I just change the color a bit in this direction and maybe the lips a little bit in this direction. Right now I'm kind of happy, just for you to have a really quick overview of what we've done. I just made all the groups invisible. This was our background layer, our original image, then we changed the background color into yellow. Then we cleaned all the really rough things out of the image like hair and annoying reflections, etc.. Then we smoothed up the skin with Dodge and burn. We changed the skin color a little bit and darkened the hair. We edit the steam and made the coffee a little darker. Then we made something that I call painting with light. We just made it a little bit more surrealistic or what I do and then we edit look, which is not really crazy right now, but it's just basically that it pops out a little bit more that the contrast is better, higher parts are brighter and lower parts are darker. This is the final image. I hope I helped you a little bit. In the next section, I'm just going to add it one of my conceptual photos again for you. You just have to think step-by-step what you would do as the next step if you were me and wanted to have the same result in the end. Let's go. 27. Intro to Hands-On Steps: Hello and welcome to Section 7. In this section we going to edit one more conceptual image together. But this time, I encourage you to stop after each video and just think about what would be your next step you would do to get this one as a final result. Let's go. 28. Hands-On: Step 1: First of all, we open the last exercise file, which you find under the import and open files and then you see it under the exercise. From this exercise file we open exercise 02 and this is the original image, how I shot it. I had just a huge paper on the wall and I just ripped it apart so I can edit it afterwards because I already had liked this idea in my mind. What would you do as a first step to get this image as a result? I show you what I do. First of all, I create a new group and a new layer and I first of all I am going to clean all these little lines and all these little things and background which may be destroyed image later on. I just have my Healing Brush on and I just remove all these annoying little things. If it's actually not working really good for you, you have to go on these little three dots and activate sample all layers because sometimes it's not really good working. Sample all layers basically means that they are Healing Brush works on all layers, which is sometimes not really good if you have a lot of layers above the one where you editing but right now it's like the only layer existing is my background layer, so it's working really well. Maybe I have to make my brush a little bigger but right now as you see I just want to remove all the slug crinkles in the background, so it's just really smooth and same color which I need actually in the next step. Sometimes the Healing Brush is working well, sometimes it's not and if it's not working good for you it may be better off trying the stamping tool and just decrease opacity a little bit so it's just smooth and I of course have to select an area where we want to have it. It doesn't have to be perfect, the Healing Brush just have to remove rough crinkles in the back. I guess it is satisfying. Now, we may remove most of the crinkles off the background and what else I want to do is remove all these low crinkles here in the fabric of my dress. I have still the Healing Brush and make it a little smaller. I've actually created a new layer because I just want to have the background, and dress separated. It's just for me that I stay organized but you don't really need it but it's just I'm used to doing it. I don't like that much, maybe it's working. For me that's fine, maybe like this. For me that's the first step and now please think about what would you do as the next step. 29. Hands-On: Step 2: As a next step, I would create a new group, of course. This group is actually for the background. I will turn the whole background blue because I want to have a blue sky afterwards on background. The background is obviously gray right now. What I'm going to do is I go on Selection tool and I want to select the subject, so I have to go on my background layer because that's where my subjects are. I say select subject, and see what it does. It works actually pretty well. I just have to do a little tiny corrections with my quick selection brush. For example, I don't need that in this selection because that's still like the background. That's still a part which should look like the sky afterwards. You can see now it's almost good, not really, but I just try to fix that again with the Quick Selection tool, so just add this one. If Photoshop is not working well, you can still use Lasso so I'll just use Lasso right now. I just paint that and add finger, as good as I can. You can still fix it afterwards because we're going to mask it anyways. Right now, that's actually fun for me. Also the light white area isn't the blue sky, so we just have to deselect it. So we're going to deselect this area. Then we go on a group and we say inward because then we have the whole area selected, which we actually want to be turned to a sky and then we click on Mask. Now you can see we have masked the whole area, which should be the sky afterwards, done. We're going to add two more layers in there as we did before. We're going to fill them in sky blue, whatever you think, sky blue. I think it's something like that color. I'm just going to fill both layers in the sky blue. Then I'm going to turn one layer from the blending mode into lighten and the other one into darken. Then I'm going to turn down the opacity of both layers. So you see it's really gone to smooth in the background. It's actually working pretty well with gray backgrounds, because they already have the same light tone, if you know what I mean, as the sky, so it's blending in really well. You see, there are little mistakes over here because with the hair, it's pretty hard. So now you only have to go into the mask of the group and you can paint in the mask again with the white brush and maybe a little smaller brush. It's already soft, really, soft at the edges and then you just paint in, and just try to soften the edges so it's not really obvious that the background was not blue but gray before. There are a couple of places where you have to be really careful, maybe you even make your brush a little softer. That's how I usually do it with the iPad. Of course the finger has to be, not blue. That's where I actually use pod edges because it's actually hard from the edges. I think that's okay. There's some mistake. You can see the selection was not super good, so you can correct that now. Just make your edges a little harder, and make it white in case you want to edit. Here just got a little on the skin, not too much in the hair. You can see over here the hair is not really good as well, so it's too much of the blue on the hair. I would just go in with the hard edges first, and then just paint inwardly softly we have really low opacity. So I just going to smooth in really nicely. Just look down here, maybe there's something not as you wanted but, I think it looks good right now. Sometimes you accidentally paint in with your fingers somewhere, so if that annoys you, you can turn it off, in the settings as I showed you at the very first video, I think of this course. Now please think about what would be your next step and then start the next video. 30. Hands-On: Step 3: So as a next step to get this image as a final result, I would create a new group. Go into plus say new group. Then I would import the clouds and I put them in the same folder as exercise file 2. Then I import the clouds. I transformed them into size I wanted them to be in the image. Then say done. Now it didn't put them in a group, so I'm going to do it. Then, you can say blend mode screen. You see they already look pretty, pretty good. So what I now have to do is put them in place. So first thing, I would just go on my selection tool. I will just select the rectangle tool and I just select the first cloud over here. I say "Copy" layer, say plus. So create a new layer and say "Paste". Then it just put in only this one cloud. So I'm just gonna put it on screen again. Then I just can move it wherever I think it fits best. I can also transform it a little if I want to. So that's where the first cloud goes. Then I blend in all the other clouds and I can move it around as wherever I want. So maybe I just select this one. I selected, I go on "Copy" layer, "Create" a new layer, say "Paste". Then blending mode screen. I make the layer with all the clouds invisible. So I can just see where I'm moving around my little cloud here. So I think I just put it somewhere down here. I don't want to have it on a dress actually but, I'm just gonna do it on a whole group later on. So I just got to imagine it's not on the dress and just stays here. Then I want not a cloud. Sorry. Maybe this one over here. I just select it again, say "Copy" layer. May create a new layer, say "Paste", and set it on screen. Make layer with all the clouds invisible so I can see where I'm actually putting these layers and I think it looks weird side, I rather turn it around. So I'm turning it around and I think like this, it looks best. So now there's a little cloud down here and I don't want to have it there. So I'm going to mask this layer now. I just going to paint in with the brush, full opacity, a little bigger brush. I'm just going to remove this cloud down there because I don't want to have it, it's doesn't really fit down there. I think one more is okay, so I'm just going to blend in all my layers, all the cloud layers and I'm just. Think this one will be good over here. I'm going to select it and say "Copy" layer plus and say "Paste" then I'm just going to remove all the clouds and put this little cloud on screen. So now we put all our clouds in place. As I said before, I don't want the clouds to be inside of my dress or on my skin. So what I'm going to do, what is much easier is just go on this other layer where I already selected everything really well. Just say load selection. Then, it's already loaded in the selection I want it to be. Then I go on to group again and mask it. It's perfectly masked, perfect for me. So one other thing I would like to do is you see that this cloud now is a little too heavy. Maybe I just put it like this. Yeah, that's actually how I think it looks good. So that's the good thing about mask because you now can turn it around and move it around wherever you want. But the mask is still the same, so it's so masking exactly the way you wanted to be. So that was the background with the clouds. Now please think about what would be the next step for you. 31. Hands-On: Step 4: The next step for me now would be to put in the night sky into this white area over here. We're going to create a new group. What else? We're going to import the image and I've put it in the same folder as before. You're going to find the image. It's actually everything from Stock Photography, places like Adobe Stock, and there are a couple more. It's really useful to get images of skies and images of clouds and stuff like that, what you don't really shoot regularly. If you already have images of yourself, of really good night sky, you can of course, use it for yourself. But it would be so much effort to go outside and make a night shooting and I would love to do that, but right now I don't have the time so I use Stock Photography. Just for a quick explanation about that, what I'm going to do now is I'm going to select again. I'm going to select this area down here, this white area. It's really quickly selected with the quick selection tool. Then I go on the group and I say ''Mask'''. Now only this area is masked and now I'm going to put my night sky in there. So now this night sky is only showing at a area which is masked. You can see it here. It's perfectly put in. Now I'm just wrapping up the sky and the night sky is coming up. A couple more things I would with the night sky, I would first of all, make it a little brighter. I'm going to put a brightness tool in there as well and I just put it a little brighter, you can see. You can see actually a little better the stars and the blue sky. One more thing is that I would like to create some kind of effect as if there's some shadow on the night sky, shadow from the first sky, the day sky. I show you what I mean right now. I'm going to create a new adjustment layer exposure and I'm just going to lower the exposure. I'm going to paint inside my adjustment mask and paint in black so everything is not showing anymore. Then I'm going to go on my brush and lower the opacity a little bit, really soft edges, and paint in with a white brush and paint in over here so it actually looks like there's some shadowing on my night sky. That was far too much but that was on purpose because now I'm going to further it much more. I'm going to lower the opacity even more and now I'm going to go in like that. Now it looks like there's some shadow on my background, on my night sky from the first sky I'm ripping apart. You can see the difference here. I think that looks cool. That's how I blend in my night sky in this image. Now think about what else you would like to do to get this one as a final result, if there's any changes you would like to do. I'm going to show you what I'm doing in the next video. 32. Hands-On: Step 5: As one of my final touches, I'm going to do one of my own techniques which I call painting with light. I'm going to create a new group, and I'm going to put two adjustment layers in there. One with the brightness more up, but the contrast a little down, and one with the brightness down, but the contrast up. Then I'm going to paint and move the bucket tool into the adjustment layer masks, and just set them to black. Then I'm going to paint in as in the other image I edited with you before, and I'm just going to paint in with a really soft brush, with low opacity. Just going to make it a little bit more, change the light a little so it looks a little bit more surrealistic. It's just my style. I'm right now in the bright one, so I'm going to mark it as bright, and this one as dark, so I just don't make any mistakes. Then I just start painting in here. You can just see what I'm doing here. Just painting around the shapes, and I think this was not too good. I have to get a little bigger brush. Like this. I have to lower the opacity a lot more. Now with the dark one. Planted in and out and you already see what is happening here, so it just makes the light a little bit more surrealistic. It looks a little bit more round. Everything looks more like graphical. Here I go. Therefore I like the pen is super helpful, I love painting in with the pen, with this one. I have to get a little bit more in the face, so I just zoom in. Just to get the face a little bit brighter here, and also a little darker on the cheeks. Also maybe the fingers, and the arm here. It just has to be really soft, so you see it's almost all the way down from the opacity. I just see that I did a little mistake, over here, so I'm just going to correct that for a second. I'm just going to put the opacity up and you see what I've done. There's something coming in my hand, so I'm just going to remove that for a second. I have to harden the edges, and make it a lot smaller. [inaudible]. Here we go. Good, back to painting with light. You already see what it does, so it makes it look more surrealistic. It just makes it shine a little bit more. It looks like it's glowing, which I really like. I also do it in the clouds, even though you don't really see it that much, so I'm just going to make a bigger brush now. I'm just going to lower it almost all the way down from the opacity, and just paint in clouds a little bit. You have the feeling that it's just doing nothing, but it is a little bit. Maybe it was a bit too big, the brush, so I'm just going to remove it here. Remove it there a little. Yeah, that was too much. I'm just going to make the opacity a little bit up for removing it again. Then I make the clouds also a little darker, on the bottom, so they look more graphical as well. That's quite okay. The brushes should be really soft. Let's look at that, it's changing [inaudible]. Definitely, I'm just going to go and do the bright one again. This might be a little too much, so it's a forth and back a little. But that's how you receive the good final result. One more thing I would like to do is just create one more. I can either create an exposure, or again a brightness and contrast. I think I'm going to go for the brightness and contrast. Because it's just more soft and, the exposure tool is just really harsh. I'm just going to lower the shadows. I want the shadows to be darker. Here you can see I did a little mistake, so that's no problem because I don't have to correct every each layer where you start. But only do one group where all the layers lay in. That's how I do it. Then I'm going to go on my new created adjustment layer, and I'm going to paint in again, maybe a brush in this size. Then I just want to make the shadows more dark, just to make it look more traumatic. I just like little detail work, I usually like to do. You can see the difference, that was maybe a little too much, you can correct that over here. I'll just move it a little bit. That's good. It already looks pretty similar to our final image. There are some really tiny corrections I'm going to do, and I'm going to show it to you in the next video. Think about what you would do, and then watch the video. 33. Hands-On: Step 6: As the final step of editing this conceptual image, I would create one more group, and this is my look groups, so I just changed to look a little bit. At this image I'm pretty much happy. Just a couple of things I would, for example, create a new adjustment layer in my look group. I would actually go on levels and levels is always like the tool, such as my layer I use for my look. I just basically change the contrast a little bit so I can make it just more contrasty. I can change the dark colors, I can change the light colors and the middle tones. It just makes it a little bit, you see the difference, it's just popping out more. Contrast is higher everything looks clearer. One other thing I would probably do is only select with the quick selection tool, the dress. Then we can change the color of the dress, so I just select the dress and nothing else. Not to here, like this, and then you go on, you adjustment layer and color balance. Then you can change the dress a little bit, the color of the dress. If you want to have a darker, you can make it darker, if you want to have it, you see the problem it's not really well selected, so you just have to be careful or select it better in the mask. You hardly see any difference, but I'm just really, really a perfectionist. Also, what I would like to do is just create a new adjustment layer with U-saturation, and just clip it on my color balance so I can make the red darker and more intense, more saturated, central. I'm just going to go into the mask after adjustment layer of the color balance adjustment layer, and just make the selection a little better. I just go in with a really small brush, with the full opacity, hard etches, and I'm just going to deselect fingers. Also this guy down here because that's not a dress, we don't want that to change. Maybe also over here there was the selection was really, really good, really careful. Now make the opacity really low and just try to save all these little hairs which lay on the dress. I think that looks good now. You can see we changed the color off the dress a little bit. She's got a little darker. One other thing about therefore, I don't have to make like a new selection. I can just go into my group two, which is my blue sky group. I can go in with an another adjustment layer, say color balance, and then I can change the color of the sky in whatever I want to, so I don't have to be really perfect at selecting the right color to fill in to this layers. But I can still change it a little bit with my color balance over here. Maybe I just want to have it a little bit like this, makes it a little bit more traumatic. You see it changed the color of the sky. These are a couple of steps I would do at this image, for my final touches. Of course, you should definitely name your group. This is my look group, this is my painting with light, I always call it like this, chain painting with light. Rename them, this is the night sky group, this is my clouds group. I just have an overview of what I've done, this is the blue sky, and this is my cleaning group. I'm just going to show you what we've done in this editing sessions. This was our original image, we cleaned the background a little bit. We changed the color of the background into blue, we put all the clouds in there with our screen blending mode, we put the night sky into the white area, we painted with light, so we just created this cool blooming effect. Then we finally created a look for the whole image. This is our final image. I hope you liked it, I hope you learned a lot. Then the final section of this course, I'm going to tell you which social media channels I use, how I built my website, how I got exhibitions, etc. I'm going to show you how to reach out to clients and how to find people who will like your work. I hope I helped you. If you like this course, please leave a review. It will help me a lot. You can always write me. I will try to get back to you as soon as possible if you have any questions, so let's do the last section together. 34. Intro to Tips & Tricks: I hope you enjoyed my course. In this last section, I'm going give you a little insight in how I built my website, what social media channels I use, how I reach my clients, and how I got galleries to exhibit my work. I hope I can help you with that. I wish you the best luck to create awesome work with your Photoshop on the iPad. 35. Tips & Tricks: Website: The first thing I would recommend anybody who wants to start in a creative field is to get your own website. First of all, you have to save your domain name, for example, for me it's [inaudible] , it's my fore name, last name.com, and I would recommend anybody to do the same. It's simple, it's easy, everybody can remember it. But if you have like any kind of art nickname, art name, whatever you want to use as your art name, you can use as a website domain name. Then if you have a domain, you can go to any page who offers templates. For example, there is Squarespace, Format, Adobe Portfolio, these are the three that I tried and I honestly liked all of them. They all have different templates, so it really depends on how you want your website to look like. I now use Adobe Portfolio because there are a couple of reasons. First of all, it's included in the creative cloud, so I don't have to pay extra. It has some amazing templates, so I'm happy with my template. Third of all, I don't really like this little thing which stands on a button of the website if you use Format. It's like this little button which says using Format. I didn't like that too much, so I was happy that it was not like that with Adobe Portfolio, so there's nothing that says that this website is created with Adobe Portfolio. This three websites offer templates which are really good for photography portfolios, I think so. But there's always something you want to do, but you can't do because there is some limitation of the template. If you want to have exactly do the way you imagined it to be done, you probably have to program it yourself or hire somebody to program it for you. For me, it works really well, for Adobe portfolio. I'm happy with my website. You can, of course, look at my website and just see if that works. View as well if it looks fine for you, and yeah, that's actually how it's working. First of all, I would say get your own website. 36. Tips & Tricks: Reaching Clients: The two more platforms I use to reach clients, first of all, Behance, and second of all, LinkedIn. You would just think, what are these platforms, but they actually help me a lot. Behance is a platform also actually created from Adobe, and it's more less like a portfolio platform. You have your own page, and you upload the projects you've done. Clients can actually go on your page, and see all the different projects you have, maybe a little explanation of what you've done for which client that was, and what was the concept behind it etc, and then you have to image this. Clients can actually see all your projects, all your work, understand how you work, and I also realized that a lot of clients are looking through your Behance portfolio, and just hire you because of your work on Behance. If you already done some projects, like something you can show off at Behance, you should definitely start. There are followers as well placed as on other social media platforms. The more followers you have, the more visible you are in the platform, and also you can get featured by different tools, for example, Photoshop can feature you, Lightroom, all the different Adobe tools can feature you, and then you're visible on their side, that's really good. That's where actually all the people see you, and a lot of clients click to look through all the Photoshop work maybe etc. To get huge on Behance is probably a good idea to get a lot of clients. LinkedIn is a platform for connecting people, especially business people, it's more or less like Facebook for business people if you want to say, and I think it's really good to actually have an overview of which person are working at which company to get in touch with these people, and just to let them know what projects you are just doing right now. If you haven't tried out LinkedIn, it's a perfect tool to just connect to clients. You can start with it today. You can just reach out to a couple of clients, say, hey, I'm a photographer, I would like to work with you, maybe we can chat, be open, be prepared to be rejected because there's so much rejection in this business, but that's totally fine. Not everybody has to love your work, but you do have to love your work, and just fight for your work. They're always clients who want to work with you. You just have to find the clients, and make them find you, make you more visible. These are the two platforms I really like, I use a lot, and they will help you as well to find clients for your work. 37. Tips & Tricks: Galleries: The fourth tip I would give anybody who wants to start in photography is to attend contests. Because contests make it possible for you to get exhibitions maybe or to get printed in magazines, just to get more visible for the world. I attended a couple of contests and I, for example, won my New York exhibition which is awesome. I won another exhibition or two exhibitions in Paris, and I won a couple ones where I have, also really helpful workshops. I also had my images printed in magazines, and now I have attended this contest which is more or less like a scholarship from Adobe, which is called Adobe Creative Residency where I got a full year of scholarship. So I had a full year of full payment and could just go from my own free personal approaches. Whatever I had in my mind I could do, which is really awesome. Don't be afraid to take part in contests. I started really early which was really clever of me I think because I was not afraid I really thought my work was great even though it was not at that time. Right now I think like that, but back then, of course, I thought it was great. Don't be afraid just try. The only thing I would suggest to anybody is that first of all, maybe just start with free contests because most contests costs a little, but if you are sure that your photos and your series would fit really well in the contest. Then, I would afford the money. So I'm always looking through the example pictures they post sometimes in contests and say pictures like that, we're searching for and if there's a contest which is looking for black and white images, I'm not attending because I have a lot of colorful images and it's not fitting into the contest, so sure I'm just going to waste my time and my money. But if you are sure your images would make a great fit for a contest, I think you should definitely take that step, invest that money and see where it's going. For example, the contest for New York exhibition, it costs something, but I was pretty sure that my images would fit really well into the whole contest theme. I just attended and I luckily won. That is my fourth tip for everybody. Attend contests, start looking for free contests, and then maybe if you're more advanced and if you are more confident with your work, start investing in some, you have to pay for. 38. Tips & Tricks: Stay Connected!: The fifth and last tip I would give anybody is start to connect with the creative people inside your city or in your country and just look up which people are similar from the work, which people you would maybe like to cooperate with, models, actress, maybe actors, etc out of photographers at a designer's maybe create a whole new project together with like if you're a photographer together with an Illustrator, just try to connect because I think most of the jobs that I got are like over and not a person like a person recommended me. A person told another person that my work was great and so on. Like it's always talking and you get the job. Just try to connect with as many people as you can. Try to make a lot of friends if possible and I really think its really happening because for example, in my city there's a really big newspapers called [inaudible] and they actually found me over my Facebook page and that people told me one day, found my work, they exhibited my work and with this exhibition, and the article in a newspaper I found my gallery. It's really step-by-step and you really have to get the attention of people. Why not just reach out to people? I usually do it over Instagram to be honest. I just look up all these great photographers and I just see that maybe somebody is from somewhere else in Germany and if I'm done, like occasionally some in this area, then I just ask them if they just want a meet up or if they are in my city, I just ask them if we want to meet for coffee or maybe do a corporation, etc. Just try to reach out to people. You can do it via Instagram, via Facebook if you just find a website, just write them an email I would be kind. I think people are always really, really happy to connect. You only have to make the first step and it will help you a lot. I hope you liked my course and if you liked it, I would be super happy if you can leave me a review down here. I have a couple of other courses. For example, about South portrayed photography. If you're interested in how I'd created this photos, like how I shot these photos. Then, you can definitely check out this course. I'm really happy that you made it to the end of the course. I hope I helped you a lot and start creating, start working with Photoshop and create some amazing photos yourself. Thank you.