The Art Of Using Textures In Your Photography | DENISE LOVE | Skillshare

The Art Of Using Textures In Your Photography

DENISE LOVE, 2 Lil' Owls Studio

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10 Lessons (40m)
    • 1. Intro to art of using textures

      0:45
    • 2. How to add a texture to your photograph

      4:58
    • 3. How to pick a texture to use

      5:26
    • 4. What you can use as a texture

      4:29
    • 5. How to add multiple texture layers

      4:05
    • 6. Manipulating your texture layer

      3:06
    • 7. Using a layer mask

      5:20
    • 8. Remove texture retain tone

      3:11
    • 9. Remove texture retain tone paint on

      3:38
    • 10. How to replace a dull sky

      4:58

About This Class

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Combine your love of photography with your desire to create art.  In this workshop I give you the tools you need to get started with working fine art textures into your photography.  I show you some basic techniques and some advanced methods you can use in your texture work. 

What you will learn:

  • How to add a texture to your photo
  • How to select a texture
  • What you can use as a texture
  • Manipulating your texture layer
  • Using a layer mask
  • How to remove texture and retain tone on your subject
  • How to replace a dull sky

This course is designed to give your the tools to get creative in your photography using textures.

What you will need: 

  • Photoshop (These techniques also work in Photoshop Elements)
  • Photos
  • Textures - I give you a collection in the project area to get you started!
  • Your imagination!

Lets get started! I cannot wait to see where this journey leads you!

Transcripts

1. Intro to art of using textures: 2. How to add a texture to your photograph: Hey, this is Denise from to allow studio, and in this video, I want to show you how to add textures to your photographs. And what I have open here is an example of a texture. It's a J pic file. The's air sin textures up created, but you can use all kinds of things as a texture, such as things you've gone out, photographed old papers or things you've painted that may be scanned into your computer. And basically it's another J peg file similar to the photograph file that you're using. And we're gonna add this file right on top of our photograph and create a top layer that we then change the blending modes on so that we then incorporate that texture into our photograph. And why would you want to do that to me? It makes your photo a little more art, like a little more like a mixed media piece that you're doing digitally. Then you might want to print out and hang. Or maybe you're going to sell it an art gallery. It just kind of is one more dimension that you can add to your photo because you want to. It's it's that simple. It's just wanting to go a little further and explore and experiment and just see what you can get rather than being a traditional straight out of camera kind of photographer. And I like that. I like pushing the boundaries. So I have a collection open here the ancient times. Um, and you know, you could just randomly pick and play and see what you get. One way to add a texture to your photo is to have your photo already open. You can open the texture file that you want to use, and then you simply select it. Make sure you've got your will select tool up here selected, and you would simply select it and drag it right onto your photo, and then it places on its ready to size. So we're just gonna grab her handlebars and pull that out to the size of the photo. And then we change our blending mode, and you have a lot of choices here on the blending modes. You have the top five here that are darkening modes, the next five or lightning modes the next five. To me, you're more like blending modes and then you have some oddball modes here at the bottom that I don't generally use myself on these. A soft light is probably my first go to mode because it's a very soft blending mode overlay a little bit stronger, hard light, even stronger. If you're in the lightning modes, the screen mode is the most popular. This is really nice for adding a great Hayes to your photo. Generally, you wouldn't use it. At 100% he would come down and use it at a lower rapacity. So that's a good mode, and then multiply is the most popular darkening load, and you can use it in any capacity that ends up working for the photo. But again, I usually start with the soft light, and I go from there, so see how great that looks. Another way to add a texture to your photograph is go up here to your file menu and go file and place, and then you will navigate to where you have your texture files stored. So I'm going Teoh randomly. Just pick a different file than we just did, so that you can see what a different one looks like. So you just highlight it and hit the place button, and then that appears right on your photograph, ready to size. And once you get it sized out, then pick your blending mode. So see, that's great. I love those ancient times of some of my favorite ones. Um, so that's how you too easy ways to place a texture. You can drag it right onto the photograph, or you can go to file in place. Another thing we could have done is we could have had a file already open, and I'll just randomly pick another one and just have it open. We could have just had our picker ready. Click down and dragged it right into our file also, and then you'll notice it's actually more the same size is my photo here because it was a full size open product already, rather than a smart product that we were dragging in. So you just drag it, size it to your photo again and then change blending mode. And there you go. Now you have 1/3 option of how to place the texture on your photo. So hope out of those three ways, you find a way that your favorite and in the following videos. I'm going to show you some great things that you can do to manipulate that texture, to incorporate it, even mawr into your photograph and make it look the best it can look. So thanks. And I'll see you in the next video. 3. How to pick a texture to use: in this video I want to talk a little bit about how do you pick a texture? And what kind of photograph really works best with textures. So this is my own personal opinion, So I'm sure there's a 1,000,000 different ways out there and everybody has their own system . But what I do when I'm going to place textures is a start off with first of all, a great photograph. I go ahead and pick the very best photograph I can write out of camera to start with, and the reason I do that is because I'm trying to enhance a beautiful photograph. I'm not trying to compete with it with the textures. I'm trying to get that texture to blend in and enhance my original vision. I also don't have a lot of dizziness going on in the photograph like you couldn't have a 1,000,000 things going on in this photograph and then, out of texture to it and the texture be successful because everything is competing with each other. So when I'm out taking photographs, I'm usually shooting wide open on my aperture. Maybe something ah, four or three or two, um, so that I'm getting a very pretty, clear subject. And a lot of boar bar loves textures. So I look for a whole lot of blur, a little bit of clear subject, and then I know I've got a good start. So say, for instance, if we're looking at this one, you know, we started off with a very pretty clear subject and then, ah, lot of blur on the sides You don't want to photograph to be competing with the texture. You want it to be enhanced by the texture. So that's what I'm looking for. I'm looking for a lot of blur in my background and a very pretty subject in my foreground. And then how do I pick a texture? I pick a set that I'm kind of interested in working in. And then I might pick a texture with similar tones or a tone I'm trying to pull out, like if its warmth. Maybe I'll pick a brown, um, or yellow and pull some warmth out, so I'll kind of pick something that's already complementing. What I have going on in the photograph and start there doesn't always work, but does give me kind of a starting point like look at this texture. It's got some very pretty tones kind of going on in there. And if we, you know, pull it to the side, you can see I've kind of got some of these tones a little bit in the photograph. And if I put that on there and change the blending mode, hopefully that has enhanced what I've had in the photograph like that. That's really beautiful. Um, and in course, if I didn't like the color casting, I can then go over here to adjustments and pull the saturation of that color down toe match . What? I need it for that photo. Um, so that's kind of my philosophy. I'm just getting into a set, and I'm like, I'm going to try this set and just see what I get. And maybe I like it. And maybe I don't or I'm going to try askew. And maybe I'll look around this set of textures and see, like, maybe like this coloring here, that's really pretty. You take off this one, try to move photo instead the texture, and then if you get it on here and you need to resize it and you forget how to do that just hit your command on a Mac or your control key on the PC and the tea, and that will let you get your handlebars back to resize. This a soft light. So that's pretty. So that's kind of what I'm looking for. I'm looking for a lot of blur in my photos, so that's not too busy. And I'm looking for textures that complement kind of what already have going on in there, so that when I change the blend mode on that texture layer, it's probably gonna look good almost every time. And then to you know, there's a lot of reasons why you might pick specialty sets like, Say, beautiful Boca. Maybe in the background. I want some pretty Boca bubbles. Let's just see what that gives us. So that's fun. And then, of course, if we put a mask on that, pull that back over, I could see my brushes. We could take that all off her face, maybe blended a little bit there in the sides and then look at those pretty Boca bubbles. We just threw it back there. That is fantastic. So that's another reason why you might dive into particular textures. Maybe you're trying to add a feature that was missing, um, like some pretty Boca back in the background. So definitely experiment. Placing textures and picking the right textures is all trial and error. But you'll be more successful if you start off with the right type of photograph to begin with and then go from there. All right, I'll see you in the next video. 4. What you can use as a texture: in this video. Let's talk for a few minutes about what a texture is, So a texture can be just about anything that you want it to be. You can go out and photograph textures. You can use old vintage resource ISAs textures. You can make your own textures and photo shop. So basically what I do when I make textures is I start off with something that I've photographed and my favorite place to photograph. Things are old car junk yards, because cars have that wonderful, weathered, rusty scratched paint from sitting out in the weather all time. Also like old train yards, if you can, safely and with permission, get into an abandoned house. I like shooting moldy walls that, ah occur in abandoned houses where maybe it's been raining on the roofs leaking and things like that. So I like a bend in spaces. Um, you can just get up close to, say, a brick wall or an old building and see what textures you can find on the walls. Like, for instance, this was taken at the train yard and I might use the whole thing or I might use part of it . This year was taken in an abandoned house. And this is Ah, fabulous texture toe have I love all of this mold and scratches that are going on in this texture, and it works fantastic when you mix this with other photos. Um, this is an up close of, um, a plaster wall in an abandoned house that has been molding and started to crack. That was a fantastic surface. Um, and you can move around the wall to and take close up shots every couple inches in old spaces and wind up with a different texture. If you hit the you hit the right wall. Just have to be creative. Um, another ah, wall photo. And then you antique papers are a favorite. Go to source of mine. They have, um, age spots and water spots and bolds and crinkles and things that you just can't come by. Natural, like only age in nature can make some of these organic, wonderful things for your textures. And then you can paint your stuff. This is a painted piece that I did with some distressed stains paint and then sprinkled it with water. And these are some of my favorite textures to play with I like old book covers because I make altered art book where I cut the covers off so I don't throw the covers away. They become part of another piece of art or they get scanned in and used as a texture in my photograph. So those were wonderful book covers. Watercolor paint makes fantastic textures cause they're usually on watercolor paper, so that has a nice texture. And then however you've painted and let the paint dry at different stages of peace that you're working on, like all these yummy edges right through here, wonderful for textures. And then, of course, you can buy textures. There's plenty of commercial textures out there that you can get. I have, you know, over 200 sets on the to low our site. Um, and my textures have tons of layers in it. Like this is not just something on photographs. This is something. I have probably 20 layers in where I've layered other photos in there. Maybe I have a few color layers changing the color. Maybe I have some old film worked in their adding some great borders. Um, like this one has an old film worked in for all these yummy, yummy borders here. Eso definitely look around. This is a real piece of old film that I've scanned in. Those are some of my favorite. If you've got some old film or all negatives, um, Scana Monroe Big and clone the person out of the picture here. And then you have the most wonderful textures coming from the old films. Those were probably about far my absolute favorite. They're the most versatile. They go on just about anything, and they make great layers and textures you might consider making for yourself. So I hope that gives you a good idea of what a texture is and where you might look for different things to consider using in your photographs. All right, I'll see in the next video. Thanks. 5. How to add multiple texture layers: this video. I want to show you and encourage you on how you can use more than one texture in your photograph. Eso have one of my photos open and I can go to file place and I'm gonna pick just a random texture here. Place that right on my photo. And I'm gonna fix my blending mode too soft light. And then you'll notice there that we've got one texture here on our photograph. I'm going to add a mask and we'll just paint that texture off her face for this. Since it's kind of a neutrally color, then it's still kind of blends maybe a little off the hair there. Now what I want you to know is that you can, at another texture layer here, if you would like. One way to do that is we could duplicate the current layer and then you have two of the same texture. You can use them on different blending modes and different capacities, So that's one method. Another method is to go to file place and pick an entirely different texture to layer on top of the one that we've already got there. So I'm gonna go to place and I'm in the black screen textures, which are super cool. So that's why I want to show you these very quickly These air black textures with slight white details on them. And when you pick one of these, I'm just going to place one, um, gonna rotate that and then size it when we when we use these textures and we use them on the screen blend mode, it makes all of the black disappear and leaves the little tiny bit of white details still showing. So I love these textures and we can do the same thing. We can add a mask, pick a brush, swipe it off our face of our subject, and then we can leave some of those details kind of showing in the areas around our photograph. So that's those are fun to play with. I like the difference that can make You might pull it a little, offer hair here, even you're just you're working these two. You get something that you like, so don't be afraid to use two or three or even four textures on the same photograph to really pump up the interest that you're adding my place of one more just to see it. We get just to be fun. I'm in the excuse set and you this moment look good and it might look good, so we'll just we'll just test it out and see what we get. I'm just gonna place a random one. Love the big frames that this that has on it. And again, you just change the blend mode that had some nice depth in there. We can again Adam ask. You can copy the mask. That's on a different layer if you want. Let me show you how to do that. So if you're on a Mac or PC, you want to hit your Ault option key, and then you can just click right on that mask, drag it up to the layer right above it, and that will copy that mass to that layer for you. So did you see how I do that? Let me just undo that. I'm clicking my old option key and just dragging it right up, and then it places that mask right on the next layer for us. So that's a super easy way to copy the mask from layer to layer. If you don't want to redo it every single time. You had a texture up there, so I hope that by seeing that you'll add multiple textures or multiple lines on your photos and just experiment and see what great looks you can get by having more than one texture on their and I will see you in the next video. 6. Manipulating your texture layer: and this video want to show you a couple of things that you can do that will manipulate our texture a little further. Sometimes when you place the texture on top, it doesn't blend as well as you would want. Um, and then, of course, you can try to change the opacity to get that toe. Look how you like it. But there's some other, more advanced things that we might do to that texture layer that would incorporate it even better for us. So once you have your layer on there and you have the blend mode that you like, and on a pass it you think you're happy with, make sure the layer still highlighted. And then we can go up to image and adjustments, and we can further make adjustments to the texture layer, and this will be separate completely than the photograph layer. We're not changing the photograph player when we do this, Um, and some of the things I like to do is change the levels, perhaps the curves. If you're working in elements, you won't have the curves option but curves if you're in photo shop. Sometimes I definitely changed the hue saturation. If I have a very colorful texture, and I like the texture part, but not the color part than I will de saturate that texture. So let's just pick that. And you can pull that color out right there by pulling to saturate the saturation down to negative 100 then you'll notice on this one that it just made it more gray. If we had cancelled, you can see it warmed up a little bit. That texture has a tiny bit of color to it. But if we go back to the hue saturation and we pull that out, we've pulled all the color out completely and simply left the texture part. So that's one thing that I love to do. Love, change the saturation. Another thing I do is are getting here to the levels, and you'll notice on the texture lawyer with levels that I'm missing most of the dark darks and the light lights. So in this case, you could pull those in and you'll see what that gave us there. If I turn that off and on, it gave that texture a little more oven off. That made a little more exciting. Um, I'm gonna leave it like backs, Actually, kind of like that. And then, of course, if you move this center one, you will adjust the mid tones, these air, the darks and these lights, um, hit. OK, Another thing that I like to do is playing the curves, which is very similar to the levels. And you might give it a pop with a slight s curve there and turn that often on. You can see how that gave it a nice little pop in there, um, given it a curve. So at that point, you might think, Well, gosh, maybe I've overdone a little bit and you can back off. You're a posse. So that's a few very easy kind of exciting things that you can do to the texture layer to really pump it up and make it work. Best it can in your photograph. All right, I'll see you in the next video 7. Using a layer mask: in this video, we're going to talk about how to add a mask to your textures. And what a mask in photo shop is is simply a way to hide or reveal certain areas of the photograph. Um, from the layer that you've got covering the bottom layer. So what that means is like when I put a texture on here and I changed the blending mode and I have the texture over the entire face. Maybe I don't want the texture to be on her skin, so I will hide the texture part from her skin. So mask allows me to do that. So let me show you what I mean. So we're gonna go to file place, and we're gonna go ahead and place a texture on her photograph, and I'm in the Awry collection here. So I'm just going to select a random texture and then, ah, hit the place button and we can resize that right out to the size of our photograph and will change the blending mode so it becomes transparent, perfect, and then you'll notice we don't want this grit on her face. And there's a couple of different ways to take that off of her face, and I'll show you another method in one of the other videos coming up. But for this method, we're gonna add a mask. So while you've got this layer highlighted, you want to come right down here to this menu where you have the FX, the little square with a circle, the two a half tone circle, and you want to select the box with the circle in it, and that puts a white box right here onto our layer, and that's called a layer mask. And what we're gonna do because it's white. We're gonna use a soft, round paintbrush, so pick your paint brush tool. Pick a soft round brush to paint that with, and then we paint on a white mask. We see it's highlighted because we've got the little squares right around our little box there, and we paint on that with the black paint on the black paint hides what we've got going on with that texture. If we were to use white paint, it would then re reveal, for instance, if I were to paint here with the black and I did too much, I could simply change my colors over here from black to white, and I could paint it right back on. And you can see on the little white box here what, exactly? I have painted as I'm painting it and then paint off pain. Tolan until you get it, How you want it, black reveals, and white conceals. So another thing that I consider when I'm using a mask is I don't usually use it at 100% capacity. I usually start at a lower rapacity, maybe 30 to 40% so that I can remove texture in layers instead of all at one time. And then, if you're clicking on here and you're not seeing any texture, get removed. Make sure that your color is on the correct wider black mode, and then you can remove the texture just from the areas that you want. You can get in his clothes you want. You can make the brush larger or smaller with your bracket keys left key, go smaller, right key goes larger, and then that's how we can very easily remove the texture from our subject. The only drawback to that is where you're completely removing that texture from our file. So if for instance, we had a texture that had a color to it. Let me just pick one that has a color that might show up well, something that's got a definite color rather than mostly gray. Change that blending tone. You can tell that it changed the color of our entire picture. So if we put a mask on that and then we remove just the part of the face, then you'll notice that part of your picture maybe a different color than the other part. Because we've erased the texture here and we haven't maintained the color all the way across our photograph. So that's something to be aware of when you're using a mask like that. Are you changing the color so that it no longer blends and looks like it's natural? Or, um, is what you've done? Look OK, because, like with this one, even though I've changed it PG, her skin is kind of PCI, and it actually works. So totally depends on the texture file that you're using as if this methods gonna work great for you or not. Um, so that is using a layer mask. And what what kind of subjects do you know, brush the texture off of. Sometimes I brush it off of my flower petals. I'll definitely brush it off of skin. I have a person in the photo. It's kind of up to you as to what you might want to see that texture on. You know, maybe if I have a boat here, I might take some off the boat if I don't like how grungy it makes it, um, total preference. So that is using a layer mask. 8. Remove texture retain tone: this video. I'm going to show you how we can remove the texture from our subject and still retain the tone that we've got going in our photograph. Because you remember in the last video where we use the mask, we erased the tone. When we erase the texture in this video, I'm going to show you how we can keep that tone. Um, so I'm gonna start off by placing our texture and maybe I'll maybe I'll place this peachy one again just because it had a pretty color tone to it hit place and we'll go ahead and size that out and go ahead and pick a blending mode, and then you'll see we've got it all over our subject's face there. So, like before, I'm going to go ahead and add a mask using the little dark box with the white circle. I'm gonna pick a soft around brush. And while I'm on blacks of them removing, I'm concealing, I'm going to brush it off her face. And then here's what we're gonna do something different than we just did. I'm going to actually take this layer, highlight this layer, drag it down to the little page icon beside the trash can and duplicate the layer. So now I have two layers and I want to pick the bottom layer. And while the mask boxes selected hit command. If you're on a Mac and control if you're on a PC, hit the command button and the letter I and you'll notice that we have reversed that mask in that box, and we've made it black. Now this part is revealing the face, and on the one above it, it's revealing everything around the face. So on the bottom one, where we've got the face highlighted, we've got texture on their Because, you see, I can turn that texture on and off just the face so we don't want that texture to stay on the face. But I want that color to stay. So while I have not the mass box selected but the texture box selected, I'm going to apply a blur to this entire layer by going up here to the filter blur ghazi amore. And now did you just see that that totally just removed all that texture but left the color . Now you can pick. I bore level that you want. If we have a zero, you see, relieve the texture there. If we bring it up to 13. 15 400. You were adding different levels of blur to that entire texture layer. And you can see over here just kind of Smoothes it out, but leaves the color and you can hit. OK, And now what you've done is you have removed the texture from the face. But you've retained the tone across the entire composition. So there you have it. The very easiest way to remove the texture and retain the tone. All right, so I'll see you in the next video. 9. Remove texture retain tone paint on: in this video, I want to show you one more method for removing the texture but retaining the tone that's a little different than the method where we added two layers and added blur to one of the layers. This one, we're actually going to paint directly on the texture. And this is a more destructive method of removing your texture, since we're actually going to be painting on our texture layer. But it does have its place, and it is, ah, method that I like to use myself. So I want to show you and then you have choices. Eso I've got the same file open. I'm just going to go ahead and place the texture by on place. I'm just gonna pick a random one out of this, um askew set. And then once you've got it sized out, be sure to hit your enter button to get it placed and then change your blending mode. And now you can see that with this texture, we've got all these, um, scratches on the texture showing up on her face, and I don't really want it to do that. So if you will hit your command key at the same time that you're hitting, Um, this background layer eyeball, it will reveal the texture to you so that we can pick a color out of it. And we want to pick a color from about this area. So hold your command and on your PC. This is the control key. Just turn the eyeball to the background layer off, and then come over here to your color selectors so that we can pick a color right out of here. And I think the face was right about there. It's kind of a neutrally brown and then hit. Okay, so now we have brown here and we're gonna pick up paintbrush. And again, this is a soft round brush. And the reason why use a soft brush rather than a hard brush is because we don't want a hard edge. Where we stop painting, it will be very obvious. So once you've got a color and you've got a brush, hold that command control key down again. Just turned the eyeball back onto the background. And now make sure that you're on the texture layer, and that little texture is selected with those little boxes around the box. And then we're ready to paint. Put this a pass ity down on something kind of low because this is something where you could definitely overdo it the first time. And if you for gotten saved it or whatever, you could not go back and fix that. You'd have to delete the texture and try again. So low capacity, uh, change the size your brush with your left and right bracket key. Lefty makes it smaller, right? He makes it bigger and then start painting that color directly on your texture and on any place where you don't want texture to be showing on your subject, and then you can kind of feather it in since, right, A low capacity. We might just feather it and around her face so that the transition is gradual instead of stark. And there you go. Now we've painted directly owner texture, and we removed the texture from our subject but retained the tone. So that's again just another method for you to try and just see what what pictures that works better for you than the other methods. Or it may be easier to remember. Um, what have you So I hope you like that method and I'll see you in the next video 10. How to replace a dull sky: I'll show you in this video. How easy is to replace Ah sky in your photograph. So this is the sky that we've got to start with. And before I put a sky into this photograph, I'm going to very quickly do a quick selection of our parts of our girl. They're up here in the sky and make it a little further down, and that will allow us to place the sky easier in a moment. So I'm going to select the quick selection tool over here. It's in there with your magic wand. And with this brush, at about a size 40 or 50 or so, we wanna be able to get the small detail parts. I'm going to select the girl here. Photo shop does a pretty good job, this quick selection. So usually I can get a real good selection here if you end up with a place like right here in between your arms that you don't want to be selected if you'll hit your option or you're all key on the PC and it will give you a little negative inside your circle that when you click on that, it will let you take that little part out of our selection. Oh, I think that little bit of hair up there and then what we're gonna do We really need this hair here. But I'm gonna pick it just in case, because really replacing the sky right about up here. So what I'm gonna do now is I'm going up here to refine edge box that it gives us, and then this is what it lets it do. And what we're gonna do is take our little picker and we're going to very quickly just clean up the areas where maybe there's some sky showing through her hair that we want to get rid of. Um, just like that. See how nice that does eso just clean up your edges real quick. You get little details back in there like little wispy pieces of hair. Just see how that brought that little piece of hair back. So this is a pretty cool tool that looks pretty good right there. Going to feather just a tiny bit and maybe add a tiny bit of contrast right here in our box and then hit. Okay. Now, what we've got is an area that is selected and If you just hit your command on a Mac or your control key on the PC and the letter J Command J, it will make a copy right over here, above our background. It just has the girl that we just selected. So that's exactly what we wanted. And then we're going to place our sky in between these two layers. So I'm going to just go to a file place. I'm gonna pick out the sky that I want to use in this photograph, and I think gonna use dramatic Sky 11 because it's similar in tone and like what this part of the sky is doing in relation to what my photograph is doing. So just experiment with these a really fun to play with. I'm gonna resize it right up here, too, the top of my photo or I want this guy to like another cool thing that you could do while you're doing this is if you wanted to. You could right click on this while it's still in free transform mode and you can change their perspective of the clouds If you want pulling just like that while holding down your commander your control keys That's pretty cool, because then you can really make those do some fun things like that. So we're gonna go for that and hit your enter button at a mask, turn the capacity down a little bit, Stay right there, and we can always change it. We're gonna pick a black brush, and at a kind of medium a posse T we're going to you ready for line down here and then very softly with the mountains back there. Blend That's guy right up just like that. And then you can affect that as you want. Working with the different capacities and such blending that right up and look how beautiful that is. Then you can change the opacity as you need it. Like, That's really nice right there. And then once you've done all that, you are ready toe. Finish your processing so that your whole photo is cohesive. Like on this one. I'm in the beautiful spring actions. Um, I might run this raindrops. Look with that. Did it added a really pretty soft, warm morning glow to that photo. All right, so now we can see this is our after, so check it out. This is our before and our after so you can see how adding, Ah, more dramatic sky where maybe you didn't have one of the day you were out Shooting can really pump up the drama in your photos, so thanks for watching and I'll see you next time.