Adobe Photoshop CC: The Complete Beginner Course

1. Introduction to the Photoshop Course: you just took a great first step to learning photo shop and understanding this amazing applications so that you can create amazing graphics and beautiful images. My name is Philip Dinner, and I first want to say Thank you for enrolling in this course in this video. I'll just tell you a little bit more about me and how this course works so that you can have the most success. First, let's talk about the course, so this course is structured in a way that I thought would be good for anyone that wants to learn how to use Photoshopped from the very beginning. A lot of people use Photoshopped to edit photos, and so it is a little bit more for photo editing heavy up front. If you're more interested in learning how to create graphics with Photoshopped, meaning using shape layers and text layers and those kinds of styles, then that comes a little bit layered. Later in the course, you can see how the course works, because it's broken down into sections and you can always jump around. The next thing about this course is that it has downloadable project and photo files that I want you to use while you learn this course isn't just going to be me clicking buttons telling you this is how it works. I'm going to show you what to dio, and you're going to do it with me. So in this lesson, or on the course page, wherever the resource is are you can click the download button. And it is a rather large file because it contains a number of raw images, stock images that I found that you can use and Photoshopped project files that will be using throughout the course. So go ahead and download that extract the ZIP file because it is a zip archive file. Whether you're on a Mac or a PC, you can do that and then be ready to use those files throughout the rest of the lessons. And then, lastly, just a little bit more about me. I'm so excited that you decided to take this course. I've created a lot of online courses, but this is actually one of the more fun ones that I created. I used photo shop all the time. I use it practically every day, toe help run and grow my business. But I hadn't taught a class until now. So I'm very excited about this. Thank you again. And in the very next lesson, we're going to jump right into photo shop. And you're going to learn, actually, how to design a blah graphic from the get go. In the following sections, we will go through everything a little bit slower. But in the very next lesson, you are going to start using photo shop. Thanks for watching, and we'll see then. 2. Jump Right In! Design a Blog Graphic: Hey, everyone, I'm so excited to jump right into photo shop. In this lesson, we are actually going to be designing a graphic. We're going to be editing photos were going to be starting a project and we're going to be saving this project. And this is the thing. We're going to be creating this graphic right here. This is a photo I actually shot in Switzerland at the town of Sione, Switzerland. Actually, where my great grandfather is from and we're going to be designing this, the rest of the class is designed mawr to be a little bit slower paced will go through each sort of element or tool or technique one at a time, and then we'll put it all together at the end. Throughout, we will be designing products and actually doing real world applications of the tools. But in the very beginning of this course, I thought it would be cool to just jump right in, and we'll see how it goes. I'm going to go through this lesson a little bit slower than actually the future lessons, because this might be your very first time in photo shop. And I want to walk you through all the steps I'm doing. But in this lesson we will just be kind of going going for it. And so let's do that. Let's just open up photos shop. Whatever version you're using is fine. I'm using Adobe Photoshopped CC 2015.5. If you're using a previous version, it might look a little bit different, but it really will be about the same thing. And things will be in about the same location for everything we do in this lesson, the first thing we're going to do is click this new button. This is where you decide how big your file is. Don't worry about all this. Just follow me as I do this lesson. The rest of the lessons. I'll explain all of these other things right now. I just want you to get usedto kind of navigating and clicking around and doing things. So right here in the name. Just call this blawg graphic down below. Worth says with put 1000 for a height, put 1000 and then for pixels, or just make sure it says pixels over here and not inches 1000 inches. That would be a humongous project and then click OK, and that's going to open up this project that's 1000 by 1000 pixels. Great for posting on Facebook or on your blog's. Go to your documents and make sure that you've downloaded the project Practice files for this class and you'll see a few different options. But in Phil's photos, go down to block graphic, click and drag this into the white part of this document. It's going to open up this camera raw feature. This is the editor for camera photos, shot and raw mode, and we're going to cover all of this in excruciating but fun detail later on. But right now we're just going to make a couple quick adjustments. First, we're just going to bring up the contrast ago over here, where the sliders are dragged the contrast to the right about 2 30 or so 31. That's fine with the clarity. Slider dragged that up as well to about 25 with the vibrance dragged out up to about 20 and with the saturation as well. Up to about 10 that's it. And then click. OK, it's going to open up this layer. This photo in Photoshopped over here we see our layers panel, and if you don't see that, or if your arrangement looks a little bit different, we will be going over how to customize your workspace and the layout of everything in the windows later on, actually, in the next section of this course. But notice that we have this background white image, and then we have our blah graphic image. We need to make this blah graphic bigger. So what we can do is click this move tool right here. It's okay if we place file or don't place fall yet, let's just place the file first, and then let's click this move tool and then let's just click this corner and drag it up to make it bigger. You'll notice as I drag, it gets to be a little warped. It gets fat or skinny, so hold down the shift button while you increase the size and also hold down the option key . If you're on a Mac in the all key. If you're on a pc, see what happens. It starts to increase or decrease in size from the very center, not from just the side. When I'm holding shift, so increase it so it fills the entire with of this project and then just drag it down just a little bit. Okay, Now let's go back to our text tool and hit the place. But in when us Now it's placed in there. We're going to use our textile right here. Click that text button right there and then just click anywhere on our project. Up here, you have your text settings, Choose Helvetica board and 53 points is fine. Just call this best castles in Switzerland, See, as I type that it pops on. But it's centered. I want it. And I want to make this text a different color. So I'm just going to choose my move tool again. Move this text a little bit further in. I'm actually going to make this a little bit smaller, so I'm going to do the same thing. I'm going to click the corner holding, shifting option down on my Mac, shift an altar if you're on a PC going to decrease the size and then instead of pressing, apply or clicking the move tool and then apply. I'm just going to press return on my keyboard, which would be enter for those of you using a PC, I want to change the color of my text so I can just select it with my move tool. Then click this text tool and then go appear. It's white and we want to change the color. We can change the color just by dragging this around this color picker moving this slider up and down to choose a different color. Or we can pick a color that's actually in our picture already. So when I bring my mouse over here, you can see that have an eye dropper. And if I click on my image, it actually picks the color of the image. So maybe we want to pick something a little bit like a dark green. If we don't get the exact color we can then go back in the color picker, move it around to get something a little bit better. So this is pretty good. I'm gonna click OK, but it's a little bit hard because the mountains in the background kind of compete with the tax to see. So we're going to do something very cool. Go down here and click this button and it looks like 1/2 dark, half white circle and go to a solid color. Make sure that it's on white and then click. OK, this is a new color fill layer. This is getting actually pretty advanced. So this is kind of exciting. Move it below your text layer right here. So I just clicked and drag it below the text layer. Then click on this little box right here. Not on this box, but on this box to the right. Then go to your brush right here. This is a brush right here. We can change the size of the bus brush by going up here on this slider, clicking down on this drop down menu. You can see how big it is when you go back over your project. So get somewhere around maybe like 1000 pixels might be good. And then make sure that this color right here is black sea. This color right there make sure it's black. If it's not black, you can just click on it and then choose black. If it's white for some reason reversed, you can click on this double sided arrow button and it reverses those two foreground in the background. So make sure you have black and then paint on right here. Wow, Look at that. That is pretty cool. Let's switch it toe white. What's happening is as a paint black, the white part of this color fill lair disappears. I'm going to make it a little bit smaller. Then just paint white right here. Just something like that. Maybe switch it to black. I want this fade to be pretty nice and even just maybe whips a little bit too far. I'm gonna undo by pressing command Z on my keyboard Control Z if you're on a PC and let's go back. Is this just a game? This is just how it works With photo shop, you got to go back and forth and that looks pretty good. It's still a little bit too bright, though, so I'm going to select this color fill and then over here on under a pastie. I'm just gonna drop it. So now, around 65% or so it does help make the best castles in Switzerland text pop out, but we can still see some of the background, which is nice. I don't want it completely white. I can turn on and off this layer by pressing this little visibility. But in right here and you can see what it's doing. The last thing we're going to do is create a line. So over here we have our tools and we're going to go down to this rectangle tool. Hold it down, click and hold and choose line for the Phil. We're going to click the fill color right here. Click this color picker picker right here. Put your mouth over the green of the text so that we get that same color. Then we're going to leave the stroke the same. Just click and drag and hold shift down so that we create a perfectly straight line. See what happens. We create a line. It's a little bit thick, though, so what we can do Teoh quickly and easily make this a little bit thinner is go back to our move tool right here. We can zoom in on our project by actually first going to this magnification glass click right there to zoom in. It's a couple times. Go back to our move tool. Click the top of this layer it make sure you have shaped one selected click the top and dragged down. You see that this line becomes skinnier. Go back to our move toe. Apply that transformation. Select our zoom tool. Cool trick is while we have resumed tool up, we can press option on a Mac or on a PC and click to zoom out. Click to zoom in Option Click to zoom out. Let's duplicate this layer. We're going to show you some other ways to do Kate later on, but you can just right click Go to duplicate Layer. Select. Okay, now with the move tool. Just drag it up and again hold shift down so it locks it in place. So now if we take our zoom tool again, zoom out looking pretty darn good. So I'm happy with this. I hope you're happy with it, too. Let's save it. So just go up to file save Oz. Choose where you want to save it under four. Matt down here, change it from Photoshopped to J. Peg. Then choose the graphic title that you want. I'm just going to say blah graphic press return or hit. Okay. Now we have options for the equality for your J peg image. Put it all the way to maximum and click. OK, now, if we go back to our documents, go to our desktop or wherever you saved it and double click, you can see what we did. We actually make it. Made it a little bit better this time. I like how the Texan the lines are actually the same color. So that is how you create a blah graphic. I know for some of you, if you're completely brand new to Photoshop, this might have felt like quite a whirlwind going through this very quickly. And if it did, don't worry. It's completely okay. The rest of this chorus takes each of those elements that I had talked about and many, many more, and walks you through them a bit slower so that you can understand. Not only just click here, click here, click there, but you understand the background with why the purpose so that you can actually start to design your own graphics in a smart and professional way. Thank you so much for watching if you have any questions, as always, let me know, and I'll look forward to you to seeing in the rest of the class 3. Understanding the Interface: Let's dive right into understanding the photo shop interface. I know as a beginner how intimidating it can be. Toe open photo shop. There's so many buttons, text panels, Windows, things that you don't even know what they do. And sometimes it's just easier toe close it up and say, Hey, I'm just gonna learn it next time. I don't want you to have to do that. So we're gonna dive right in and walk through all of the basics that you need to know to navigate photo shop. The first thing you'll need to know how to do is open up an image. There are different ways to open an image, but my favorite way to do so is by going to a document. If you are opening up a photo, this is just find your photo on your computer. I'm using a Mac, so this is in the finder, or you can look in your documents on a Windows computer and all of these photos that I have right here. I'm going to be using throughout this class, and you can download them in the lesson where you can download all of the resource is for this class in the first section. So to open any of these images in Photoshopped one of the easiest ways is by right clicking and saying open with Adobe Photoshopped I'm using Creative Cloud version 2015.5 This is version 17.0 point one. This version just open up or just was released. And you see, if I click open with photo shop than it brings in this image into photo shop, we're going to be looking at different ways to create a new Photoshopped project that has a specific size for whatever project you want later on. But now I just want to go over the basic interface of photo shop starting from the top. You have your file menus up here, you have all your options, fours opening up a new project, importing projects, exporting projects, saving images. All these things were going to be going over the ones that you need to know throughout this course. This is just like your standard menu. In any other application, you just hover over the top image top text and the menu pops down on the left. This is your toolbar thes air. All of the tools that you have available for editing or modifying your images, you can hover over it, and if you hover over it long enough, the actual text of what this tool is shows up, so you can see if I hover over this tool right here, it says. Lasso tool. Another thing to know is that all of these have multiple options for the tool. If I click and hold, you can see that there are multiple options in this little tool menu. So if I click and hold one of these tools, for example, I have the rectangle dealer marquee tool, the elliptical marquee tool, the single row marquee tool, lots of different rules. And then you just hover over and select the tool that you want again. We're going to be going over these tools later on. But that's just how you get to the tools beneath this top one down here. Going around counterclockwise, you have the percentage of your view. So right now we're viewing this image at 25%. If we want a zoom in weaken, type in the number, just select this text down here for the number. Just type in the number that you want to zoom into or zoom out. There's other ways we consume in, in and Out, and we're going to learn that later. Working our way around to this right side. These are all panels now. I'm using the default set up that photo shop comes with, and you can choose the set up by going upto essentials right here. And you can see other types of setups which rearranges this work work place so that it might have different editing options, different tools, different panels. You see, there is a three D graphics and Web motion painting photography, so these air different setups. We're just going to be working with the essentials right now and using the default setting . So if you're opening up, photo shopped for the very first time. This is how your panels should be set up. You have different panels. That's what these windows are called, and sometimes there are tabs that you can go through, so this allows us to see multiple different windows or panels and have it organized. Some of these were going to be moving around. Some of them will be getting rid of, and we're going to be customizing these with the panels that we use most often next to this big panel window. You have these other panels that pop up and open. If you click on them right here, we're going to be customizing this again with the tools and we can move all these things around, and we'll be doing that in the next lesson. Up here at the top are all of the modifiers to the tools. So if you see, I have clicked the brush tool, you can use these tools to modify whatever tool you have so clicking on this first drop down, you have the size, the hardness of a brush. Do you have different modes? Brush, pencil block. You have the opacity of the brush flow. Thes things will cover when we go over the different tools. But if you click on any of these, you can see that it changes the different options for adjusting the tool that you are using . Then, of course, right here in the middle of this is your photo shop project. This is the photo that we opened up. You have these rulers on the top and on the left side thes help you if you're trying to align things. See, it goes from 0 to 14 inches right here, and that's the with and then on the left, zero to about nine and 1/3 inches. And you can use these to align things. We can use this new guide that appears in the middle toe. Help us do that and we can do that Same from the top, dragging things down. Say we want to make a line right here just so that we can use this as a guide to put text up here or whatever. These are things that we can add. And to get rid of these, you can just click and drag them off of the screen. Or you can go up to view and clear guides. There's a lot more things that were going to be covering in the interface, and the way that this course works is that I want you to learn as we go. I'm not going to spend too much time just going over every single option and telling you what that tool does. We're going to actually be creating projects and learning as we go, and by the end of the course, you'll know all of the different things that any beginner or really advanced Photoshopped user uses on a day to day basis. And then you'll also know how to navigate and find the different options. If you need something more advanced. Thanks so much for watching if you have any questions about the interface. If you're a little bit confused, let me know. Send me a message or a comment in the next lesson. All show you how to customise and rearrange this workspace. 4. Customizing Your Workspace and Panels: in this video will be learning how to rearrange and customize our workspace. This is specifically for these panels Over here on the right side, you notice in the last lesson how you can see different panels behind some of them. They're hiding, but they're here available for us to use. But some of these we don't use. And there are others that I want to add to my workspace that I use a lot when designing and editing photos in photo shop to rearrange and move panels. What you can do is literally click and drag and move out your panel. So say I just click and drag the library out here. I can leave it there, or I can add it somewhere else. I can add it to anywhere, really, on the workspace when I have it hovering and I'm clicking and dragging and holding it and say, I have it and you see that blue line pop up. That's where if I let go, it pops into place. So say I want to put libraries above this adjustments and style panel. I can just click and drag it and hold it until this entire bar is blue and then drop. If I want to put it back within this panel or say I want to put it in this top panel, I can just click and drag it until the entire panel is highlighted in blue and drop it. And I can rearrange these panels the order of them just by clicking and dragging to the left. If I want to get rid of this panel, what I can do is drag it out here and click the X button or another thing we can do, which is what I'll show you with this styles panel, which I don't use really, ever. I can just right click any of these panels and close it, so it's not there anymore. Here's another one that I don't want to use the device preview so I can right. Click this and close it. If I want to reopen any of those panels or find new panels to open up, I can go to window. Then here between three D and tool presets, thes air, all the panels that you could open up. One panel that I use all the time is the character panel, and you notice when I click the character panel. It opens up right here in this sort of toolbar right here. If I want to move these panels over here to the right side with these big windows, I can just click and drag it over here and now. Character will always be open if I want, and I can also do that with paragraph and put it there. So I do use character and paragraph a lot. But when I'm editing photos, I don't use them all of the time, so I will just move it and leave it in this tool area right here. And so if I want both of them back in this tool area right here, I can click the 2nd 1 and I can either put it below the character panel, which means when I open character, it's an individual panel and the paragraph is an individual panel. But if I want character and paragraph to be both in this window when I open it up, I can click and drag the paragraph and add it to this window right here, so hover over the character panel that I just put their when both the top and the bottom are highlighted Blue. I can drop it in there and now you see there together. And if I click character or paragraph, they're both in there. If I drag paragraph to the left and front of character, that becomes this top icon right here and when it's closed, paragraph is at the top characters at the bottom, but I like character being at the top. I can also rearrange the size of these panels. The swatches on the colors are nice, but I like having this layers panel right here being larger. We're going to go over the layers panel and it completely complete section because it's so big and there's a lot of things that you have to do and learn about the layers panel. But basically, this is where our different layers will be. Layers for editing photos or layers for adding shapes, adding multiple photos, adding texts. These will all show up in this layers panel, so I wanted to be quite big. Another window that I might want to add for editing photos is the hissed a gram, so they click hissed a gram. It adds it to this bar, but I'm gonna want it to be right up here at the very top of my big windows and the hissed a gram is going to come in handy when I am editing photos and I also brings up the navigator, which I'm going to add right there, too. Say you have this set up and you want to save it so that you could come back to this set up for whatever reason. Maybe someone else uses your computer and they used photo shop and they mess it up. Or maybe this is a specific set up that you want to use when you are editing photos or designing a graphic, you can save this workspace by clicking up here on the right, where it says essentials. Just click this new workspace button right here. This opens up a window where you can rename it. So say I call this fills photo editing, then click save, and now this appears as the workspace. You can get to it here, or you can go up to window workspace and find the different work spaces that you've saved, depending on what type of project you're working on. So that's how you customize your workspace in your panels. If you have any questions, let me know. In the next lesson, we're going to be creating a new Photoshopped project from scratch, which is the very first hep to creating your own photo shop project. Thanks so much for watching and will soon that lesson. 5. Creating a New Photoshop Project: in this lesson, we're going to be creating a new photo shop project and learning about the different settings you must understand when doing so when you open up photo shopped for the first time. You're not going to see this list of projects that I have right here. These air projects that I have worked on in photo shop that are on my computer that are saved, that I can go and open ups, and it's great because it has the most recent project. So if I do have something like a YouTube thumbnail project that I work on constantly every week or so, when I post new YouTube video, it pops open right here, and I can just reopen it. But if we want to create a new project, or if you're completely new to photo shop in your opening up this for the first time, just click this new button. This opens up a new window that has the options for creating your project. The first thing is the name, so let's just call this Photoshopped Project or Photoshopped Course you can name it, whatever you want, and then the next thing is Thebes document type. Now the document type. You can customize it or create one of the used one of the templates that they have available. See, for example, under photo. You have different options, So if you click one of these document types, it has different sizes. So down here, if you drop down any of these menus just by clicking them, it has different options. Say you have a portrait photo that you want the vertical portrait size of a five by seven, and this isn't inches. You can choose that option, and below it matches the different options that you have for this template. You can then customize it if you want, but these are the typical templates that you can use. Say you're doing something for your typical paper. US size. 8.5 inches wide by 11 inches tall. These are the templates that come with photo shop, but for a lot of us, we're going to be creating a custom template or a custom project, depending on what it ISS. If we're creating a design for the Web, maybe we're editing our profile image or doing a blah graphic. Thes things are meant to be different sizes and Usually you have to have a size in mind in the beginning, when you're creating your design before you start designing it, rather than just go custom and just do any size. So you have to know what size you want to create. In the beginning, for example, say we're creating a profile image. Most profile images are square images, and we know that the pixels are around 1000 by 1000. It continues to increase as screen resolutions do increase, but we set our with and our height first. Now you can choose how it's represented in inches, but we're going to use pixels, which is typical for online and computer graphics or photos. We do it in pixels in the best way. I can't explain what a pixel is is by comparing it to your screen resolution. You've probably heard before that an HD video is 1920 by 10 80 pixels. This is the size of a HD video. Or maybe this is the resolution of the screen of your computer or your phone, or even your TV pixels are a way to represent distance. So here we have a with of 2500 and 50 pixels by 3300 pixels. If we wanted to be a square of 1000 by 1000 pixels, we can just type in 1000 by 1000. You can also do any other say we're creating Ah YouTube thumbnail. We can you do a YouTube thumb now of 12 80 by 7 20? Now these air just numbers that I have off the top of my head because I've created projects so many times. But you might need to look up online to find out exactly how many pixels do you need. What's the size for whatever project your you're doing? So let's just go back to 1000 by 1000 pixels. This will be a square image. The next thing is the resolution. The way that we understand this with photo shop is this option right here pixels per inch or P p I. It set up right now with a resolution of 300 which is your standard print pixels per inch. And really, what this means is, when you are printing something, it has 300 pixels per inch of that document you're creating. The higher the resolution, the more pixels per inch the finer detail it will be. So a resolution of one pixel per inch will look very blurry because literally only one color can be within that inch, So every square inch of your document will be one color with 300. That means there's lots and lots of little dots, little pixels in that inch, and that creates more definition and sharper edges for screen images. For your Web for video for online viewing, it's recommended to use 72 pixels per inch, and in between, you can do something like 1 50 This is great for is also good for printing and also higher quality images online for us. We're just going to use 72. Since this is a profile image for online viewing, the next option is the color mode. You have a few. You have RG bcm y que grayscale bit map lab color. We're just basically gonna understand our G P and C M y que R G B is the basic photo shop. Computer graphics color cm like a is more for printing, so if you know you are going to be printing your images, you can use C. M. Y que which stands for a sigh in magenta, yellow and black. Those are the colors of your printer, But if you are just creating something to be viewed on screen on the inner Internet anywhere online, just use RGB, which is red, green, blue even for printing things at home. RGB is fine. This other option right here is a bit 16 bit or 32 bit. Now. I'm not gonna go into too much detail because it gets kind of confusing. But basically what this means is how many shades of a color can you have within your photo That you're editing a bit means that there are 256 shades of red, 256 shades of green, 256 shades of blue, which really means 16.8 million different colors that you can create or you who's in this project for most projects. You want to use eight bit if you are editing photos if you're out boating to the Web. If you're editing a lot of photos, just use a bit. When you increase it to 16 bit, it increases the file size and you can see that estimate of the file size over here in the bottom right of this window. So if I go from 16 bit to a bit, you see it go from 2.86 megabytes to 65.72 megabytes, and so just working with a smaller foul size will be good. And when you're actually taking photos with any camera, it's recording it or shooting that photo in eight bit, so there's really no reason to increase it to 16 bit. The only reason to increase your project to 16 bit is if you're doing a lot of Grady INTs using a lot of large brushes in your images, and these are things we can go over in the future. But really, you're not going to need to use that. You have 16 million colors with eight bit, and so you don't really need more colors than that for most projects. So just leave it at RGB color and eight bit down here. You have your background content. So for your project, if you don't have a full photo that's the full size of your project, then you can have a white background. You can choose to have a different background color if you want. Just by choosing background color, clicking on the white box right there and choosing the color that you want or a transparent background say you're creating a graphic that just has text or images that cover part of the part of your project, and this is going to be layered on to something else. Later. For example, you can actually use Photoshopped to create titles that you then put in a video, and you want that background to be transparent. That's when you would choose transparent. But we're just going to create white right now down here in the advanced settings, there are some options if you are using color profiles and you want to match certain types of projects. So if you're editing videos and you're using a specific type of camera, or if you have a specific screen that you're creating a project for, you can use those. But we don't really need to use any of those just used the RGB standard one that's there that's perfect for 99.999% of projects that you'll ever dio, and then the same thing for the pixel aspect ratio. There's different options if you're creating projects for different size screens but just used square pixels and then you click, OK, that opens up this project. And now we have this 1000 by 1000 pixel square image with a white background. You see, here in the layer panel down on the right that we have this white background that was a lot . But I hope that this really helps you understand how do open up photo shop and create a new project for really any type of graphic or photo that you want to edit. Thank you for watching, and we'll see you in the next lesson. 6. Placing Photos into Your Project: Now that we know how to create a new project, we need to know how to place a photo within this project. The easiest way to do it is by going to your finder or your documents and literally just clicking and dragging your photo into the project. So what I can do is just click and drag this profile pic, which you can use in the stock photos folder that is, you downloaded earlier in the course. And what happens is it drops it into this project, and it has this bounding box on the right and left side. It's kind of in limbo right now. It's waiting for you to move it around or place it. We're gonna go over more of the tools in the next lesson, but the main tool you're going to be using right now is just your select tool, which allows you to click and move your images so I can literally just click. Move this around and you'll notice that when I move it around to certain parts of my project, thes pinkish purple lines pop up. These are guide that helped me know if my image is aligned with the project if it's got this pink line in the middle going vertically, that means that the graphic or the photo that I have selected and I'm moving around is in the vertical center of my project. And same if there's this verdict, this horizontal pink line that pops up right there, that means that I'm in the horizontal center. So if I want this project perfectly centered, this is where I would let it go. And then when I'm happy with the position, I can press the return key on my keyboard. So now this image is in my project, and I can then go back and add other images. Say I have a graphic. So have the subscribe button. I'm not gonna I wouldn't really do this in a project with this guy's old this guy with the beard face. But if I want to drop another graphic or image, I can then just drop another graphic. Not to resize this. I can just click the edge any of these little blocks of on the edge of this bounding box and drag in or out. You'll notice that if I drag her out, though, the aspect the ratio of the with toe height gets really funky. It starts to get really squished vertically or horizontally to make sure that I'm not squishing it, and it maintains the same aspect that I imported it at. I can just hold these shift key. If I'm holding the shift key while a click and drag it locks it to that aspect ratio. Another thing you can do is hold the option and shift. He's down if you're on a Mac or the Ault and shift keys. If you're on a PC and what that does, is it resize? Is it from the very center of this graphic? So without the option or all key selected, it resize. Is it just from the corner that you selected are really the opposite corner that you selected from with the option or all it resize it from the center. Then, when I press the return key on my keyboard, it places it. I can also go back to this image and you see all these layers popping up in our layer panel . Now we have our photo and then our subscribe button, and I could choose this profile image and then resize this one to fill this entire screen. So I'm going to choose the corner. I'm going to hold shift so it doesn't get a weird aspect. And I'm also going toe hold option on my Mac too. Increase the size from the very center of this image and then I can click and move it around. So this guy's face isn't directly in the perfect center. So I'm not gonna have it perfectly centered in the image where these blue these pink lines pop up as guides. Gonna move it over to the right a little bit. Now to get rid of any layer, I can just select it by clicking it in the composition itself or in the project, Or select the layer over here on the right side and either press delete on your keyboard or this click this trash button here on the right is going to ask you delete the layer and I'm going to choose. Yes, Photo shop will open up photos in different ways, though, depending on what type of project it is. Here I have this removed background PSD file. This is already a Photoshopped file and if I simply double click this, it will open up this photo shop project, and I could just start editing it. If I do that with another type of image, say I have a J Peg image on a Mac, it's not going to open up in photo shop. It's going to open up in preview and on a windows that will open up in the default photo viewer on a Windows computer. Gonna close that out to open up this fireworks photo or any J pic photo right within photo shop. I can just right click and shoes Adobe, Photoshopped CC or whatever version you have. And then the last thing is, if you are shooting with a professional camera that shoots raw images, which are full quality images that aren't compressed for me, I have a canon camera and these air CR two files. Or, if you're using a Nikon there any F files, depending on the camera, they output as different types of raw files. Here I have a landscape photo that I shot in Switzerland. If I double click this CR two file, it will open up in photo shop, but it opens up in in editor window, and we're going to go over all of these editing options in a future lesson in the photo editing and photo shop section of this course. But if you do want to open this image right into a normal Photoshopped project, instead of doing any edits in this panel, we can just click this open image button. And that's going to open up that raw image into a Photoshopped project. And with any of those types of in images the landscape, the fireworks or the photo shop, we actually can just drag it into this project that we've created and then resize it and place the images however you want. So say we are creating a bunch of profile pictures, and I want to just place a bunch of different types of images, is going to open up all these images, resize them, put them in the middle of our project. And, of course, I would edit these photos just to make sure that the colors look good. But we can go through and actually work on multiple photos in one project, so ideally, you would always have your profile image editing project, and you can just reopen that project and add your new photo that you want to work on into that same project. I hope this is clear to you. If you have any questions, let me know. Otherwise we'll just see you in another lesson. 7. Selecting, Zooming, and Moving Around Your Project: in this video, I'm going to cover how to navigate the project that you've opened using your selection tool , a zoom tool and the hand tool. So right now on the left hand toolbar, you see that I have this move tool selected. Now, up here at the top. You have the different options for this move tool. And right now, I have auto select layer selected, and then the show transform controls Option. If I uncheck, this show can transform controls option. I don't see that bounding box around this image that I have selected. See how I turn that on and off. I don't really know when you would want to have that off, because I always like to see the edges of my image so that I can click and drag them to move them around or to resize If I don't have this auto select button selected and I try to select different layers on my project See, I still have the subscribe button. I can't select it just by clicking. I have to actually go over to my layer panel over here and select that layer before I can move it around or resize it and then go back and select. And then after you, after you do any changes of re sizing or moving layers around, you typically have to press the return key or the enter key on your keyboard to place and save those edits that you just made. And then if I want to go back to my image, I can't do that. I have to click my profile pic, But with this auto select button on, I can just go between the two layers or any layers that you have on your project. That's the first thing just moving around layers. Re sizing. Understand that you should have auto select and layer on and show transform controls checked. You might have to zoom in or zoom out of your project, and we learned in one of the earlier lessons that you can see the zoom percentage down here . Right now, we're at 66% If I goto 100% while that was 1000 if I could a 100%. This is the full quality of this image based off of the resolution of my monitor. If you have a higher monitor resolution monitor, this might actually look a little bit smaller or if you have a lower resolution, this might look even bigger if I put this at, let's say, 500. What you see is that this image starts to get pixelated, and that will happen if you're zoomed in anywhere further than 100. Another way to zoom in or zoom out is by using Zoom Tool, which is this magnifying glass right here. So if I click that and then click on my image, I can zoom into wherever I click. I can zoom out by choosing the minus magnification up here and clicking and clicking wherever, and it zooms out from where I click or what you can do. I went back to the zoom in but in, or what you can do is while you have the zoom in button selected, you can use the modifier key on your keyboard option or Ault. If you're on a PC, it's Ault. If you're on a Mac, it's option, and you see what happens when I do that. It brings up the minus or zoom out magnification tools so I can then just zoom out easily so I can just quickly zoom in zoom out without having to click this button up here. I also don't have to click and type in any numbers right here. Say I zoomed in right here to this guy's left eye, but I actually wanted to move around over to his ear. I can then use this move this hand tool, so by clicking the hand tool, I can actually move around the project. I'm not actually moving the image. I'm just moving around the project, and this might be more parent if I zoom out. So if I use this hand tool and I move it around, I'm not actually moving the image. It's just moving around the project, and this helps me get to other parts of the image toe edit or to do whatever. Now I quick and easy way to do this. Say I have my magnification tool selected. If I don't want to go over and click the hand tool and move around, I can just press the space bar on my keyboard and while holding that down, I have the hand tool open and then I can move around wherever I want. I can also do this when I have the select tool. I don't want to click and move this because this is actually moving the image itself. I just want to use the hand tool to move around. So just by pressing the space bar on your keyboard, you can actually click and drag and move around while that space bar is held down without moving the actual image. So these are just a couple of tools to get to. And these, of course, all have hot keys or shortcuts that I encourage you to play around with instead of a hand to get back to the move tool. The is a keyboard shortcut that you need to know. It's one that you'll move. Use most often if you have any of these tools. If you're using any of these tools, you can just press V to get back to your move. Tool Zoom tool is E. On your keyboard for Zoom so I could just go between the NZ very easily. If I want to just go straight to the hand tool, I can press H and now I'm locked into the hand tool until I go back to the move tool or to another tool. And if you want to know what the keyboard shortcuts are for? Any of these tools just hover over, and then the little window pop up has the title of that tool and then the letter or the key that you need to press for that keyboard shortcut. So this is a lesson that I hope will help you become more efficient with moving around your project, zooming in, zooming out. If you have any questions, let me know. Otherwise, we'll just you in another lesson. 8. Intro to the Layers Panel: Let's talk about the Layers panel, which is such an important part for anybody using Photoshopped design graphics or just to edit photos were going to be doing a lot in the Layers panel throughout this course. And it's something. When I opened up photo Shop and I started playing around the first time, I didn't really pay attention to the Layers panel, and it made the way that I edited photos and created graphics really funky and not the right way to do it. So understanding how this works is important, so I'm just going to give you a brief overview of what's going on here in the layers panel and then throughout the rest of the course. There will be other things that I don't cover in this video that you'll learn specifically for projects that will be covering and you'll learn all the basic things you need to know about the layers panel. So I'm gonna bring this out right here just so we can see it a little bit better. So what's going on here is we have our different layers. We kind of learned before that you can turn on and off layers and you can see that if I turn off this Number three and number two layer that the layers disappear and only the 1st 1 appears depending on which ones we have visible. We can change the order of layers. Think of them as layers on top of each other by dragging them down beneath the different layers so we can put three and two beneath one. Say we want to layer it 123 and this. You can really tell what happens when we move this around. So say we have layer one and we want to move it up. And then, if we want to move layer three down. Well, one thing we want to do and you might want to do when moving around layers is actually turned this auto select button off. You can see that if even if I select layer three and then I try to click in here and move it, it's auto. Selecting that number two layer because that's where I'm clicking. So turn that auto, select off, select your third layer or a layer below, and then just click and drag. And now, no matter where I click and drag, I'm selecting that third layer. Even if I'm trying to click that layer one, I can't select that unless I go over here, Select layer one and move it around. Or, if you do have the auto select layer open, you can click and shoes, and it does auto select. But if there is a layer below, it's kind of hard to get to it. For each of these layers, there's different properties. There's this drop downs that says Normal. This is the blending mode. We have a couple lessons specifically on that and then opacity. So with opacity, there's different ways to change so you can click down this drop down, and it brings up a slider that you can drag to the left or right to make it more opaque or less opaque. Or you can literally just click the word opacity and dragged to the left or right to drop or increase the opacity. Or you can click the number and type in a specific number and then press return on your keyboard. Now the easiest way is just to click and dry, so there's really no point in dropping down this slider to bring it open below the opacity in the bloody mode are some different lock options for locking the position or everything about the layer. So if you click this lock all but and you can't do anything to this layer, you can't add effects. You can't do anything. Just locking the position with this button will disable being able to move this layer, but you can still add effects and things like that. Over here on the right is the fill percentage. This is a little bit tricky to understand, but what I can do is just run through a quick example. So you know an easy way toe. Add a stroke to an object is just by double clicking, and this adds, opens up the layers style window. Then there's different layer styles, But I'm just going to click this stroke for now. You can set the stroke settings right here, just going to keep it that blue and select. Okay, and now you see that it's added this effect, which is the stroke, and you can turn on and off these effects by clicking the eyeball button right there. But now we can see what opacity verse filled us. So if I drop a pastie. What it's doing is dropping the opacity of the actual object content itself, which is that red rectangle with the number one. It's not dropping the opacity of the layer style that I added, or the effects that I added. Opacity, on the other hand, drops the opacity for everything. So if I drop this down to zero, it disappears. If I drop the fill down to zero on Lee, the inside goes down to zero on Lee, the content itself. So that's what Phil is now. To get rid of these layer styles, I'm just going to right click and say, clear layer styles for now, down below. Here we have some other buttons and options without any layers selected. The first few are disabled, but with them selected, you have effects so you can do things like Babylon and Boss at stroke. Basically, what I just went to you have layer mask another completely different topic. We'll talk about later, creating a new Phil or adjustment layer for this layer or grouping different objects. So one way to organize your layers panel. Let's say you have different objects that combine different elements. You can actually group them together, say I wanted to group all three of these objects together. I can just click this group button and that adds that Group one. I can double click and call this layers 133 or whatever and then just drag each of these layers or select multiple by clicking and then command clicking or control clicking. If you're on a PC, the layers that you want to move and dragging them into that group, then you can rearrange them in that group and you can close this down, turn on or off, and that affects the entire group. This is really important to understand, so that when you do have a project that has lots and lots of layers, then you can organize it properly. I think Adobe Photoshopped has the ability Teoh have thousands of layers. You would never really use that many, but it is there for an option, and obviously, if you had a project that had thousands of layers, a group like this would be really nice. The difference between grouping and what linking is which we'll talk about next is that within the group, we can still edit these layers individually. I'm going to get rid of this group by just selecting all of these layers by selecting the top one, holding down shift and then clicking the last one and dragging it outside of the group. And then I'm just going to select this group and delete it just by pressing the trash can or delete on my keyboard. If I select all of these layers or multiple layers, you see this link option pop up so without to slay reflected, you can't select link if I have two or more at this link option. And if I click that you see this little chain link appear now, whatever I do to either of these layers happens to both, so I can resize them. I can move them around. I can do anything, and it happens to both, So that might be helpful. If you're designing a logo or something that has multiple shapes or text on it, and you want to link them together, you could unlinked them by pressing the link button again. Down here at the bottom, you also have a creating new layer button. Now, when you create a new layer, you have to think of it as a transparent layer. There's nothing on this layer. So even if I turn it on and off, nothing is happening. Say I take my brush tool over here, and when my brush tool has is selected, you have your different modifying options so I can change the size and the hardness, though pastie the mode and I could also select the color. I can select the color by clicking this color down here where it's black and changing it to whatever color I want. And then when I brush onto this layer, this actually happens onto this layer one. Imagine this as a clear piece of glass at the beginning, and now we start to layer it, paint on its on that piece of glass, and we can turn it on and off. We can put it beneath different layers if we want. If we had had layer one selected and we have the brush selected if I try to paint for the first time, what happens is that it won't let me. I won't let me, because this layer is what it calls a smart object in a smart object is basically a vector object, which doesn't really help explain it to you if you're a beginner. But it's an object where I can resize it bigger or smaller, however much I want, and it won't become pixelated when I rast arise an object. Or if you have a photo that is rast arised. That means the resolution of that image is set. So if I increase or decrease the size of that image, then it's might get pixellated if I make it bigger. But you have to have images rasta rised or layers rasta rise if you want to paint on them. So I'm just going to select. Okay, don't worry if that's a little bit confusing. We're going to go over all these things, and you're gonna learn throughout this course, as we do different projects even better. But now we have this layer one. It's Rast arised, and if I paint onto this, it's actually painting on layer one. So now if I turn on and off layer one, you see that the paint is actually part of Layer one, and you can undo that last move by pressing commands E. On your keyboard. But you have to be careful about doing too many paints because if I do multiple strokes, I can only undo one stroke. There are ways to get rid of multiple things that you do to a layer in the history panel. So if you open up this history panel, which is right here, if you don't have it open, you can goto window history, history. But if I open that up, you see that this has a history of all the different things that I've done to this layer. So if I select his brush tool and delete, it gets rid of that last brushstroke, or what I can do is select any part of this history and go back to that state of the layer . So this is where it was a Rashed arise later, right when I it became rash arise. But before I start brushing or I can go back to before it was even a rast arise image back to when it was a smart object. And now I can go back and re sizes and it won't get pixelated. So hopefully you understand how the brush works and that really is for any of these tools or any effects. If you do it to a layer. It is stuck to that layer unless you are doing it to a new layer in between or on top, which is what we'll do for a lot of a faxes will create a new layer like this, and then we'll add something like an exposure adjustment or in saturation adjustments, and this effects layers beneath it. But before we get too deep into all of that, I think we're gonna leave it at that for now. The only other thing right here, which is something that I don't do too much. But right here at the top are ways to filter your layers so you can click this button on the left, and you can see that you can filter it by different types of aspects of that layer by the layer. Name mode attributes color kind. And then we can select these different things over here, like filter for pixel layers or filter by adjustment layer or text layer or shape layer, and we don't have any of those layers right now. We have smart objects, though, and you can select one and then you can turn it on or off with this. But on the rights hand side. If you don't want it on, you can just leave that as it is. This is really beneficial if you have a really big project with lots of layers, lots of tech, different text layers, different shape players adjustment layers and you want to find one of those layers quickly . But for those of us that are just getting started, you typically don't have to mess around with that. So I'm just gonna pop my layers panel right back into their in the next couple lessons will learn about some other ways that we can interact, edit multiple layers in our projects. 9. Using the Align Tools: in this lesson, we're learning about a lining layers. A cool thing within photo shop is that there are different tools to align layers perfectly . So here I have three layers with a circle and a Texan in. And you can actually open up this layer by going to the PSD files in the downloads for this class and opening up the alignment PSD so you can follow along. Now, if I select one of these, I can move it around. And now in Photoshopped Creative Cloud, it has these nice pink alignment lines that allow us to line it up with different layers depending on what that layers shape is. So you can see here if I put it right in the middle. It appears like this with three lines either vertically or her horizontally. There is an easier way to align objects and you can see here in our circles group. If that's not on, just turn on the circles group and open it up. If we select all three of these layers, we have number one on the left, number two in the middle, and number three on the right. There are these alignment buttons right here So this one first one alignment top edges so it brings up all of the layers to the very top. Most layer I'm gonna own. Do that by pressing command Z on my keyboard. If you're on a windows, that's just control Z. If you want to align to the middle of this, you can do align vertical center So what this will do? It will find the vertical center of this group, which is this little box right here in the bounding box that surrounds all these layers and press that button. One cool thing to know about that is if we move down this number two and then select all of them again and I'm just selecting all of them by selecting number one and then pressing shift on my keyboard and selecting the top one which selects all of them two and three. It will do the same thing if we do it again. So it aligns it to the center, not to the center object, but to the center of this group. And then with the bottom, it just lines it to the bottom one. Similarly, these ones aligns little left. Most thieve very center of this group or the right. Most of this group say, when we want to have them centered vertically, we can just press the Senate vertically, and then we can redistribute them in different ways so you can distribute the top edges so that the top edges are even or the center edges are even or the bottom edges are even now for these circles, it's the same for all of these options. But if the's circles were different sizes than choosing, these different options would look different. I'm just going to move these around just to see what these next options do. So if you have all of them selected and you do one of these vertical distribution options, it distributes it evenly. So there's the same amount of space between all the layers, so we can do that both for vertical and for the horizontal. And then if we want to align them in that layer, we can do that. Or we can align them vertically like that. And this is a really cool option to just quickly align objects. Multiple objects. If you open up this photo tab, you'll see that I have this Siegel image and Siegel text. So right now we have the Siegel text in the bottom, right? But if we select both objects and we just center it, then it centers to the image. So let's just resize this. So it's the full with and height of this composition and then say we want to align everything to the middle so we can just place this file just by moving it and then pressing Return on the keyboard, select both the Siegel in the text. Let's just horizontally and vertically align it now are Siegel text and are single image are exactly in the middle of this project, so that's a little bit about a lining layers with the lying tools. And while learning that we learned a little bit about how we organized groups in the layer panel, thanks for watching, and we'll see in the next lesson 10. Stacking, Copying, and Deleting Layers: Let's talk about stacking, copying and the leading layers. We kind of went over a couple of these tools or the different things you can do in previous lessons. But I wanted to dedicate one lesson to it, to show you the different ways and especially show you the keyboard shortcuts to do so. So here we have this project, little bit edited. We have are three ball Airs and then this text layer for the aligning layers text right there. So we learned before that you can literally just click and drag your different layers up or down to reorder them. And this is relatively easy when you just have a couple of layers. The keyboard shortcut to select and move a layer is by pressing control. If you're on a PC or command on a Mac, when you have one layer selected and then the right or left bracket button on your keyboard , you can see me. I'm pressing the right bracket and it's moving up, or the left bracket moves it down. I can even press the option key, and this doesn't move the layer up or down, but this moves thes selection of your layer so here I am just using the all Ault or option key and pressing right or left bracket so I can actually rearranged all of these layers. Just by using my keyboard, I can go to my first layer, move it down, holding command and then pressing left bracket. Then I could go up to my layer to using option on a Mac or all on a PC, Then go back to my command key and pressing left bracket again. So that's how you would rearrange layers. The next is copying your layers. One of the ways is by selecting the layer, dragging it over this new item button, which is one next to the trash can right there, and that creates a new layer, and we can then click and drag it over to the side. Another way is when you have a layer selected, you can just press the option or all key again. Option for Mac, all for PC, and you see that I have a double arrow pop up without the option could be selected is just one little arrow with the option. It's a double arrow, and then when I have a layer selected or click on any layer. I can click and drag, continue holding option and then let go of that clique, and that duplicates that layer the last way. And probably the most efficient way is with a direct copy keyboard shortcut. So with your layer selected, just press command J or Control J. If you're on a PC and that creates a new layer, as you can see there to delete any layer, you can select the layer just by selecting in the layer panel. Or, if you have the move tool with the auto select layer options selected, you can just select the layer delete. I mean to leave that other one and then just press daily on your keyboard so select, then delete on the keyboard. Or you can select and hit the trash can button or select and drag into the trash can down there. So that's a little bit more about stacking, copying and deleting layers in photo shop 11. Merging Layers: in this lesson, we're going to learn about merging layers and photo shop. And if you want to follow along, just go ahead to the Photoshopped Files folder in the downloads and open up this merging PSD file. Here we see we have different layers. We have our right. Stitches are left stitches and the ball outlined for this beautiful baseball that I designed right here. And then we have our text layer down here now to merge layers, meaning to combine these into one. It's relatively simple. What you can do is select multiple layers by just either selecting one and then control clicking the next one or command clicking if you're on a PC and selecting all of the ones that you want, or even de selecting them while you have control selected, the other weight ist quickly. Select multiple layers is to select the top or bottom layer and then shift. Click the top most or the bottom most layer in that selection or in that series of layers to select all of them. Then, to merge, you can right click and choose, merge layers or press this little button right here, which has the same options as a right click and choose Merge layers or you see here the keyboard shortcut control or command E. And then see what happens when I do that. All of the layers were merged down into one, and it keeps the name of that right. Stitches one which was the top layer. I'm going to undo that by pressing command Z on my controls. If you're on a PC, that is Control Z. There are a couple other options for merging layers. If you just select one and you do the same thing Command E. It is a merged down. If you right, click or go to this man. You see this merge down and what that does is it Merges it with the layer beneath it so you could pick the top one, impress command E to merge down and then command E again emerge down again. Now this brings up something interesting about undoing in photo shop. So if I want to undo this, I can press command Z. But if I try to undo one more time, it doesn't allow me to step backwards to a previous action that I did. If I just keep pressing, undo it just goes forward. Back, forward! Back to this last merge that I did to get back to where I was before with the layers separated. Aiken, go to my history panel right here, and then choose the part of the history where you wanted to go back to right here. I want it to be with the layer order. This is where all of these other layers were separated. So that is how you use the history panel to undo actions previous to the very last action that you just did. Okay. Another option is when you select multiple. You see this merge visible option. So, say, let me just make the text in the background, not visible. So now we have this transparent background which you see by the checkerboard gray and white squares. That means it's a transparent background. And then if I just click this button right here and say merged, visible or shift command E, it merges all of the visible layers into one. So now I can check these ones back on, and we have this ball where that is merged. I'm going to undo that. There's one more cool trick that I want to talk to you about. And that is, if you want to create a merged copy of multiple lay hairs. There is a great hockey for that. So say I want to select all these layers and I want to merge them all into one layer. But I also want to keep the individual layers, perhaps for editing layer later on, so that if I do want to change how those layers look or whatever, I can do that later on, you can press command option e were on a PC, control all t e and see what happens right there. It created a merged version of the ball and I can move this ball over to the right, and then we have the individual layers right here from before, and so that was command option E. So these are the different ways to merge layers, and you would merge layers win. You don't want to deal with multiple layers anymore, and you just want them to be one layer. Yes, you can group items. You can link them together like we learned before, but sometimes just merging them into one layer is the easiest in the cleanest way to go. Thanks so much for watching and we'll see you in the next lesson. 12. Using Layer Masks: in this tutorial, we're going to be learning how to use a layer mask, and we're going to be creating a project like this where you composite or add two images together. Blend them together in a cool way. So the first thing we want to do is t to open up this background image, which is the exposure dot any F image. So if you go to that image in your documents or your finder and say open in photo shop, Creative Cloud or whatever program you have, I quickly made some adjustments. Using camera raw, we're going to be covering how to use camera raw in a bit. But if it's not already like this, I decreased the exposure by negative 0.9 and I increase the contrast by 39 the vibrance by 23 then just click open images and you can do those things by sliding up these sliders like so then just opened that image, and that's going to open up a new Photoshopped project with this image as the background. The next thing we're going to do is find this dodge and burn photo, which is right here, and I'm just going to click and drag and drop this into this project and the same thing. I made a few adjustments to this. It doesn't really matter for this lesson if you'd make these adjustments or not, but I did drop the exposure to negative 0.55 I increased the contrast to 36. The highlights. I increased to 62 and I left the vibrance at zero, although maybe will boost it a little bit just to match the vibrance of the other photo and then just click OK, and it will open up this photo in here, and it covers the complete photo. Now we're going to learn how to use the layer mask tool. So once we place this image just by pressing, enter or return on your keyboard, you can see that this layer mass but in is now available. So with any of these layers selected, we can just click that layer mass button, or you can drag layer into that layer mask button. And what happens is you see this little white box pop up right here. In layman's terms, what this is saying is that wherever there is white, we're going to show this image. Wherever there is black in this little box right here, we're not going to show this image. And the way we actually get rid of or add black or white is by painting it on. So we can go to our brush tool over here by selecting the brush or by pressing be on our keyboard, which is the keyboard shortcut for brush. You can adjust the settings of your brush by going up here, going to size and increasing or decreasing. You can increase or decrease the hardness, which is basically the edge of the brush. I typically leave it pretty soft. I don't want it to have a sharp edge, or the other way to do it is with a keyboard shortcut. If you're on a Mac, you can press the control option button. And then if you click and drag to the left or right, you can see the diameter of the brush increasing or decreasing on a PC or windows keyboard . You press the windows or start button, and then also Ault so that windows Ault button windows and all button and then click and drag to the left or right, and you can see as I drag left or right, the diameter increases or decreases. If I drag up or down. The hardness of the brush goes up to 100% or down, so it gets harder or softer. This is a key shortcut that you want to learn. This will save so much time. So now we have our brush that we want and we literally paint on white or black. You can see here that we have our foreground and background colors right here. We have white right here, and then black is the backup color. To swap those weaken, Just press X on our keyboard or press this little button right here with the double arrows that switches the foreground and the background colors. So if we want to erase some of this image, we want to paint black. Now, while I do this, pay attention to what happens over here in this little white box right there. As I paint on here, Black is painting on over here so I can just go around here sometimes, depending on how big your computer is. It takes a little while to load and then say I painted a little bit too much off of Isabel's head. This is my beautiful wife. Wedding photos from our own wedding. I can go switchback, toe white. I'm just pressing X on my keyboard Switchback Dwight, and paint some white on here. I can go back to my move tool Aiken Press V on my keyboard to get that tool or click the button up here. And then I could increase the size of this. I thought I'd be cool to have this photo where you just see the front and the back of my wives wife's dress. And then I after I resize and positioning, I press return or enter on your keyboard, and then I could press be again to bring back my brush, and I can start painting on because I don't want to see any of my shoulder. Maybe I want it to be a little bit of a bigger brush with a little bit less hardness to make sure that this thing is very soft. It's not too hard, really kind of just flows gently into the other photo. So this is how you use layer Mass to delete portions of an image we're going to be using layer Mass for a lot of other cool effects to add adjustment layers to just parts of an image. For example, we can use this layer mass to just make a part of an image black and white, or make just part of an image more contrast, ID or sharp or anything like that, and we're going to learn how to do that in a future lesson. But for now, just play around with using the layer mask option with different images to combine them together. And you can use the images that I use here to create this kind of image right here. One thing to note, though, is you have to make sure that you have this box selected right here. If you select this box right here and then you try to paint on, it's not going to let you. You have to make sure that you select this little box and it's highlighted right here. The layer mass box. Okay, thanks so much for watching and we'll see you in another lesson. 13. Create a Non-Destructive Vignette: in this lesson. We are putting what we've learned into practice, and I want you to follow along and do this. You can follow along with this image that is in the folder of and yet bowl, or you can do one with your own photos. And if you do one with your own photos, please post it to the course of that. We can check it out. So go ahead and open up Vignette bowl in photo shop, creative cloud or whatever version of photo shop you're using. And now we have this bull photo as a background. We're going to create a non destructive and yet meaning that the vignette is not burned into this image, which is what you typically do with photos when you are editing them in light room or even using the camera raw filter, which will be going over in another section of this course. It's not technically lutely burned in. You can still edit it in those programs, but with a nondestructive been yet in photo shop, I'm going to show you what that means right now. The first thing we're going to do is create a new later, so just press this new layer button, Then we're going to use this elliptical mark, he tool. So this is a selection tool that we haven't really used before, so just click and hold down the selection tool. If you're on the rectangle and drop down to the elliptical tool now with your mouths, go to the center of this photo, just about here and then on a Mac press the option key. We're on a windows, oppressed the all key and click and drag. What that does is it creates this elliptical shape selection from the middle or where you clicked. And then I'm just going to use the up and down arrow keys on my keyboard to move this selection around just a little bit. We want to fill in this outside of the selection with black or really with whatever color you want your vignette to be. But I'm going to choose black, and I have black selected right here to fill in a selection. What you can do is just press option delete or if you're on a PC, all to delete. But you see what happens is it fills in the actual center of the circle, not the outside, so I'm going to undo that. Just pressing command Z, I'm going to go up to select and in verse or press shift command I or shift control I if you're on a PC and what that does is it shows now that I have the outside selected. So now when I press option delete, it creates a hard vignette on the outside edge. Now, to kind of undo this selection or just to get outside of this selection option, I'm just going to click right in the middle. And now we don't have the outline selected, and I'm just gonna go back to my move tool. I'm going to double click right here where it says layer one and just called Has been yet. Typically, vignettes are a little bit blurred. I don't really like the hard edge, so I'm going to go up to filter, blur and gala gin blur. Now, if I move this module over here, I can see what a gadget blur does to this layer. It blurs it out, making the edge of this circle a little bit softer. So I'm gonna select OK, I like that. I'm going to drop the opacity just a little bit because I don't want it to be so dark, even down to something like 42 and that's pretty good. But maybe I want to move the bull image just a little bit. And this is where the non destructive part of this vignette works. Really well, I'm gonna increase this toe 100% just so you can see to make this background a layer that can be moved, you can do a couple things. One is just drag it into the new layers option. Then you can just like the background and delete it. Or you can just double click the background layer to rename it and then select the name and press OK and it becomes a layer that you can move Now. I can actually take this layer, resize it, move it around. So that is Maurin the vignette or in the placement of the men yet that I want now this non destructive and yet means that the vignette stays where it is. I can move the background wherever I want In the vignette, Stay still against selective in Yet now, after placing the background bull image by pressing return on my keyboard and drop the opacity. What's not of the ball but of even yet down something like that. And if I turn on and off the vignette, you can really see the difference of what this does to this image. It really draws in your attention to whatever is in the inside of your Irvine yet, and that's why you use vignettes to draw the viewers attention to something. Now you don't want to use vignettes for every image I used to do this I eat was in love with vignettes. I did it for almost every single image that I ever shot. But now I only use it for specific photos where it really, really does help draw the the viewers attention to whatever I have shot. Sometimes I like just having a non vignette ID image without the dark edges. But this is how you create a non destructive. And yet and then hey, check out this. If I go to any of my other photos, I drop it in here and I put it beneath. Let me just increase the size first place it, then put it beneath of, and yet now I can use this been yet on any type of image that I add to this project. Pretty cool, right? Thanks so much for watching time to take action. I want you to practice this, and once you have created a vignette, you can change the color. You don't have to use the black that we use for this man yet and then post your photos to the course. A quick way to change the color of this vignette is just to double click right here on this image right there of the vignette, go down to color overlay and select a different color. So maybe we want a white vignette. Select. Okay, so that's adding in effect for the color is not actually changing the color of the actual shape. But it's a quick way to have a white vignette in a dark vignette as options for your photos . Thanks so much for watching and we'll see you in another lesson. 14. The Eraser Tool and Why I Don't Use It: I want to quickly talk about a tool we haven't used yet, and that's the erase tool. Teoh easily make any photo that you open up as a layer and not the background. You could just click off of that unlock button you can also. I just undid that, and you can also just double click it, rename it and then select okay, and it becomes an actual layer. The tool that I want to show you is the erase tool, and it's over here, and the keyboard shortcut is E. So if I take that tool, I get a brush for my mouth. And if I go on here and start to click, it starts to erase this image and you can see you behind. It's transparent if I add a solid color. Or how about let's just add a Grady it. We haven't done that before. Let's go ahead and add ingredient and let's choose how we want our green toe look. So let's click down this drop down. Choose one of these Grady INTs. We can adjust the style of the radiant here if we want radio angled diamond reflected, and then you could adjust the scale of the grain in it. You wanna change the colors, you can double click in the Grady int and then double click thes colors right here to change the color of the Grady int. Let's just do this, Make a couple changes. There you go. So now we have that blue, pink orange, very funky. And if we move this down below the layer and then packed to the Roesler tool, which we were using, we can erase this image and see that Grady in behind. The problem with this and why we don't use that race tool is now this is burned into this photo. We don't want that to be burned into photo because now we can't go back and make changes if we we while we can undo this by pressing Command Z right now because that was the one thing we did. Or if we make a bunch of changes, add some layers. We could always go to the history and go back to this point where we didn't make any changes. But this is why we use layer mass. And so with layer mass, we learn before you can just create that layer mask, grab your brush instead of your eraser using black, we can erase this and then we can go back and we can paint things on. So it's nondestructive editing. It's nondestructive eraser if we want. So and I got to make sure I have a full white I'm using, like a gray weird. So now if I want to paint back on, I can do that. So this is nondestructive editing with the same results as the eraser. So I always suggest using a layer mask instead of that eraser tool. Thanks for watching, and we'll see in the next lesson. 15. Camera RAW Basic Adjustments: in this tutorial, we're going to start actually, editing photos, making them look better in Photoshopped. The first type photo we're going to edit in this section is a raw image. We talked about raw images before. I can't remember exactly what lesson it was. But basically raw images are UN compressed files that professional cameras like DSLR and muralist cameras can shoot cameras like point and shoot cameras. Or your smartphones actually compress images after you shoot them, so that they are actually smaller file sizes. And that doesn't give you as much room to edit, meaning, if you're photo is very, very bright, almost over exposed. Sometimes you can't make it perfectly exposed. On the other hand, a raw image. If it's very, very bright or very, very dark, there's more room to edit. You can bring up dark parts of your image. You can darken lighter part of your images without it looking weird in the folders. We have lots of raw images, but you can open up this exposure dot any F. I'll just double click that or right click and open in photo shop. When you open a raw image, camera raw will pop open now I'm using the latest version of photo shop Creative Cloud. Yours might look a little bit different than this, but whether you're using an older version or not, the process of editing a raw images very similar up here on the top left are a bunch of tools. We're going to cover many of these throughout this lesson and future lessons. But first we're going to just dive right into editing your photo because that's what you want to do. And that's how I want this class to be. I do want to warn you that this lesson will be a little bit longer than some of the other ones because there is just so much that we have to cover. And even if I don't cover everything in too much detail, I'm going to be covering other specific aspects of camera raw in more project based lessons in the future. Or if there's anything that you want me to cover, Mawr and I don't just let me know, and I'll be happy to further explain or creating another lesson on it. So on the right, you have your different editing tab so you can click these different buttons right here in these go to different editing options. If you've edited with Adobe Light Room before this, thes editing tools will be very familiar to you. And these are the same kind of editing options you see in a lot of photo editors. Starting from the first tab of basic and going top to bottom, we have our white balance. Right now it's the white balance is set as shot. That's how I shot the photo. If I want to change the white balance, I can use one of these drop down menus. And this this photo is actually the white balance is really good. But if it was off and you knew the day was cloudy or we were inside were using a flash, you could just choose one of these presets, and it should fix the actual white balance of your film. So if I choose daylight, which this was, it changes a little bit, and it actually makes it a little bit blue. And so I don't like that. Sometimes it doesn't work perfectly if I choose, auto makes it a little bit too warm. If I choose cloudy, it'll make it a little bit more blue from there and I actually like that. I'm just gonna leave it as shot The other way to edit. Why balances with the sliders so we can make the temperature of a photo more cool by sliding to the left or more warm by sliding to the right. This is a wedding photo that we shot of my wife and high. My photographer will shot it, and it was a cool photo. I like the composition because it's a little bit different. It's of our chests and you see our Buddha near and our our flower bouquet and just the details. It's not about us is not about our faces about the details. So if we want to add a little bit of style to this, maybe we do. You wanna write it up a little bit? The next slider is tint. Sometimes your images will look a little bit greenish or pinkish or magenta. Really, that's what this color is. You might have to use this to fix that. One other way to get perfect White balance is with this white balance tool up here. If we select this white balance eyedropper, then come to our page. You want to find something in your image that is white Orel, a neutral color. So like a gray or a white. If your image doesn't have a gray or white object in it, you're going to have to use the sliders or the drop down menu over here. But there's lots of white in this image, specifically Isabel's dress, and I'll just click on there, and it barely did anything. But if you click there, you see that the temperature increases just a bit. And what that does with this toy automatically makes the image the whites of this image pure white. And then it balances the rest according to what is white in your image, the low white balance. We have our exposure sliders. So we have an overall exposure slider that increases or decreases the entire exposure of everything in this image. And as you can see, I can go down or up to make it really bright. If you want to reset any of these adjustments, just double click this little marker in the slider, and it will go back to zero. You can also hover your mouse over the slider and press down on your keyboard down and up to move this ladder up and down. If you don't want to click and move the slider or you can just click in here and type in a number. Now let's take a moment to talk more about exposure. You see up here, this is your hissed. A gram in this hissed a gram shows what parts of your image are bright and what parts of your image are dark over here on the right. These are the brights on the left. Those are your darks. If I drop the exposure, you see this hissed, a gram changed, and most of these colors go over to the dark parts. We want our image to have exposure from basically the bottom to the top. That's typically what a good photo looks like, especially when you have actual dark parts of your photo. If you're taking a picture of the sky or of a white, sandy beast beach, you're not going to have dark parts of your image. But if you have a photo like this, where there are some darks and the flowers darks on my suit and then some brights of the dress or the highlights in the hair. You should have a history ram that looks something like this where it goes from the bottom to the top. If we click on these icons right here in the top, left or top, right, This will give us an idea for where the highlights or the over exposed parts of our images are. So you can see if I dark in this those red parts go away. But if I put this back here, read parts. Start up here. If I go crazy with it, you get lots of red parts. I turned that off. Then you don't see them. If you turn it on, you see the red parts and that is telling us that thes parts are over exposed. We don't want overexposure, especially on our main subjects. Sometimes when you're taking a photo of with a son in it, or where there's a really bright reflection, you will have some overexposed part of your images. But if that's happening on your subjects phase or on their shirt, that's not good. And in the same thing goes for the darks. If we select the darks and we go down, this photo isn't very dark, but you can start to see a little bit of blue dots right here. Appear. So those blue dots are showing us where things are under exposed and really what this means , where it's whether it's under exposed or over exposed. It's saying that there's literally no information there. It's just too dark or too bright. There's no actual color. There's no detail. There's no definition. This is just a black hole for a white hole of nothingness, and we don't want that. We want it to be balanced. So that's just a good thing to know about how to use the hissed a gram. So with this photo, it is a little bit overexposed. And maybe that's a style that you kind of like for these wedding photos. I see a lot of people doing that, but to expose it really, normally I'm just gonna drop the overall exposure just down to about negative. One contrast is the next lighter. What contrast does is it makes the darks darker in the brights brighter. So if I slide to the right, that's what it's doing. It's making the darks darker, the brights brighter. You can see that it spreads out this hissed a gram as I slide to the right. If I slide to the left, it's doing the opposite. It's making the darks actually brighter and the brights darker. It makes the image look very flat neutral. The other thing that contrast does is with more contrast. The image becomes more saturated with less contrast. It becomes a little less saturated. So that's just something to know. When you add contrast, know that you're actually adding saturation to so for this image, I'm just going to add a little bit of contrast. We can also add contrast with these other sliders in adjust things in our image with these next four sliders. The highlights. Shadows. Whites and blacks sliders Just adjust the parts of the image that are this that are highlights. So if I adjust this letter, it's just adjusting the highlights. You can see on the shoulders and in my shirt right here. That's really what it's adjusting, and this is a good slider to use because you see, right here we have our highlights that are over exposed. We can drop down those highlights quite a bit so that really there's nothing over exposed in this image. and that's the power of shooting in raw. If we shot this as a J Peg image or a compressed image on our iPhone, you wouldn't be able to bring down those highlights and make them not overexposed anymore with the shadows. It's the same thing. We can adjust the shadows. Sometimes I typically like to just bring down the highlights and bring up the shot is a bit , which makes the details of the photo more apparent. You can see in the dark's a little bit to add a little bit more contrast to the really dark and really white parts of the photo. You can use thes sliders. So as I dropped down the blacks and increase the whites, you know, I might get a little bit of that over exposure again. So maybe I don't want to do that with the highlights. But dropping down the blacks can add a little bit of contrast. It makes the dark starker, and when it does that it makes the overall image look a little bit too dark for me. So I'm just gonna go up to my exposure using my up key on my era on my keyboard. I'm just going to bring this up to negative 0.50 that looks a lot better to me. So those are the different exposure sliders and contrast sliders. The next is clarity. What clarity does is it makes the edges of things in your photo more defined and more sharp in the ads. Contrast the edges. If you go to the left, it makes things blurry. You could see it really dramatically when you go all the way to the left. I don't like adding clarity toe a lot of images. I use clarity when I'm shooting landscape photos. Or if you want that hdr looking effect when you don't shoot an actual eight TR photo, you can add clarity to make it look with like that HDR effect, which is high dynamic range where everything is the right exposure. So for this, I'm just gonna add a little bit of clarity just to make things a little bit sharper. The last we have vibrance and saturation. Vibrance and saturation are similar. They're like cousins saturation. First off odds more color and makes colors throughout the entire photo brighter. But you can see this does not like it. If I slide all the way to the right. Our skin becomes orange. The colors of the plants don't look good, not good at all. To make your image black and white quickly, you can just drop all the saturation to negative 100. Vibrance, on the other hand, is more of a smart saturation. When you increase saturate vibrance, it increases the saturation of all colors except form or of the skin tone color. So the browns on the yellows and the reds. It doesn't increase the saturation of those colors as much, which is great for pictures like this, where we just want to increase the saturation of the greens and the in the bow tie and in the plans, but not of our skin itself. You can see if I decrease the vibrance. It decreases a lot of the colors except for these greens, but by increasing increases, the saturation of just the greens and not the rest of these colors. So virus is a good tool that I like to use a lot to make photos pop a little bit more. Instead of doing this all custom yourself, you can just click this auto button, and it does try to do things auto, and it does a pretty good job when I choose the auto option. I think my shirt is a little bit too bright. I like dropping down the highlights and the whites to make sure that they're exposed properly. These are tools that you will probably use for every photo that you open up in photo shop and in the camera raw module. We're going to go over the rest of these tabs in the future lessons. But I want to end it here because this was a long lesson and I want you to just go ahead in practice with this photo or practice with any photo that you have. That's the raw format. Thanks so much for watching, and we'll see in the next lesson. 16. Camera RAW Editing Tabs: we're back in camera raw, and we're going to move on to this next tap, which is the tone curve tab. The tone curve does similar things to what we did with these exposure sliders. So I'm actually going to reset these sliders to default with the tone curve. It's basically editing the same thing. But with this graph, you can click right on this graph and drag up and down to edit parts of your image on the left, you have your darks on the right. You have your brighter parts in the Parametric option. You actually have to use these sliders down here so you can just slide down the highlight. You can slide down the darks. You conspired down the shadows typically when you added a photo. You're looking for an s curve. You've probably heard this. An s curve is really a contrast of curve. You can kind of see I'll just do it really dramatically. But you see the shape of an ass right here. And that's what an S curve is. And the S curve is really adding contrast to your image. I was gonna reset all of these by double clicking them and then go to the point option. Now the point option is where we can literally just click right here and add and ask her. Ever change things right by clicking on the line itself? You can also change the channel of what you're editing. Right now we're editing the RGB channel, which is all of the colors of this image. If we want it at it, just the Reds weaken, bring up the Red Channel and bring up the Reds were dropped on the red with the with clicking on this graph again. So if we bring down if you saw if we brought up the red graph and we bring down the Reds, you just see a lot of greens and blues. So if we go to green and blue again and we drop down the greens, then it's really blue. And maybe if we want to just make it completely boo, we can just bring up the blue then. So that's one way to have fun with your images and come up with some different styles. So I'm going to go back to the original and just by selecting in the curve manure going back to a linear so add a little bit of contrasts just right here just so that it looks a little bit good. A little bit more contrast, e. Then I'll go back to my exposure, my basic adjustments and drop down the highlights just a bit to get a little bit closer to where we were before. Dropped on my whites, my blacks a little bit too. The next tab after the tone tab is the detail tab. There is sharpening and noise reduction. If you zoom into a photo a lot now, this photo is actually done shot during the day at a low I s O on your camera when you're shooting at night or shooting with a very high I s So you get a lot of noise. It's like digital grain and you can kind of see it right here, and you'll probably see it better on your computer if you open up this image. You Can you? I'm skipping over sharpening for a second, but you can use this noise reduction option to decrease that noise. So if I bring this up the luminant, you can see this noise kind of disappear. Everything gets a little bit kind of washed out and blurry, but when you zoom out, it actually looks really good. So to decrease noise, just go to the details tab. Good illuminates and drag up the luminous the detail. Contrast. Color, color, detail Smooth this. These are all things that adjust how the actual noise reduction works. But I tend just leave those how they are for most photos because it looks really good. Just with the luminous sharpening is another thing you can do. So let's zoom in here to Isabel's mouth. This photo is shot kind of far away from both me and Isabel. Things start to get a little bit blurry. Edges are a little bit soft. The details aren't us crisp, so I'm going to get rid of the noise reduction for us because that also makes things a little bit blurry. But with sharpening, we can actually increase the sharpness to make the edges of things a little bit more defined. You can play with the detail and the radius, which also adjust how the edge of things become more sharpened with the higher radius versus a lower radius. The higher rate is you can really see how it's trying to sharpen things. You see the little, it's adding a little bit of grain to make things look a little bit more sharp. The next tab is the HSE l gray Scale Tab. What this is is hue, saturation and luminous. All of these sliders at it, different parts of these images. With Hugh, you have your reds, oranges, yellows, all these sliders. And this will change the hue of these this specific color in this image. So say we take this green and we change the hue of the green. It's changing how the color of these leaves are. These leaves in the background are kind of yellow. So I'm gonna use this yellow slider and this can really show you what it does. Dry drying it to the right becomes more green, more bluish aqua going to the left. It makes it more red. The same idea goes for saturation. If we want to drop all of the saturation of all the greens, we can take this greens and the yellows and we can drop the saturation and it just leaves specific color. We could do the opposite and say we want to get rid of all color except for those greens so we can drop the reds weaken kind of dropped the yellows. There is a lot of yellow in those green, so we don't want to drop too much. Drop all of these. There's not really much purple or magenta in this image, but that leaves just one color. So that's a cool effect that you might want to do with some of your photos just to single out a specific color that you want to have saturated and then luminant. This is really cool. This adjust the exposure of a specific color. So say we want to bring up the exposure of just the greens. We can do that. It's hard to see, but if I drop it to the left all the way to the right, you can see it brings up the color of these greens. Same with the yellows that really effects that a lot. This is a very creative way to end it, just specific aspects of your photos. If we check this convert to grayscale image, it automatically makes everything black and white. The next tab is split toning. This allows you to edit the highlights and the shadows differently. so say we want to make the saturation of the highlights a lot more saturated and leave the saturation of the shadows. Then we can just raise the saturation of the highlights up here. If we do both, then everything is more saturated. This really works well with using this Hugh Option. Two. When you have the saturation slider to the right and you change the hue, it changes the hue of just that part of the image. Just the dark's. You can kind of create some really cool looks with this. I don't use this a lot, so I'm not going to go into too much depth. But you should play around with it just to see what it looks like now. Lens corrections. This is the next tab. Whenever you shoot with lens with most lenses, there is a little bit of distortion. It's not how your eye sees reality. There will be a little bit of a warp around the edges, so if I check that you can see what happens. It makes this look like it's actually bulging, but it's not really bulging. It's just flattening it out. Before, it was a little bit work and then the edges get a little bit brighter because a lot of lenses have sort of been yet, look, it darkens around the edges, especially with wide lenses. Most cameras are very smart. How days and the camera model the maker and the lens you're using is baked into the photo every photo that you take, and so when you bring it into photo shop, it knows exactly what lens you're using. But if you're using a different lines and it doesn't know, you can choose the make model and profile of your lens with these options right here, if you want to customize it, you can change the distortion right here. See, I bulges gets rid of that bulge or the vignette ing. You can make it darker or brighter, so those air custom ways to do it. So these air custom sliders for affecting the lens itself. I'm going to jump right into the effects tab so the effects have are adding some different effects to your images. If you're shooting a photo of a hazy landscape, this D Hayes letter will try to clarify and make the details come out of what is in the haze with the green You can add green if you want. If you I want to have that kind of style, you can change the size of the green, the roughness meaning the differentiation of the different green There is and then last we have our vignette ing and this is post crop vignette ing, meaning if we crop this photo, the vignette will still be there. So let me just add a vignette If I go all the way to the left. If we crop this image then to this inner part right here say the vignette would still be on this inner part. So the vignette is not attached to the full image. It will adjust wherever we crop the photo. So dragging to the left or right will create a darker or lighter than yet midpoint will make the roundness or the size of the vignette bigger or smaller. So if I dragged us all the way to the left, you can kind of see more. What's happening so smaller or bigger roundness is exactly that more circular or more square. So if I make the round is all the way to the left and the midpoint, all the way to the left. You get this more square than yet. Then feathering is. How much does the vignette feather all the way to the left? It's a hard line. All the way to the right is the most feathering you'll get. And then let me just change. This round is back to something in the middle. Something like this. The father a little bit less with highlights. What hot this highlight slider does is it allows highlights of the image to shine through. So if I drag it all the way to the right, you can see Isabel's arm is about address. The highlights of the image are shining through, whereas the darker parts of the image don't shine through anymore. And that's just a stylistic choice. If you want the highlights to show, sometimes I've been yet. It just looks weird. You can tell that it's unnatural. Vignettes come naturally with different lenses, and they're also there to help you focus the viewer's eye on whatever's in the center of that been yet. But sometimes it can just look unnatural, and maybe allowing the highlights to shine through can help with that. The next have is camera calibration just leave it at Adobe Standard. This next half is presets. So if you want to save this all the edits that we've done to this photo as a preset so that you can copy it and use it later on, you can click this new button and call this whatever preset you want preset one, you can choose which settings you want to save. So say we don't want the sharpening or the been getting to be part of this. We can uncheck. Those options will unchecked the split, toning the transport forum lens vignette ing, and we'll just leave the basic at its as part of the preset. We'll just click. OK, then Now if we go and open up another photo, we can just go to the presets tab and click on the preset, and it will add and apply that preset. All those that you made to that other photo does say I open up this next photo and we go to our presets. You can just click that preset and edits it, since both of these photos were shot at the same place and at the same time, we can choose that preset and quickly edit multiple photos that way. Those are all the tabs. I'm going to go over right now. In the next lesson, I'll just go over some of the very important options right up here. 17. Camera RAW Top Tools: I've open up another image. It's the castle image castle dot cr two image, and I want to show you how to use some of these other tools up here to edit this photo. The first thing I want to show you is the crop tool, so that when I click the crop tool, you get a crop option. Teoh, Click and hold this down. You see what your options are for cropping. You have normal, which allows you to crop any aspect, any size. And when you click and drag, it creates that size. If I want a specific aspect ratio, just click and hold and choose that aspect ratio or create a custom one. So say I want a very, very wide image than I would do 10 to 1 or something like that. That would create this size image that is 10 to 1 10 being the with one being the height, and you can always undo it by going to set original crop. But say I just choose 3 to 4, and I want to get in here on the castle a little bit. I can then click in the middle, moving around. I can resize this, I can rotate it if I want. I don't want to rotate it yet, though, because I want to show you how to do something cool with the next tool. And then when you're happy with your crop, just press the return key. You can always go back and re crop it by selecting the crop tool. The next tool I want to show you is the straight and tool. If I choose this, then I click and drag in my photo it will use. However, I click and drag to strain the photo the way you want to click and drag is you want to create a line along the horizon of your image or of whatever is straight in your image. You can see in this image that the castle is a little bit crooked. It's a little bit leaning to the right, it looks like. But if I draw this line along this castle wall, like so where the castle wall looks straight according to the line and let go, it will rotate the crop. You see that it just rotated the crop. Then, if I press enter, it rotates the image and crops it so that the image itself is straight before it was rotated. Now it's straight. Very cool options. So remember, just use this tool, click and drag along the actual horizon of the image. We have this transform tool, which can It is a kind of a funky tool. But once you open that, you get all these other options. Over here, you can kind of warp your image if you want to get super creative. Honestly, I don't really use this. The next two tools are spot removal and red eye removal. Red eye removal. This is where you shoot with a flash and you get that red eye flash. Look in people's eyes, that's you. Use that to remove it, and the spot removal will remove blemishes like pimples, her, any blemishes that you want to get rid of on someone's face or really anywhere in a photo. So I'll just show you what I would look like here. So say, we think that this window down here is a blemish begins change the size of our brush over here and then just click in that area. What happens is it then takes another part of this image and uses it to blend in that selection that you made before and makes it fix and removes that spot so I can then take in drag this green circle to an area where I wanted to take from so that it looks good. So if I take it up here in the trees, you can see that adds the trees. But I wanted to be in a part of the wall where there's not really anything going on where there's no window and then just press return on your keyboard. When you're done, you can play with the opacity of this spot healing brush, and you can see if I dry all toe the way to the left. You can see there's that window that we just got rid of under type. There is hell, and clone hell is kind of a smart way to do it. It takes this image in the green, and it blends it into the red with clone. It just takes this exact image that's in the green and copies it over there for most things . You'll want to use the heel option. Now if I go back, I haven't image with this castle without that window. But if I go back and click this spot brush of the hell brush, I can select this and deleted just by pressing delete on my keyboard. I'm going to skip these three really quickly and just quickly go over here is your rotate options. So if you want to rotate to the left or right, you have your preferences right there. I'm I leave these all the same and then we have these different adjustment brushes or adjustment options which allow us to edit a specific part of an image. The adjustment brush allows us to paint onto our image an area that we want to adjust. See, when I click this, I get this big brush. I can change the side of size of this brush by going down to the very bottom of these adjustment options over here and changing the size down here got the size feathering right there. And then you see here all these different options that are similar to the basic adjustments that we made in the previous lessons. I'm going to crank up the exposure so you can see what's happening when I brush on. So say I want to actually I'm gonna decreased. Exporters say I want to make the sky darker. I can literally just paint onto the sky this adjustment and then when I like, go let's get the whole sky. When I let go I can then go over to my sliders and edit so I can add it. Just the highlights of this. I can add it the whites I get at it. Everything that contrast to clarity, the sharpness, All for this spot that I just painted Teoh easily. See where you painted on? Just click this mask, but it down here And maybe you'll even want changes to something like red. So you can see where you painted and you can paint off by pressing the option key if you're on a Mac for the all key. If you're on a PC, you can see the brush options change. So if I press option, I want to increase the feathering. Maybe increased the size of a little bit. Actually, I take that back decrease the size, so I want to just paint off on the castle. Now it looks very dramatic because I'm seeing the mask, that pink mask. I'm going to uncheck that mosque in just a minute, just going to get rid of all of this. Just so that were editing the sky and I'm holding option down. Then when I released option, I get back to my other brush and I turn off mask. It looks a lot better now. Now it's just adjusting sky itself. Say you want to add a new brush, something separate than this one. I can choose this new button right here and now start brushing on So say, I want to choose all of this green stuff right here, and I want to boost the exposure and maybe ad saturation. I can do that just to the green down here, and I can turn on and off my mask to see where I painted. And then you see these little pin drops, and when I hover over the other one, you can see the mask pop up to delete one of these brushes that you did. Just select one and delete just pressing delete on your keyboard. Select Billy on your keyboard. Let's move on to these other options. We got our graduated filter and my radio filter. They're very similar, and what they do when I choose graduated filter. It's similar to the linear filter in light room. I'm going to reset all of my options over here. So just she changed his back to zero, and then I'll drop the exposure. Just click in drag in your image. What happens is on the green side of this edit or of these bars, you're adding the effects that you changed over on the right side sliders. And on the red side, this is just the normal image. So say, I want to just edit the top half of this image. I can just click and drag and let go, and I can rotate this by clicking the edge of one of these lines and drag me up or down. I could make it bigger or smaller. So the transition bigger or smaller, between the edited version and the non edited part of this image. Then again, I could just play with these settings over here, so this one might work better for just editing the bushes down here. So let's just move this whole thing by clicking the line in the center and dragging down. I'm going to reset the exposure to zero and then just increase the saturation, then increase the clarity so that we get lots more detail in the trees down below. When you're shooting landscapes, especially of trees and plants, where there's so many little things going on, increasing clarity tends to look really good. The last option is the radial filter. When I click and drag using the radio filter, what happens is a circle is created. I can move it around, resize it by clicking the center and clicking the edges and re sizing it. You can kind of see what happens right here. The outside of the circle is what's being edited. We can change that by clicking this outside vs inside button right here. It's using the settings that I used right before for the graduated filter. So this boost of clarity and boost of saturation So I'm just going to drop those drop those . This is another way you can actually create a cool vignette. So I'm just going to go outside again and then dropped exposure, maybe make this circle a little bit bigger. So now we have a cool vignette around this castle. You can do all these other edits as well. We want to make the outside of the circle super blues over green. Whatever. You can go crazy with this stuff, but basically it's doing the same thing. You're creating a circle and editing just part of the image. This is good, and I use this a lot, actually, when I'm editing faces of a group shot, so I'll create a little circle. Or I'll use the brush tool to just paint a little circle around someone's face and maybe boost the sharpness, boost the contrast, fix the exposure if their faces in the shade or something like that. That's really when I would use this tool. I used the graduated tool a lot when I want to edit a horizon shot. So when I have ah, really bright sky or dark ocean or something like that, and I just want to edit the top or the bottom of an image. So these are all the tools up here that you need to know right now, and in the next lesson, we're just going Teoh talk about what the next step is and how to save images directly from camera raw 18. Saving Images from Camera RAW: in this tutorial, we're going to learn. What do we do after we've edited a photo in Camera Rock? One quick thing I do want to show you that you will come in handy. Are these buttons right here that allow you to see the before and after of your edit. So clicking this button on the left it cycles through different views, where you can see the full image of the before and after you can see that I edited this a little bit. I'm at a lot of contrast, clarity and vibrance to it. I dropped the exposure of the clouds so that they have a little bit more definition. If I press it again, it's a split image president. One more time. It's the top bottom image and split image. Top bottom. There are a couple of things that we can do with this image. One is save it directly from camera raw. So if we click save image, it brings up this module with all of our different options for saving. I'm going to run through these quickly. Right now. We'll dive a little bit more deeper into saving images in the last section of the course on saving, and we'll cover more in depth all of these options, but the main ones you need to know our this 1st 1 destination. This is where you choose where you want to save it. So click select folder. Say you want to save to your desktop or wherever you just like that folder. The next is the naming. It uses a bunch of different options so you can save as the document name itself in different ways, all under case. Lower case all uppercase. You can use the date as the way you save an image. You can use thesis serial number of the image. I typically just will use the document name. The next is format. This is important. JPEG is a high quality, compressed version of a photo. This is great for sharing online. Great for printing. For most cases, tiff is a very, very high quality, very, very large file size, and this is really good for high quality prints. And so you typically only need to do this if someone tells you. Oh, I need a tiff image or a tiff version of this graphic or, if you're printing it out very large and then last is a photo shop file. The Photoshopped file is a file that you can use with other adobe products. So if you want to bring this photo into it'll be Premiere Pro for a video or something like that, you can use it as a Photoshopped file or save it as a Photoshopped file. But I would just use J Peg for 99% of your projects. You just want to save it as a J peg. I'm going to go down to quality. There are different ranges of quality. Low, medium, high maximum high is going to create a nice, sharp, clear image. Max is the perfect image, so you can kind of choose what you want. The higher the quality, that bigger the file size. So you have to be aware of that. Sometimes when you're uploading photos online, there's a file size limit, so you can either kind of guess and try to figure out how big the file is gonna be. Or you can just click this limit foul size button, too, and just type in the file size limit when you limit the file size to a certain amount of kilobytes. which is what this is. Then Photoshopped will save it at the maximum quality up to that file size, so that's kind of cool. If you have that file size limit that you need to get your photo under, say you're sending it via email and you can only attach a certain size of photo. This is what that is good for. I typically just leave the quality at nine or 10 and then I'm or aware of what image sizing is. Leave color space as adobe RGB eight bits. That's what we are editing this photo in and then with image sizing. If this is unchecked, it's just going to save the image how you shot it. So for this image, the default is 12.4 megapixels, and the size is 4071 pixels wide by 3053 pixels tall. Below you have your resolution, which is something we talked about earlier in the class where 72 is great for online viewing. For printing, I would use 1 50 to 300. These are the pixels per inch so that more pixels, the more detailed it will be. If you're saving this for showing online for your website for a specific social media site . Sometimes there's limits, and sometimes you just want the photo to be a little bit smaller. So when I'm creating a block image or putting up photos on my websites, I don't want them to be 4000 pixels. Those would be big files that take long for people to load if they have slow Internet. And so I wanted to limit the image with 2 1000 pixels. Now you got to be aware of what this with and height and then what the resize to fit options means. Right now, it's telling me that it's going to save it as 1000 by 750 pixels. So this is the limit for the with, and this is the limit for the height. If I just do limit for the short side, what happens is it will have the short side B 1000 pixels, and the long side will be, however much it is to fit the aspect ratio of that image. With this image, the short size is the height, and so the short side will be 1000 pixels, but the long side will be larger. 13 33. I usually just leave this as width and height and then adjust the with to whatever pixel with I want it to be. It's good to check this. Don't enlarge button if you're not sure what the original size of your images, which you can look at in your documents or finder when you inspect that element. But it's also a good thing just to click, just in case, because you don't want to enlarge an image, and if you do, it will make it blurry. But since the image that were editing here is a lot bigger than that 1000 by 1000 which you can see again by uncheck ing, the resize to fit there are a little bit shaded. But you see, it's 4000 by 3000 around there. It's not going to enlarge it, so I'm just gonna leave this at 1000. You have output sharpening right here, which will sharpen the image for screen for printing on glossy paper or map paper. I would use this sometimes if I am saving a picture for printing, but I usually don't do it for this screen. All adjust my sharpening in the actual settings over here before. And then Once you're happy with your settings, just click save. If you go to the place where you saved it, go to my desktop. I now have my castle image. It's 1000 pixels wide by 700 FIC d pixels tall to J. Peg image. By opening it up, it will open up in preview, and there is my high quality image. The file sizes very small, very easy to use 362 kilobytes after you say that it goes back to the camera. Raw editor. Another think unduly A is open this image in photo shop. So if I just click open image, it's going to open that actual image in photo shop. If I had clicked done that, it would close it. It would leave photo shop open, but then that camera raw editor would close. Now I have this in photo shop, and Aiken do any sorts of other edits right within Photoshopped that I want. Maybe I want to add graphics, text, shapes, anything like that, or use some of the other tools around here that will learn a lot more about in the future like selection and Dodge Burning Clone healing All those other things If you didn't do those things in the camera raw editor. Wow, we Zoe. This was a huge lesson. The past few lessons have been very, very full of all kinds of things very heavy, so I hope you've enjoyed them now. I think it's time for me to take a little bit of a break from recording and for you to take a break and practice editing on your own. So go through some of those images that I added to the folder and play around with them and then play around with the export settings as well. Thanks so much for watching, and we'll see in the next lesson. 19. Exercise: Edit a Travel Photo: in this lesson, I'm going to be showing you how to edit a photo from beginning to end physically. In the last few lessons, we learned the different tools that you can use in a photo shop. But now I'm going to walk through editing a photo as if this was actually me adding a photo . So if you want to follow long, you can open up the travel photo dot cr two file in photo shop. There is photo taken in Switzerland of this great fountain, and it's just a typical day in life kind of street shot. So the first thing I do when I start editing a photo is to crop it properly. So I'm gonna take the crop tool. I'm going to used the normal feature and then just drag over the entire image. And then I'm going to take the edge or the corner of the bounding box and drag it in while holding shift so that I get that perfect aspect ratio the same as the photo that I'm using . And then I'm just going to drag it around. Maybe I don't want to see the back of Isabel right here and then just move it something where she's in the center with this fountain, Maybe just go up a little bit. So we get some of this pink from these flowers and then press return. So just a little adjustment like that can help. Just gonna go back a little bit. Maybe even crop in a little bit more. Something maybe where she's in the bottom left corner might be a little bit more creative. Something like that's kind of fun. The next thing is going over here, play with the white balance. The white balance actually looks really good, so I'm not going to change that exposure. It feels a little bit under exposed, but that's because there's just a lot of dark parts of this image. So I brought up the exposure 2.4. Why? I'm really just gonna boost the shadows. So see the shadows and the hair, the dark parts of this fountain. These benches gonna boost those just a bit. See what happens when I boost the blacks and yeah, maybe boost. The Blash is blacks just a little bit. With the highlights, I'll bring up the whites and with the regular highlights, I'll just drop those down a little bit just to get a little bit more information from those highlights. Clarity all just boost up just a little bit. If I crank it up to the right, I see what it would do down to the left. Sometimes I'd like to do that just to go really far just to see what it would do. Honest, boosted to five to get a little bit of that sharpness. Then with vibrant, all play around with this. Go up to 10 making the blues of the sweater pinks right here in the greens. Really pop saturation on leave at zero. Since I edited the exposure here, I'm not going to play with the tone curve sharpening. It's already at 25 which is great for raw images. I could zoom in here, see if it needs to be sharpened at all. I don't think it does hs all gray scale. Not gonna do anything here either. Maybe what I can do is boost the saturation of just the magenta or the purples to try to get these pink flowers a little bit more pink. So if I drop it, you can see that I am actually affecting these pinks right here from all boost that a little bit. Probably boost her tongue right here. A little bit too split, toning Going to leave that lensed corrections. Let me just see what happens when I enable profile corrections. I like the actual little bit of warp I get from the lens. I'm just going to leave that d Hayes not going to do post crop and getting, I will add a little bit of been yet ing feather it just a little bit more. So vignette is that negative 17 midpoint will leave around 40 maybe add a little bit more of a vignette. Negative 33 feather up to around 75. I really like this softer feathering a lot more with the rest of these. I'm just going to leave those be. The only other thing I might do is use this brush adjustment brush to make Isabel right here a little bit brighter. So let me just make sure that all my settings are good. So I'm just going to use the saturation so I can see where I'm painting. Or I could just turn the mask on the reset. All of these using the massive and just paint on here right about there. Then turn off the mask. I want to reset the temperature. I don't want the temperature to be cooler. Recent the tit as well and just boost the exposure just a little bit, especially in the shadows. The bull, not the blacks too much. You can see if I start to do the blacks too much. Start to get a little bit of a faded look, and I don't want that. Something like that's pretty good. The more and more I crop I play with this photo, I feel like the crop is a little bit off. I feel like I have to either come and really close something like this or go out far. The cool thing about shooting with a raw in the raw mode and shooting with the camera that shoots at a big megapixels is that you can crop in, especially if you're just going to be using this photo online and you're not gonna be praying at out huge. So maybe what I'll do is see what happens when I rotate it like this. This is kind of a cool perspective, actually, like seeing the fountain down here with the water dropping down into the fountain. I like still seeing the plants right here, like seeing his bills, faith. And, of course, this little spout that says potable water open job. So let me just crop that, See what that looks like? That's kind of a cool photo. Maybe just make it a little bit bigger. So we get a little bit of shoulder right there, something like so And who knew that I was going to be actually making this a vertical photo ? I'm pretty happy with his photo, so I'm just going to save it. So I'm going to say, Save image, Going to save it to my desktop. J Peg quality 10 is good. Say, I'm going to post this online. I'm just going to limit the file size to 2000 kilobytes, which I think it's definitely going to do. So I'm just not going to use the quality. 10. I'll just use the 2000 kilobytes resized to fit. I'll do with of 1500. Resolution 1 50 is good. No output sharpening and just click save. I'm just going to go to my finder, go to my desktop, open up my travel photo. Awesome. Very cool photo. Very fun. And I would be happy to post this online printed output in a photo album or something else . So this was the whole process of editing a raw image. Let me know if you have any questions, and now it's time for you to take action and do one of your own. I think it's time for you to go out and take some photos or if you have some photos that you haven't played around, whether edited in the past, pick one of those edit them and posted the class so that we can see. Thanks for watching. 20. A Note about XMP Files: quick know about ex MP files that you might see as you start to edit your raw photos in photo shop in your folder, in your finder or documents after you use camera raw toe edit. You might see these ex MP files, which are kind of sidecar files. They're they're kind of tag along files with the actual image file and what these are is it tells Photoshopped or other programs that open up this file. What edits have already been made. So if I open up castle dot cr two, it's going to open up with the contrast. Exposure highlights all of the adjustments we've already made in a previous time in photo shop, and this even can be taken into other programs like Adobe Light Room. And those settings will be applied as well. So let's see what happens if I say cancel There I go back to my folder and I delete this castle file, and then I open up castle dot cr two. Again, you see that it opens up as the original image, so it's important to keep those Siart those ex MP files. If you want to continue to edit this photo if for some reason, you just want to start over from scratch. One quick way to do that is just by deleting the ex MP files. 21. Basic Image Adjustments: in this lesson, we're going to learn how to edit non raw images. So in the last section we learned how to and it files like the CR two files. I come from raw images from a canon DSLR or another professional type camera. Now we're going to learn how to edit images like J. Peg or PNG images that you might have shot with your camera, your point and shoot camera, your DSLR, your smartphone or you found online and you want to edit to open up a J peg. Him is just right. Click and choose open with photo Shop CC that will bring it open as a background file. The first thing we want to do is make sure that this is not the background file or background layer, so just double click it and rename it. So I opened up the moth image, and now when I rename and press return, I can now edit this image. I can resize it. I can do all sorts of things with it. In this lesson, I'm just going to go over some of the basic photo editing adjustments that you would typically make for any photo and when you have a layer selected or image selected, you confined them up in the image adjustments drop down menu, so the first few have to do with exposure and contrast. There are different ways to edit exposure, in contrast, but if we just like the brightness and contrast option, you can see this brings up two sliders for brightness and contrast. Increase the brightness letter. It brightens the image decrease. It darkens it. Contrast, sliding to the right odds. More contrast makes the dark starker on the brights brighter and decreasing. It makes the image more flat. You can uncheck the preview button to make sure you can see the before and after. Then, when you're happy with your adjustments, click OK, I'm going to just click, cancel, then go back to adjustments and levels levels is a different type of editing exposure. We have this hissed a gram right here that represents the exposure of our photo darks on the left. Highlights on the right. We can click these little Pentagon shapes right here at the bottom of this graph and slide to the right or left. If we take this one on the left and drag it to the right, it makes the image darker. What's happening is I'm making the darks darker. If I take this one on the right and bring it into the left, it's making the brights brighter. And then this middle one, it changes the mid tones. So the kind of the darks, but not the too dark blacks and the lighter parts of the image. So I could make those darker by sliding to the right or lighter by sliding to the left. This slider down here at the bottom for output levels, decreases the whites and increases the darks or the blacks of the image. So if I take this one on the right, it makes the whites the very bright highlights darker in this one. On the left, Breaks makes the darks brighter. If I go all the way to the right, you can see it makes the image white. And just like we learned in a previous lecture lesson with the tone curve, you have RGB red, green and blue options for the channel so we can choose just the Red Channel and add it just the reds of this image. I'm gonna choose, cancel and go back to image adjustments, curves. This is the same as the curve tool that we learned in the camera Raw settings. We can click right here in the graph and create a S curve toe. Add more contrast or we can do the opposite of an s curve to make it more of a flat image. You have the RGB red, green and blue channels and you can choose what to show in this graph to hide the hissed a gram, you can show the baseline or not, which is the's standard line that's already on there. You can click the points in the top, right? Most corner or the bottom left most corner to edit the highlights or to edit the whites or the blacks of this image. So dragging this up makes the image flatter. So we have a really sort of small, short as curve the images very flat. If we make it very tall, very contrast id saturated image. I'm going to click cancel just so we can see what the image looks like unedited. But to save any of those to the photo, you just click OK, a couple of the other options and again we have to make sure that we click the layer that we want to edit. Goto image adjustments We have vibrant hue, saturation, color, balance all of these work like the other edits. In Kameron, you open up hue saturation. You have Hugh, which adjust the hue. The basically the how the colors appear of this photo have to put in zero. To get back to normal, you can increase saturation. Lightness is overall brightness of the image, so there you can see there's lots of different ways to edit the same thing, basically, to make images brighter or darker. To add saturation or not, you also have a different vibrance, So vibrance is a smart way to add saturation. Vibrant will add saturation to greens and blues, and not so much to yellows and reds. While saturation, it makes the colors more vibrant for all colors. You can quickly make your image black and white by going toe adjustments black and white, and it automatically makes it a black and white image. One cool tool to look at is the photo filter effect. This is sort of a filter that we add, and they have different presets. They have different warming filters, cooling filters, color filters, cph filters the safety of the CPF. We change this density, which is automatically set at 25 we increase it to 100% if I turned the preview on and off . It's kind of hard to see with this image because this image is already so brownish reddish , but it makes it more of that CPF filter. Look, if we change this toe underwater, it's going to make it look blue. Or you can choose color, click the color box and find a specific color that you want to add. That kind of tint to the photo filter is a good way to add warmth through to cool down a photo that is too warm. So let me just show you what happens when I actually make and edit. So say I go here I go to curves. I add a little s curve to this to make it a little bit more contrast e. Then click OK, that ETA is now baked into this layer. I can't go back and go toe adjustments and then Goto curves again and edit that curve. I can go back and add another s curve to it and make it more contrast ID. But that's just multiplying the effect that I already added. We're gonna learn in the next lesson how to edit in a nondestructive way. Because now, if I go to image adjustments and say I want to make this a little bit cooler, I go to photo Filter. I picked one of these cooling filters. Maybe let's go for 82. Yeah, I like 82 a lot and then click. OK, now that's burned into this photo. I can go back to my history and undo those things and go to the make layer option, and that gets rid of the curves and the photo filter that I just did. Or I can go back to the curves, but I can't adjust thes individually anymore. We're gonna learn how to do that in the next lesson, but I think this was a good way just to see what the different options are for editing photos and quickly editing photos. Using these adjustments under the image menu 22. Non-Destructive Photo Editing: Now I'm going to teach you a way to edit your photos in a nondestructive way. There's lots of ways to do this. And if you watch another tutorial or listen to another person, they might have a different way to do this. And I'm gonna show you a couple different options for doing this. So the first thing I've opened up my moth image again, I'm going to convert it to just a normal layer. Let me teach you the right. Oh, hey, Toe edit photos in a nondestructive way, and that is with adjustments. So you have adjustments right here. You also have an adjustments window right here. So if you don't see that adjustments window, you can goto window adjustments. If you hover any over any of these icons, the title of that adjustment pops up right here. So if I click on one of these, say I click on brightness and contrast as an adjustment layer right here and then it pops open the properties of this adjustment layer up here. And if I increase the brightness increase, the contrast in this adjustment layer will affect anything below this layer. Any image. So now let's go and add another. Let zahd. How about the hue and saturation? So maybe we want to de saturate this just a little bit me. Let's just take it all the way. Make it a black in my image, and then let's add a photo filter. So that's kind of cool. We make it black and white. And then let's add that CBS filter. So now we have that black and white image with the CPF filter. Okay, so we can actually go back. We can turn these on and off just by clicking the view I have. All right there, next to any of these layers, you can combine them in different ways, or we can go back and edit them. Just double click this little half circle Icahn right there or click the Properties button . With this layer selected, we can go back and weaken. I had saturation again. We can go to the pregnancy and contrast and we can change the brightness and contrast, and this is really the best way to edit photos. When you're not using camera raw in photo shop, we can delete these filters. We can then go back and add filters. Remember you can find them here in the adjustments window or here on this menu right here. The cool thing about this is that, say we have another image that we want to add these same adjustments to If we go to our finder, we find another image. Say we have this image of a dragon fly and I drop it onto our project. And then I put it beneath these two layers. These two layers now have made adjustments the same type of adjustment for this layer right here. You can see if I turn it on and off. I'm going to go to the properties of saturation so that you can really see what's happening may decrease the saturation a little bit. Contrasts going to increase the contrast. Decrease the brightness a little bit. So now if I turn these on and off, you can see that it's happening to this layer, and it's the same effect added to both these layers. So that's how you edit photos in a nondestructive way. If you have any questions, let me know. Otherwise we'll just soon. Another lesson 23. Crop and Straighten Images: in this tutorial will learn how to crop and straight in photos right within Photoshopped. So go ahead and open up this photo that's called crop and straight in statues, double clicking it non going to skip through camera raw and just click open images so that it's open in photo shop to crop an image. And this goes for any image or any project, even if it's just a graphic project that you're creating and Photoshopped click this crop button right here. That brings up this bounding box that we can click the edges of click See Sides of See You can even make it bigger than the image that you have. And right now it's locked to the original aspect ratio because I see this right here that says original ratio. Say, I want to make this a square. Maybe I'm making this a photo for Instagram. I can make it a square, and I can just drag and drop the image of the crop to where I wanted to be. I can also use this straight and tool so the stray in tool is like a level, and the way you use it is by clicking it and then clicking on your image and dragging along the line that you want to be straight. You can see here in this image it looks like this statue is tilted to the left, and that's because I didn't take the photo straight. So if I just click along any of these lines of the statue, it's going to rotate it. And then when I'm happy with my crop and my leveling, I press return on my keyboard or enter, and now you can see that this photo is perfectly straight in in this image. If I go back to my move tool, you can see where the images and I cant increase or decrease. But if I decrease it, you can see that it's actually rotated. So I'm just holding down option shift to decrease the size from the center on a windows. It would be all shift and then clicking the corner and dragging down, so I'm just going to select right there. Sometimes Photoshopped zooms in our zoomed out. When you don't want it to get back to the zoom that you want, and that's how you use the crop and strain tool. You can always go back and edit the crop by going to crop again and changing the crop settings and re editing it or restraining it. But that's the basic way how to crop and straighten things for watching and we'll see you in another lesson. 24. The Selection Tools: in this lesson. We're going to be going over the selection tools in Photoshop. I'm going to be using this photo called Profile pic. So if you want to follow along, just go ahead and open that up in photo shop. Gonna zoom in just about 25% for me on my computer right now. 22% perfect. So in photo shop, you have a few different selection tools, and those come right beneath our move tool over on the left, we have our marquee tool. We've used that to creative and yet elliptical one. You also have the rectangle marquee tool. We have this lasso tool, and under there you have the polygon allow and magnetic lasso tool. And then we have the quick selection tool and the magic wand tool. I'm gonna walk through all three of these and show you what they dio. So the rectangular and all the Marquis tools basically is a selection. Where with the rectangle, I can just click and drag. It's a square or a rectangle. If you hit the shift key while you're dragging out, it's a perfect square. And when you have a selection, one of the things you can do is copy and paste. So, with his backgrounds selected, I can press command, see on my keyboard control, see if you're on a PC and then command V to paste Control V if you're on a PC and now I have this layer one. And if I uncheck this eyeball right here to make the background invisible or invisible, you have this layer one right here and now we can take this edit this, do anything we have with this selection. Same goes for the elliptical marquee tool, so I can select this area right here. I can then use the arrow keys on my keyboard to move it around. And you could hold, shift and hit the arrow keys to nudge this around a little bit further than if you're just pressing the arrow keys, then copy and paste. Maybe you just want a circular part of an image. Next we have the lasso tool. So the lasso tool is like drawing on a marquee, basically. So if I click and start dragging and holding down, I can create a custom shape. You got to make sure that you closed the shape, though, so you can't just press a line, you gotta close the shape. And now I can copy and paste. You can see that I have that selection pretty cool. The next one is the polygonal lasso tool this Instead of clicking and holding and dragging , you click once, and then you keep clicking and create a shape however you want, and then you have to click the start of the shape to close it. And then when the outline blinks and copy and paste it the magnetic loss. Oh tries to use the edges of things in your image to know where to go. So if I want to outline this man's face right here or his body, I can start here. I just click once and then start moving my mouth around his body and you can see as I move around, this lasso tool kind of magnetically goes on the edge of things. Sometimes it's not perfect, and we will be able to fix this later where the mistakes are. But it does a decent job, and it does better when the edges of things are much different. Colors menace. Go finish this quickly. So again you have to go all the way to the edges in again. You can just copy and paste and see, that's your selection. In the next lesson, we're gonna be talking about how you refined the edges and fix those kinds of mistakes. But now I just want to go through the different selection tools and how they work. The quick selection tool is a very cool tool, and the one that I actually used the most when I'm trying to make a selection of an object in a photo. So with the quick selection tool, you can change the size of the brush, similar to how we did before. You can go up to this. Drop down, change the size up here, the hardness as well. Or you can press control, option and drag left or right to increase or decrease the size. If you're on a Mac or Windows, Ault, and then just click where you want to make a selection. It tries to intelligently select what you are trying to select. So say I want just like this hat just gonna go around, use the smart tool and start clicking in areas where the hat is so you can see me kind of making the brush bigger and smaller, depending on where I want it to go. And that's pretty much the whole hat. Now I can copy and paste. So now I just have his hat very cool again. We're going to fix the left, the the edges in the next lesson. The last one is the magic one, and what this does is it tries to select all of a similar color. So if I select is blue over here, it's going to try to select all of the blue in his sweater. The problem is that there's so many shades of blue. This blue is very detailed. It doesn't work too well. We could change the tolerance and we go down to zero and select this. Then it's super hard to select a lot of colors because it's literally just picking that pixel that you clicked on, and it's trying to find other colors near it that are that exact color. If I go all the way 200 though, and click this, it selects a lot more. You see that it gets the shadows, the hair, the blue. So it's not just getting those blue, so you might have to play around with the tolerance going somewhere in the middle or so. The magic wand works really well when you're trying to select all lot of one color. So these are the different selection tools, and the next lesson will talk about how you improve the edges when you try to make a selection. 25. Refining the Edge: Let's try to remove this person from the background, and the way we're going to do that is by learning how to fix the edges. I'm going to use the quick selection tool, and I'm just going to start brushing on to this guy's face. So as you can see, it starts to get similar colors. As I go, I could make my brush bigger, and it's likes more. When it's a bigger brush, I can go smaller to try to get some of his hair. Hair is really hard to get with the quick selection tool. When you're trying to cut someone out from the background, Hair is always the hardest thing economic. Sri. I get beer down here, Alex pretty good. I can even go in here and say one thing we didn't talk about in the last episode. So say we want to get rid of something. We can go to our back to our selection tool. We can press option on our keyboard or all if you're on a PC or just press this minus button right here and subtract. So say we don't want some of that hair than we could subtract it, but I want that hair back there. That's just if you made a mistake, so say you're going and you actually accidentally selected something like this. Then you can go in with your selection tool and erase that part of the selection. Got it. Now let's learn how to fix the edge. We've already been using auto enhance without this selected, then it doesn't automatically try to enhance the edges and your selection. But now, in the latest version of Adobe Photo Shop CC, they have a new select and mask option. So when we select that this used to be similar to the refine edge tool, we can go down and see these different options. You have edge detection. And so to turn this on, we can use a smart radius. Just click the Smart Radius, and what it does is it tries to intelligently select what you are thinking slimming. Zoom in on here so we can see a little bit better. The background, you see, is a little bit transparent so you can see what we're selecting without the edge detection on or without the smart radius on, you see that some of his hair is not there and it doesn't look so good without any radius. It's kind of a funny edge. But if we turn on smart radius and increase this, you see that some of these just little wisps of hair gets elected. The smooth can also smooth the edges out a little bit. When you have an object with some edges that aren't that smooth, the smooth can help smooth it out. You can even add feathering if you want to the edges, which blurs out the edges. As you can see, it starts of blur out. But I'm not going to add too much fathering, maybe a pixel or two and, in contrast, uses the contrast of colors between this selection and what's next to it to know what to select. So see his hat is dark in the background. Is this light brown? And so by adding this contrast, so increasing the contrast, It knows that for this part, we want to select this darker part, uses the edges a little bit better, and then the shift edged tool can shift the edge of your selection in or out. If I go out a lot, let's see what that does. It takes a little bit of time to load. If we go in, it loses some of the edge that we've added. So I'm just going to leave this at zero. You can change the view up here to see the selection better. So if we wanted to be on white, we can select on White so we can see what our selection actually is. We can also see a black and white version to see kind of an inverse silhouette of what our selection is. If we have layers in the background, we could see what this would look like in the background. I like this new onion skin future. When you try to refine the edge, you can kind of see transparency in the background, but a little bit of what the image waas. So now if I select okay, we still have our selection and now it's time to copy and paste. So I'm just going to copy and paste. So now we have this portrait that has been removed from the background. We can add our own custom background if you have an image or of solid color. So if you click this button right here for the adjustments in click solid color. Say we want just white and select. Okay, now we have this white Phil layer, and I dragged this down below layer one, and we have a white backdrop. We can then go and add a quick vignette. Here's another way to Adam and yet that we didn't learn before. If you go to solid color, you add a black solid color. Then we click the layer mask and we use our brush tool with the black selected, we can create a custom. And yet, by painting out the white, we can create a custom vignette by painting out the black, then dropping the opacity of this. So that's kind of a cool, quick way to create a vignette. We can put this on top of our image or behind it. So that's how you were fined the edge using photo shops, new selection tool. So this is with the latest version of photo shop. If you look at it before it's called the refine edge tool, and when you make that selection and there will be a button up at the top, this is refined edge, and you go through basically the same options of shifting the edge, adding feather, adding contrast, are using a smart radius play around with it. Sometimes it works better than others. If you have detailed edges like hair, it's going to be a little bit tough to get that perfect selection. It's a lot easier when you have hard edges like this guy's hat, the edge of a shoulder, those kinds of things. Thanks for watching and we'll see you in the next lesson. 26. Select by Color Range: this lesson. We're going to learn how to make a selection based off of a color range. So here's this photo of the fireworks so you can open up that J peg image in photo shop. If you want to follow along to make a selection based off of color range, just go up to select color range. What happens? Is it automatically? I don't know why it set to skin tones. It might not be for you. I want to go up to sampled colors right here. You see this grayscale version of what is selected? If I change this selection preview to none, we see the original image and then right here in this image, we see what is selected. There are some presets so say I just want to select reds. Then I can just select reds and if I select okay, now all the reds air selected and I can copy and paste them. And now we have these red fireworks. So now if I add a black background so you can kind of see what's going on. Put that bullet neath here. You see, we just have the red part of the fireworks when we turn this one back on, but obviously there's a lot more colors in here. I want to get rid of the back black background and leave all of the colors in this image, the quick selection tool and the lasso tool in the marquee tool that was would be really hard to use for this image because it's too intricate. There's too many lines. There's too much black with in the fireworks, and that's why using the select color range option will be good. So I'm going to select color range. I could just do shadows, but I'm going to make it a little bit harder for ourselves. And so I'm going to say sampled colors. Now, with this button selected, we have our selector, and I can just click anywhere here where the black is, and it makes that selection. If I select one of these colors, you can see what happens on this right here. It looks like the firework is selected. I'm gonna make my selection preview Grey scales who? I can see this a little bit bigger and you can play with the fuzziness dropping down. The fuzziness basically drops down the tolerant soem or of the colors that aren't black are selected to say I drop this down just a little bit. If I made a mistake, I can use this plus or minus two. Subtract a specific color from my selection. So say I say none. And maybe I want to subtract just these blue right here. It's kind of hard because those lying there so small, let me just go back to my grayscale selection, and it did actually get rid of some of that blue. So now I have my black selected I actually want. I don't want my black selected. I want all of the rest of the color selected, so I'm going to click that invert button. So I'm just going to select. Okay, now and now, just the fireworks are selected, and if I copy and paste this and turn off the black background or the regular image, I see my fireworks. And now if I want, what I can do is let's just throw in another image. So let me paste this silhouette image on, put this on this project, resize it and put it beneath our fireworks, and then put our fireworks and shrink them down a little bit Put them over right here. Now is kind of funny, and it probably wouldn't look exactly like this, but we could play around with maybe a different image, and we could add these fireworks to another image. One thing that I did without knowing it is if I go back to select color range and I actually instead of selecting the black, the colored, I actually select the black. Then I select okay, and I copy and paste the black. This is pretty cool. Look what happens when I just turn on just that layer. So I put this over some other type of image. That's pretty cool. That's very, very cool. I like that a lot, so you can actually select the color and make kind of a cut out using that tool. 27. Remove Person from White Background: in this lesson, I'm going to show you how to remove a background from an image using this photo for my buddy Anthony. It's called removed background. So if you just double click that, that would actually open up this image in photo shop and a zoom in just a little bit. The easiest way to do this is with this quick selection tool, so I just choose the quick selection tool. I can adjust my brush size if I want, or I can use the control option key on my keyboard or windows all key. If you're on a PC to increase your decreases size and then just drag over his face, change the breast size to get his gear right here. The year and the background kind of blend in not just because of the colors, but also his face is perfectly and focused by his ears and his shirt there kind of out of focus, so it's kind of hard to get this selection perfect right here, so you have to kind of go in there with a smaller brush and make your selection. Then, when you're fairly happy with a selection, when you have all of the big, important parts of the face or the body selected, even if there's not, Ah, wisp of hair selected. That's okay. Click Selected Mask. If you're on a older version of photo shop, it's called Refined Edge. I can drag and drop this transparency slider right here so that I can actually see the background or have it completely transparent. It's completely transparent. That's kind of nice, so I can see what it looks like without any of the background. I'm going to check on the Smart Radius, but in in Photoshopped tries to intelligently fix the edges. So if there is a wisp of hair or something like that, it will make that selection, and I could increase or decrease this. If I increase it too much, it starts to get rid of some of the edge that I have, and I don't like that, so you gotta make sure that it's not going overboard. We can also use the smooth move, but in smooth will make your edges more smooth so they're not as jagged if there's not as many edges and there's not as many changes in directions, and that can be good. But sometimes for faces with hair. That's not a good option because you want to get those little details of the hairs feathering I can increase just a little bit contrast. I'm definitely going to use right here. There's a lot of contrast between, say, Anthony's beard and the background so increasing contrast will help Photoshopped No, to select the darker parts versus the latter parts. This looks pretty good. And so I'm just going to select. Okay. Now, with selection made, I'm just going to copy and paste it, impressing command. See? And then command V on my Mac control C Control V. If you're on a PC going to turn off my background and just add a solid color in the background, this is actually an image I'm using for a documentary about Anthony and I used some sort of color similar to this in the background. So you can see here what happened with the edge of Anthony right here. You can get this highlight. I don't like that little highlight right there, so I'm gonna go back and actually re edit this. But first I'm going to make this background layer a regular layer so that I could put it on top of this color layer. So now when I make this selection, it's going to quickly go over Anthony's face and shoulders right here. Make sure you get his ear. And now when I go to select and mask, I can see the actual background so I can see what that edge looks like. I think it was actually a lot to do with this smart radius that created that sort of highlighted edge. So maybe I'm just gonna decrease that a little bit. And I think feathering added a bit of that as well. And so if I do increase the fathering, what I'm also going to do is decrease or shift the edge negatively. So that decreases the edge, and it kind of shrinks this. So we're not going to get any of that white background that's kind of shining through the beard right here. I'm also going to increase the contrast and the feather just a little bit. I like that kind of selection a little bit better. There are still some little white spots, and we can deal with those in just a second, so I'm just gonna select okay, copy and paste. This and now we have this selection. So I'm going to just for the sake of right now, delete these other layers. I typically wouldn't do this, but I'm just going to delete those other layers to keep it clean. So to erase some of this white right here, I can use a layer mask, so I'm going to drag this down until layer mask. I'm going to zoom in here on this photo. I'm going to make sure I have the layer mask selected presby on the keyboard to bring up the brush, make the brush a lot smaller, using this slider up here or the control option keys on a Mac or Windows. All key. You've heard me say that a lot, and then just he out some of this kind of hard because I don't want the edge to be too smooth. And it might look a little bit smooth if I'm on the brush. So I'm gonna leave some of the detail trial, leave some of the wisps of hair, but really gets rid of some of those bigger white spots. Then seem with up in his hair right here. Get rid of this big one. I think there's one over here at the top, just a little bit. It is shaping his hair. It is so it looks a little bit more natural. Doesn't have that big white from the background. So you can see how you could go in here and do a lot to this image and spend a lot of time finally editing it, and it really depends on how much time you have and what you want to do with it. But that looks a lot better than that other master I had before. So that's how you would remove someone from the background using the quick selection tool using the refine edge tool or the selected mask tool that is in the new photo shop and then using a layer mass to get rid of some of the edge that you don't want. The great thing about the layer masses. I can go back and paint on what I just painted off because it is there. I just have to go in with my brush se increased my brush size, change this to white and paying it back on the non undo and you see what I've done. Thank you so much for watching. I think it's time for you to take action yourself and to go do this on your own photo. So take a photo of yourself and try removing the background. And when you have done that posted to the course page so that me and the rest of the students can check it out. Thanks for watching, and we'll see you next time. 28. Intro to Selective Exposure and Saturation Adjustments: in this lesson, we're going to learn about using the Dodge burn and sponge tools. These tools allow you to increase or decrease the exposure, and the saturation of a specific part of your image is similar to what we did with the adjustment brush in camera raw when you're editing raw images. But this is for images just right within Photoshop that aren't raw. So go ahead and open up this YouTube thumbnail in G. This is a photo of me as we rode some cool electric bikes in G A town on the north side of like LeMond or Lake Geneva in Switzerland, actually, is where my family, some of my family members live. And let's go ahead and choose these different tools to see what they do. If I select the Dodge Tool right here, which looks like a little pin drop right there, I have a brush now and you can brush on, and I'm just gonna do it really quickly. Brush on and it increases the sack, the exposure of whatever I brush on, and I undid that. But I can actually do that once and keep going. It will increase the exposure for every time you click and brush, I'm gonna go back to the start, just click history and then open to explain a little bit more up here we have our range that were affecting so you can affect the shadows, mid tones highlights and then the exposure adjustment. If you want to really crank up the exposure, crank this up to 100. See what happens now. It really brings up the exposure of whatever I paint on, but it changes toe highlights. It's only going to affect the highlights. So see, I'm painting on things and it's affecting the highlights more than the dark's gonna undo that seem with shadows. If I paint this on, I'm still painting on everything like I did before. But it's on Lee really affecting the darks, and this is cool when you have an image where maybe you shot a photo, a group photo. But some of the faces are in the shadows, and you want to bring up the exposure of just those shadows you can paint on just on the faces, and that will bring up those darks. I'm going to do the mid tones and just to show you exactly when I would do. This is I would paint on my face a little bit right there just to make my face popped just a little bit. The burn tool does the opposite. The burn tool decreases the exposure. So again you have your range. You have your exposure. I do 100%. It really darkens things. If I do 50% or less, it darkens just a little bit. So say I want toe actually darken the sky. Aiken. Just go paint up the sky right here. If I want to affect the sky even more, I can choose highlights and then paint the sky so I could make that look like even a more of a cloudy day. The Spanish tool is kind of a similar concept, but instead of affecting exposure, it affect saturation. So if I have my mode selected as de saturate my flow as 50% it's going to decrease the saturation. Right now, it has only vibrant selected, so it doesn't de saturate too much. It only minimizes the fully saturated bright colors. So if I do paint over my jacket, it doesn't really affect my jacket. But it's not really affecting the the other colors in this image, if I uncheck vibrance than it's going to actually affect all of the colors that I brush on . So I if I also increased the flow tha 100% and then paint on you can see that I can actually make the rest of the image de saturated and I'm going through. And I'm clicking and brushing on brushing on and then unclip King and then clicking again and brushing on maybe changing the brush size. Get in here. FTI saturate this background, these saturate around my head d saturate this green right here. Now there's different ways to do this, to make the background de saturated. But this is one of them. And maybe you want to actually saturate this sign. So that is, science stands out a little bit more how it was when I was actually there something like that. Okay, so that was a quick demonstration of what these tools do. But hopefully now you understand what they do, and you'll find times when they actually come in handy. And at the end of this lesson, I'll be showing you and walking through a specific photo where I would use these tools more 29. Non-Destructive Dodge and Burn: this lesson, I'm going to show you how to use the Dodge and burn technique in a nondestructive way. The thing about using the Dodge and Burn tool, which we used in the last lesson is that those edits that we make are baked into that layer that we are editing and so we can't undo them. We can't adjust them. It's baked into their And so you really don't want to use that Unless is a really quick fix , and you know that that's exactly what you want. So to do it and a nondestructive way, it's a kind of interesting work around. Open up that image again. The YouTube thumbnail on G Well, we want to do is create a new layer. So just click this new layer, but it and then we're going to fill this layer with a gray, and we're gonna fill it with 55% gray. If you go to your color swatches and you don't see the text, you probably have them as tiny some nails or small thumbnails. So just click that button in the top right and change it from small thumbnails to small list. And for now, I'm just going to get rid of the his Graham and the Navigator cause I don't need those. And now I can see more of my graze. Select the 55% gray just by clicking the 55% gray button, and that changes our color selection to 55% gray. You're on a Mac to fill this layer in with that grey we press option delete on a PC that would be Ault backspace. I'm going toe rename this layer dodge and burn just by double clicking and typing in the letters and pressing return on May keyword. And then I'm going to change the blending mode from normal to overlay. We haven't talked much about these blending modes, but we'll go over that in a complete section later on. The overlay of this gray layer does barely anything to this image. If you turn it on and off, you can see that it does actually increase the exposure a little bit. We could dive in here and precisely get the right gray. That doesn't do anything, but this should be fine for most images. Then what we're going to do is actually paint on different types of gray So if we use our brush tool right here, we're not using our dodge and burn tools were actually using our brush tool and just change the size and the hardness, depending on what you want. If we choose a gray, that is in the lower percentage say a 35% and then paint on here, we're getting a higher exposure. So we are increasing the exposure, basically dodging this image. If we choose a darker gray, maybe something like a 70% it's going to decrease the exposure of the part we are painting on so we can go forward and adjust this image how we want. So maybe all choose 50% gray, try to Brian and up my face just a little bit. Maybe even choose 45% gray pain that on now it's kind of hard to see here because this thumbnail so small. But I'm gonna choose large thumb now so you can see just a little bit better that on this Phil, we have the 50% gray and then we have our 55% great and then right here in this little spot where my face is, we have that 45% grade that I just painted on. Maybe we want to make the sky a little bit brighter as well. So let's just choose 35% gray, increase their brush size and paint on the sky. Maybe we want to make the great fines over here a little bit darker, so we'll choose 65% gray and go a little bit over there. The best part about this is it's non destructive to the photo. We can get rid of this right away if we want. We could change this and we can paint right over the gray that we had painted before with 55% gray and get it all back to normal if we wanted to. So this is nondestructive editing using an overlay layer. Thank you so much for watching. And if you have any questions, let me know 30. Exercise: Improve a Photo with Dodge and Burn: it's time to take what we've learned in the past couple of lessons and use dodge and burn techniques to improve an image. So this is gonna be a good tutorial where I walk through this entire image. This is a photo shot at our wedding of my beautiful bride, Isabel, from the back while she was getting ready. The first thing I'm going to do with this image is actually to crop this image a little bit in. I want to get rid of these blinds up here, so I'm just going to use my crop tool draggin while holding the shift key to keep the same aspect ratio and just center her right here. So then, if I press return on my keyboard, it locks that crop. So I'm gonna use the nondestructive burn and dodge technique we learned in the last lesson . And the first thing I'm going to do is create a new layer. And if you need to open this, this is the Dodge and burn down any of file. Then, with the new layer selected, I'm going to make sure that I have 55% selected over here in my swatches and then on my Mac Capraesque option delete on a PC. It would be Ault backspace. Then change the overlay or the blend mode from normal to overlay. And now, with my brush tool, I'm going to choose a 70% gray and see what that does. It's does darken a little bit of Isabella's back and shoulders, which is good, because I think this might be a little too much. But her dress, I think, needs to be a little bit darker, that we can see the details of her dress and of her hair making a little bit more contrast ID. So that looks pretty good. And then I'm gonna go in and maybe paint her back just a little bit of a lighter Grey. Maybe like a 45% gray. Get in here. Wow, that's too much way too much. Let's go back to 50. I'm a little bit too much. I'm just gonna go back to the 55% gray, which is what it was normally, Which is Pete over her back. Like so. Maybe her arms. See what that looks like? Just get more of her natural skin color. This is actually get away. If you want to change the skin tone, make it a little bit darker later. Something like That's pretty good. Then I'm actually gonna go in here and just white make sure the rest of this is completely white. So I'm gonna take something like a 30% gray being over here. I am getting a little bit of our arm right there, so I'm gonna have to go back and re paint her arm and looks like her hair. It is okay to have a little bit of that glow. Look, just get in here, paint this. There was some sort of detail right here. I think it was a branch outside or something. Just try 10% gray. Really? Just want to pain that out. I could just use a white paint brush. I wanted to completely white to paint that out. Me? That's what I should do with all the edges right here. Then go back down and get that 60% gray. He in her hair, actually. What was it before 70? Alex, like 70 was the one that I used before. Make sure we see the details of our earrings, her hair in her dress. Go back to the 55% gray for her arms. Oops, Gotta get in here a little bit detailed, more precise, the smaller brush, something like that. So if I turn this on and off, you can see it's very subtle right now. It's very subtle, but it looks pretty good. The next thing I would do would be to add an adjustment layer, maybe a curves adjustment layer and just add a little bit of contrast to this over the adjustments that I've already made. And that looks pretty darn good. Maybe bring up blocks just a little bit. I don't want to lose the details that are happening in her hair right there. Cool. So this was the effect I was going for. It is a pure white background with Herges in the middle, and you see the details of her dress, the details of her hair, and I really like it and you can see again. This is nondestructive. I can go back and edit this tweet. These things go in, make some finer details. Thanks so much for watching. I think it's time for you to take action to do a project yourself, either with this photo, another photo in the folder. Or just take a photo yourself and practice using the Dodge and Burn tool. Thanks a lot. We'll see in the next lessons. 31. The Clone Stamp Tool: In this tutorial, we're learning a new tool, the clone tool, which is a tool we can use to actually copy and paste part of an image, the image from one spot to the other. So I'm opening up this clone tool right here. I'm going to jazz, double click this here, create a layer and then duplicate this layer. Just so we have the backup player just so we can see what's going on. Once we made some changes, I'm going to zoom in just pressing Z on my keyboard, zooming in right here. This was a photo taken at a castle in Switzerland where my great grandfather was actually from. So you can see here, though. One thing that I don't like about this photo at all is that I knelt down on the ground and I got all this gravel right here on my knee is kind of awkward. If you're looking at the photo, you're like, What the heck is that? So we can use the clone tool the clones stamp tool, which is right here if you select it and bring your mouse over here. You see this big circle? So it's similar to a brush. I'm going to make the size smaller again, using the control option, dragging to the left or right way to do it on a Mac that's a windows ault and then dragging the left if you're on a PC, if I do anything. If I click, it says could not use the clone stamp because the area to clone has not been defined. You have the option click to do is find a source point. So what we have to do is pick a point that we want to copy onto this part. Basically, we want to get rid of this gravel right here, so I'm just gonna pick apart where my skin looks similar to that skin. So I'm going to say the skin right here may be right to the right of This is where I want a copy. So I'm going to option and you see the mouse changes. Click, all click. If you're on a PC and then if I move my mouse over, you see that it's kind of grabbing that skin that I just selected. Then if I paint or click, you can see that I have now painting over that gravel one thing to note, though, and I'm going to make a mistake if I just click and drag over toe left. Basically, what happens is it's repainting my knee. So it's starting from where I clicked and then it's repainting to that area. So to re select a different part of my skin that I want a copy, I'm just going to have to option click down here again. So option click and then just paint on. Dealing with edges is a little bit tricky. You have to kind of find a good edge on and move it up. So option click. Find an edge, move up option click, find an edge, move up, and sometimes you might have to play around with the other edges. So I'm just option clicking in the dark. Part of I think this is Isabel's jeans right now to get a good, solid edge. It's like one little part right here that looks a little funky. So I'm going to do that. No, if I turn this on and off, if you would have never seen my knee before, you would have never known that this gravel was here. And especially if I zoom out and then turn on and off. It just disappears. And that's the clone tool. Another fun way to use the clone tool, which is a little bit different. Is Teoh literally to duplicate something on the screen for purpose on purpose? I'm gonna show you how to use the huell brush in the next lesson, which is actually a better way toe fix blemishes like that on the knee, or pimples or things like that. But if I wanted to use the clone tool to be creative, what I could literally do is duplicate something like one of these towers. So say I zoom in here on this castle dot cr two file. Then I take the clone tool, make my brush a little bit bigger, good of brush settings. I wanted to be actually a little bit harder for the clone fresh. And then I option click on maybe just the top left of this tower, and then I go right here and paint down. You can see that I can actually create another tower and then if I want to add it over here , I can't just use the clone tool and start painting over here. I have to option click again and paint on a tower. Something like that. I have to go in here and fix a few things with the clone stamp tool in the keyboard. Shortcut for the clone stamp is ass on your keyboard. You just take some of these bushes. Sometimes it's good to take some other parts of the image that don't have as much have a little bit more detail, actually like plans or Bush is something where you can cover it up to make it look good. Kind of blend things together. So I didn't duplicate the original layer so I can see the before and after, which probably would have been a good idea. But I can go to history and go to the beginning where it's open and then go to the last clone stamp just to see the before and after. So this is something this is a tool that you can use to get more creative. Thanks for watching. In the next lesson, we'll learn how to use the healing brush 32. Healing Brushes: We're back with this image of the clone tool dot cr two file, and I renamed these layers clone stamp and original so we can see what the clone stamp looks like and what the original stamp look like on the original photo. I'm going to duplicate the original and put it on top of the clone stamp and rename this healing brush. I want to show you the difference between the clone stamp and what you can do with the healing brush. I'm going to zoom in here again to my knee, were fixing that gravel problem with my knee and then move right in the center with a hand tool. Then I'm going to select the spot healing brush Tool J on your keyboard right here. What this does is I can literally just paint over my knee right now. You can change the size and the hardness right there and see what happens when I paint over . Looks like I'm painting over a shadow. Just paint over the spot that you want to fix, and then you see that almost perfectly fit fixed it. We didn't quite fix it. It's taking other areas of this image and trying to automatically basically used a clone stamping technique to fix it. So I'm just gonna paint over here again. Keep painting a little bit. Looks pretty good. Looks pretty good. And there you have it a quick way to heal a part of the me. So here's the healing brush. Here is the clone stamp. Here's the original is the original healing brush, so it looks a little dark. It's a little funky. It's not perfect, but it's very unnoticeable. I'm going to make one more copy of the original just by dragging it into the new layer button dragging up here. And this time I'm going to use the healing brush tool. So if I double click this and call his healing brush, actually, this 1st 1 is the spot healing. Call that spot healing. Now with this healing brush layers selected and the healing brush tool selected. When we go over here for my knee, we're gonna pay on or try to paint on and it says Nope. Wait a second. You have to select what part you want to clone similar to the clone tool. So I'm going to slow option. Click right here to the right of where my selection is all cloak if you're on a PC and then the same thing. I'm just going to paint over here assed pain over like so and see what happens. It does the same thing as the clone tool, but it tries to blend it better. It's not a direct copy and paste. It's trying to blend it. So I'm gonna do it again Over here. This part is a little bit dark, and I don't like that. I was gonna try to take some of the lighter areas over here blended little. Try to blend in a little bit better. Something like that. So now if I zoom out can see the healing brush. Original healing brush Original Healing brush original. Let's do one more copy of the original. Just Command J will actually copy it. This time. I'm going to call it the Patch tool. So double click this and rename it hatch Tool. Then I'm going to zoom in right here with the zoom tool President J on my Z on my keyboard , then choosing the patch tool. See what happens. I'm going to outline this area right here. I'm going to click and drag and hold down and just go over this entire area. I think I have to do that one more time. I'm gonna undo and just make sure that I get the very edge of the gravel. Something like that. Now, this area is selected and what I can do is literally just click and dragon here and dragged to the left. You see what's happening? This little patch that I have selected is now being copied from wherever I am dragging this . So I'm just gonna move it to the right right here. And it tries to do it in a smart way. So it kind of blends it and do it a little bit more. Two splendid over there. So now I have that. So that is the patch tool and then the original passed to tool original Hatch tool. And then let's see the healing brush, the spot healing brush, clone stamp, then that reginal. So they all look a little bit different, and you can actually use these together in different ways. But in the end, I think any of these tools are a great way to remove as gravel in a future lesson. We're going to do a quick lesson on how to remove pimples with the spot healing brush. And it's a lot easier to do small things like a pimple than it is gravel on a knee. But now you know how to use these different tools, and you can kind of see what each of them does. Thanks for watching, and we'll see in the next lesson. 33. Removing Objects from the Background: in this lesson. I'm going to show you how to use the tools that we just talked about to remove. Something from the background hears this shot and you can find it by going to the folders and opening up back ground power lines image. I'm gonna get rid of these power lines that are in the background, which are a little bit distracting from this image. I'm just going to zoom in just a little bit and then I'm going to grab my clone stamp tool . This is a good image for using the clone stamp because this background is out of focus. It's kind of blurry and so duplicating this part of the trees. The out of the blurry background of the trees will look good for covering up these power lines. So I'm just going to option click up here something like this and just start painting on right here. You got to be aware of where the branches are and maybe where the branches are like coming here really close. Take your clone stamp tool, make it really small, and then just copy and paste where these branches are something like so same with down here copy and paste the branch so that it goes on top of the actual power line. Then again, using clone stamp tool to cover up all these power lines. You'll be careful if you go to the edge of the paint, the photo say, choose this right here. And then I start painting it on right here. Whoops. There's the edge of that photo. So you got to be aware of that when you're using this tool. I'm just going to go over and keep painting on, Sure that I'm completely covering up this power line. Sometimes using a bigger brush with more feathering actually looks good. So I'm just going to make this a little bit bigger, make the hardness not as hard. Go pick some down here like that. See, I got some of his hair right there, so I'm gonna just cover that up again. And another thing you can do is just cab. Go over it a couple times just to make sure that the pants pattern isn't just the same over and over. Okay. Over around his hair. You gotta be a little bit more precise getting there. I think so. And then also being aware of where there's other parts of the image. So here's this light coming in. So I gotta be aware to, you know, leave some of that light, but not just duplicated. If I zoom out here, I don't want it to look like a pattern, the hem creating. So it's looking pretty good. And this is just a pretty easy photo to remove the background because the background is so blurred out and there's a lot of stuff going on in the background. If this was a cleaner background without the Boca of the out of focus trees, it might be a little bit more difficult. But if we go to the original by going to our history tab and going to open, we're going to our lives clones Damn awesome. You know, you see this and this photo, I would say, is a lot better. You wish those power lines weren't there in the beginning, But sometimes you're dealing with taking a photo in a location where there's just something in the background that you can't get rid of while you're taking the photo. But here in a photo shop, he can do it. So that's how you remove a back something from the background with the clone stamp tool 34. Removing Wrinkles and Blemishes: Sometimes I feel like it's just easier to learn while seeing someone else actually work through a project. And so I'm gonna work through this image really quickly to remove blemishes and wrinkles. So I'm just gonna zoom in here, get closer to this. This is the profile pic Jay Peg that we've used before. We can zoom in here pretty far. This is that 100%. So say we want to get rid of this. Looks like a freckle right there. And I say all this and I do this with a grain of salt. I typically don't like retouching a lot of photos because I think people in their natural state are beautiful themselves, and I don't want to get rid of blemishes. But whenever I create Photoshopped, tutorials or lessons, I always get the question. How do I remove the blemishes? How do I get rid of pimples? So I'm gonna teach you how to do it. So I'm just going to double cook that layer, create a copy. Then I'm going to go over to my healing brush, my spot healing brush tool. Then I'm just going to click right there on that pimple. Bam! disappears easily, does it, Peters? So that's just a quick way to get rid of those pimples or anything like that. Now, if we want to get rid of some of these wrinkles, we can go in right here and just paint over some of those wrinkles. Now, we're not going to get rid of all of these guys wrinkles, and I don't think we should. But we can just use the spot healing brush to get rid of some of those wrinkles, especially under the eye right here. Might have to go over a few times so that it blends well. And this can also help, you know, brightened up underneath I where it can be a little bit darker. You may not want that. So here I'm getting rid of some of his wrinkles. Looking pretty good might come in here. Just do the same right about here to smooths out the skin just a little bit right there. You just do one passenger, the I just to see what happens. That one didn't really work out so well. I mean, you got to make my brush a little bit smaller. Something like there. You gotta be careful though, because you can tell that as I do this, some of this stuff looks like I'm blurring out his face and I don't want his face to look like it's blurred out. I don't want it to look blurry, but it can help just a little bit. If you are trying to get rid of some of those wrinkles that you don't want, let me just go take a couple more passes along these edges on lines in his face. You just take a big pass right there. No, don't like that. So now if I turn this on and off, what a difference that makes. And if I zoom out, you can see that it's actually does a pretty good job at removing those wrinkles, and it looks fairly natural. If you would have seen this photo first, probably would have never even thought that this photo was different and he had more wrinkles. Let's open up another photo. We're going to open up this face photo and just show you how this works on a different one . Opening up face dot J. Paige unjust, adding this to a new layer, and I'm just gonna zoom in right here, get some of these lines on the edge of her. I using that spot healing brush again. I like the spot healing brush for these kinds of effects and these kinds of retouching, you can see that it doesn't really good job. Just paint over is a really good job of just removing those lines a little bit bigger brush right here. This is gonna be a little bit tricky because her eyelashes all right there, see how it does. It does a pretty good job. It sees that those eyelashes air there and it works around those eyelashes. That's one thing that photo shop has gone a lot better at is seeing where those eyelashes are, where other objects are and not affecting those, but still getting rid of the wrinkles. So let me just zoom out so we can see what this does on on off Pretty darn good. So that's how you use the spot healing brush to remove pimples, blemishes and wrinkles from your photos. We could even go in here. Just do a couple quick spot healing brushes. Let me just take that. It was J on my keyboard, just a couple little minor pimples right there. Just getting some of those pimples that she may not want in the final photo zoomed out, going on off on off. Well, let her be the judge, which she wants to use. I think she's beautiful in both photos. Same with this guy. Beautiful guy. Great. Beheaded. Great highs. And we'll let him decide if he wants this photo or that photo. Thanks so much for watching and we'll see you in another tutorial. 35. Fixing Red Eye Photos: go ahead and open up this red iDot J peg image. That is the red eye image we're going to fix. I'm going to duplicate this into a new layer that will be editing and then go over to your spot healing brush and then the red eye tool. This is a really easy to tool to use. What you do is basically just click and drag around the eyeball. It's going to find out where that red is and covered up with sort of a black layer kind of blend it together. And now we can see that pupil is black and we turn it on and off. There we go. Red eye remover, Old tool success. Very easy to use. Nothing really fancy about it, but it works well. 36. Whitening Teeth: this lesson. We're going to learn how to whiten up and bright and some teeth. No one likes yellow teeth. And even though the dentist keeps telling me that I should check out their white teeth whitening options, I never do. But people do like white teeth. And one thing and photo shop you can easily do is brighten up those teeth. So open up this teeth thought J p G image, and then I'm just going to duplicate it. So I have my background object, just as in its original form. So the first thing we have to do is zoom in here using the zoom tool, just that we can see what we're working with, then use one of our selection tools to select her teeth. So I'm just going to use the quick selection tool Zoom in right here. I'm gonna have to get rid of some of that part that is being selected because I don't want any of the yellow or the pink of her gums that IHS I'm pressing option or ault on a PC and clicking where I don't want this edge so I can go in here, keep selecting. So I'm all clicking or option clicking. I don't want any of those gums right there. Make me brush a little bit smaller, so it's a little bit more detailed. Make sure you get this little part over here on the left, and then I'm gonna go in to my selected mask tool. If this was with another version of Photoshopped, this would be the refined edge tool for the view. I am gonna go over on White because my background, when I just do onion skin is the background itself, which I have a duplicate of this photo. So I'm just gonna use on white. Then I just want to use the smart Radius to try to make a better selection of these teeth. Something around there, maybe smooth it out a little bit. Maybe just add a little bit of feathering. Make sure I boost up that contrast so that hopefully can see what the edge looks like. The maybe shift the edge just in just a little bit. Sometimes I like to shift the edge in and boost the feathering just a little bit. Me. The edge needs to go out just a little bit. Turn on the smart radius make sure that is looking good. Or maybe not. Just leave that off for now and then click. Click. OK, Now, what I'm going to do is go into my adjustments button right here and click hue saturation, See what happens. The selection of my teeth is actually these selection in the layer mask already. So whatever I do with this hue and saturation layer is actually only going to be affecting the teeth. Let me zoom out so I can kind of see exactly what I'm working with. Then with the hue saturation filters. Just click that button right there. I'm going to make the teeth a little bit whiter. So first I want to decrease the saturation that just automatically gets rid of some of that yellow. Then maybe boost that lightness a little bit. I don't want to go too crazy with it, but maybe something like that and maybe you know what I have to do? Actually go in here because we have the inside of her mouth. What I'm gonna have to do is brush out that part. So with the brush tool, I'm gonna go in here and then with black selected. So just like that black over here. I just press X on my keyboard to select that black. I'm just gonna go in here and brush out the inside of her mouth. There's lots of different ways to do this. UK. I've seen people actually white and teeth, just with the brush tool, just overlaying a little bit of white on teeth. But I like using this hue and saturation toe. I think it's a creating nifty tool. And if I wanted to just fix the eggs edges, I can press X with my brush tool in, just paint on and just paint on the edges of the T. Just make sure I get the edges all in here so that their de saturating the entire teeth, grinding of the entire teeth, not missing any of the edges that might not have got in selected with the selection tool. And also maybe getting ready to some of the gums up here that are in there. You can tell, especially with this hue saturation. When it gets into the gums. It looks a little bit funny when it's just on the teeth. That doesn't look so bad, but when it's on the gum it looks like there's a toothpaste hesitate or something like that . Now, if we zoom out and we turn this on and off, you can see what this does. Very cool effect, very easy to do. And it's something that you can use for a lot of your photos, especially if you're taking Portrait's. A lot of people don't realize it, but their teeth are a little bit yellow just from eating and drinking and doing all kinds of things. So this can help. And remember, this is nondestructive so we can go back. We can change the settings if we think oh, maybe we need to boost the saturation just a little bit because you can tell if I drop this down to No, saturation is completely white. That just looks weird. So you might come back tomorrow or something and see Oh, wait just a second. I don't want it to be that much that strong. That's how you white and teeth in photo shop. I hope you enjoyed this lesson, and you can also do this for widening eyes, so sometimes eyes. If you want to make a little bit brighter, maybe you don't want to use the hue saturation, but maybe a brightness and contrast or something like that. But that's one wayto white in the white, bright and the whites of the eyes. Thanks so much for watching, and we'll see in the next lesson. 37. Quickly Create Shapes with Shape Tool: in this lesson. We're going to learn how to create shapes in Photoshop. So just go ahead and create a new lesson and go ahead and call the shapes. Make sure our background is white. That's fine. 1000 by 1000 pixels. We just got a square cool, so creating shapes in photo shop is actually relatively easy. We have a shape tool down here, and if we click and hold the shape tool down here, weaken do different options. Rectangle rounded rectangle. Ellipse, which is for circles, polygon, lying tool or a custom shaped world. So say we just take our rectangle before we create the shape. Let's choose the options we want for the shape we have. Our fails and this is the color of the inside of the shapes. Let's pick that purple. It's kind of cool color. The stroke. This is the border around. The shape will leave that at zero points right here so it won't show up. And the color it doesn't really matter, since it's at zero points and then here is the stroke option will show you that in just a second. Now, if I click in drag on my project I start getting this rectangular shape. If I hold shift down, it becomes a perfect square. If I hold option down, it creates a square from the point where I clicked. I'm just going to create a normal rectangle, just like so. And when I let go, you see that this rectangular shape is created. I have a new layer over here and our layer panel, this property box opened up. I don't really need that open right now. I have the proper trees. I want to add it up there and then we can take our just regular selection tool and move this around. We can go and choose the bounding box edge and reshape this weekend. Rotate it by hovering our mouths around the corner of an edge and rotating it. Say we want more of a diamond looking future conduce so like that. Bring this in. Just create whatever kind of shape you want. Really. When you're done moving around, press return on your keyboard to lock it in place and you'll see what happens is when you select the shape. We don't get those options up here for the color and the stroke. We got to go back to our shape tool right here so that we can select the stroke and the failed color. So if we want to add a stroke, let's just choose a color. Let's just use the black and then increase the points from zero to something a lot bigger so we can see it. If we want to make this stroke a dash line, we can click bash line. And if we want more options, let's click those more options and see what it looks like. We can choose the alignment of the stroke to be the inside of the shape. Or maybe we want it to be the outside or on the center. So, actually, on the line we can also choose the number and the gap between the dashes. So say we choose five for the dashes, so that's the length of the dash and the gap distance. So say we say one. There's a small gap for maybe we want it to be a five dash with a five gap, or we could add multiple So 5-5 gap then so it's a five 5335533 You can also change the cap of the dash changed to square by changing from a round cap to a but cat so that there are a lot of options for the stroke. But I'm actually just gonna turn that off right there. The next thing we can do to edit a shape actually is to use what's called a anchor point tool. So I'm going to use this delete anchor point tool. I'm going to click on the shape. And when I hover over one of the points one of the edges or the corners of this shape, I can actually delete it. So this is how you actually create custom shapes, or I can add points. So say I take this ad anchor point tool down here. Go on the line path. So the edge and click you can take this click right there. Now to move these, I can just click them. I think so. But if I am actually in my move tool, my selection tool, I can't click those points to get to those points. I can use this direct selection tool down here, which is this little arrow. And if I click on the shape, it brings up all of the anchor points and I can move the anchor points around. So that's how you would kind of create a cool custom shape using the shapes tour. If I go ahead and select another shape tool and say, Bring up a lip stool changed the color, just like so. Whoops. I changed the color of that shape. I don't want to change that shape after uncheck this rectangle, so let's just click off of the rectangle. Click down here, then with the wreck the circle selected. Let's just change the shape again. She's a blue and create that circle, clicking and dragging. If we hold this shift down, it locks it into a perfect circle. If you want more of an oval shape, don't hold the shift down. But I want a perfect circle for this one. So now with my move tool selected, I can move this around. I can put it beneath my other layer, create some cool, funky shapes if I want. Now I'm gonna turn this off these two layers so that I have a blank canvas, and then I'm gonna go down and choose my polygon tool. The polygon tool is cool because you can create any shape that you want with any number of sides. So say we want a triangle. You see this sides right here, change the sites 23 Change your color to whatever you want and then click and drag and you have a triangle come out of that shape. So that's a polygon. And if we go back and choose this plague on tool again and choose five sides, we can create a Pentagon. Pretty cool, huh? So that's the quick way to create shapes in photo shop. It's the way that I create shapes 99% of the time. In the next lesson, I'm going to show you. How do you create your own custom shapes with the pen tool? Thanks for watching. 38. Create Custom Shapes with Pen Tool: another way to create shapes is with the pen tool. So if we have this pencil selected, which is a tool that's been in photo shopped for decades now, we can actually create our own custom shape. If you go up here, you can use paths. But I'm not gonna use past for now, in this course, we're just gonna focus on the shape tool. So make sure that this says shape up here and then choose a color that you like, like more of this turquoise, the color that's really nice. And now, when I have my pencils like, Do you see that I have this cool pen icon and there's an asterisk right there. What the asterisks is saying and I'm just gonna delete these other shapes from before with this asterisk is saying is that there is no shape on here that I'm slighting. I'm going to create a shape from scratch. If there wasn't Astra's, it means I would be adding a point to another shape layer. So if I click understanding, click there, you see what happens is that the shape layer shaped one over here pops open. I still have my pen tool, but it doesn't have that Asterix. So I'm just gonna click again, You see, Now there is a straight line from 10.1 to point to think of it as a nail in a board you're nailing in aboard, and then you're drawing a string straight from one board to the next. Then I can click again and you see, because I've clicked three times and it's not just a straight line now it fills that shape in with the color of our Phil. That I'm just gonna go over here creates more of a trap, is a little shape. Then I'm going to close the shape and to close the shape I can click right on that first point. And there was that little circle that you saw now say I made a mistake and I want to add a point. I can go on the line, any wearing, click that point at it. But now I can't move it just with this tool, because if I hover over it, I get that minus point. And if I click it, it subtracts that point. So let me just click that plus tool again. At that point, if I hold the command tool down, though. I get my selection tool and I can actually select that point. And now drag it up. You see what happened with this point That I added it Has these two lines coming off it thes affect the angle or the curve of the line coming from that point? So again, holding down the command key, I can click and drag these to create a cool custom shape. Once I'm done creating a shape and say, I'd take it and move it around, I get it down to where I actually wanted it. Resize it. Say I want to go back and edit this shape. If I go back and go into my pen tool, I can't really create or edit this shape. I would start creating a new shape if I started clicking around. But I don't want that. I want to be ableto edit this shape so we can go back to our direct selection tool, click on this shape and then go back in and start editing our shape points. And then once we've gone in with our direct selection tool and selected this shape and we have this path highlighted, we can go back into our pen tool, and now we can go in and start adding other points to the shape and then go back to our direct selection tool. Move these around however we want. So and that's a way to create cool custom shapes with within Photoshopped. The path you'll or the pen tool is a cool tool to use. It takes a little bit of time to get used to how it works, how it works to add anchor points, delete anchor points. Let me just show you one other quick thing. Let me turn this off and say we take this pencil take create a curve from the get go we can do is just click and drag so you can see I'm clicking and dragging. If I hold shift down, it creates this straight line in the horizontal form, and I uncheck that or unclip kit. Then if I go down here, click and drag and then it would shift down again, can create a curved object. Or, if I'm not holding shift, I can go up or down to affect that to say go right there, trying to get these about, even then go back here clicking and dragging. I can try to create a custom ball or circle. It's better if you just use thesis Urkal shape. It'll be perfect, but you could go in here and customize it however you want. The last tool is this freeform pencil. With this one, you want to just click and drag and hold it down all the way until you complete your shape and you see all of these different anchor points were added. So to go in and edit them, I can go to my direct selection tool and then click on these points and start editing them . I can use my pen plus and minus tool to actually add points or delete points, but you can see here what I'm doing. I'm getting really creative with this. I'm creating some very cool shaped with that kind of technique. Thanks for watching. If you have any questions about the pen tool or creating custom shapes with pencil, let me know. Otherwise we'll just see you in the next lesson. 39. Re-Design a Shape Logo: in this lesson, We're going to use the techniques we learned in the past couple of lessons to create or recreate this logo for the World Wildlife Fund. So a lot of people use illustrator to design logos, but you can do some simple logo design in photo shop. So I just found this image online. You can try to find it yourself. This is just the WWF logo and bring it into photo shop. If you need something toe base your head it off of. So I'm going to create this using mostly the pencils. I'm going to select the pencil. We're going to change my fill to black and stroke, leave it at zero, and make sure that I'm on this shape option so I can either trace this or I can try to do it by hand just by looking off at it. So I'm gonna try to do that. See how good Aiken dio So I can see that most of these edges are a little bit round, so I'm just going to click and drag to make sure that I can adjust the curve later on. It doesn't go in like here. Can I try to see where points might be for this logo. And if you mess up a point, you can just press the under undue key to undo that last point that you've done. I'm just going around something like this all the way down here for is front pot, maybe even a little bit further. Big curve right there. Then right here. What I'm gonna do is just sit a point right there and then I'm gonna press, option click and use this little point right here to make sure that this goes up like so and then with my pencil, I can continue around maybe right around there, come up, finish his leg right there, maybe a little bit further, then come down for his mouth clicking, playing around with this, and we can edit these things later on. So that's what we're gonna do. I'm just kind of creating where the I want the anchor points to be clicking around. I'm definitely gonna have to move this bit. Then we'll do his years later on. Then just this comes down right about here and it juts out. I think so. Then comes back, you know, click and drag. Okay, So this is definitely needing a little bit more work. So I'm gonna take my direct selection tool, select these different points and maybe move them around just a bit. I might need it. Zoom in. Here. Gonna move this one right here down a little bit. Just like can see it while I'm zoomed in. Now with me shaped tools selected and with the direct selection tool. Just make sure I'm on my shape. Can click here and just try to edit it. Make it look a little bit better. His paw needs to come in just a little bit. Something like so this comes in just a little bit too. Maybe make this just a little bit more round at the top. It's just like this point on here. Try to grab on that bar right there. Adjust the curve. This one down here maybe needs to be a little bit less of a curve. This one out here needs a little bit more of a curve. Maybe out just a little bit more in his face is definitely needs a little more work to make these care is pretty subtle. Something like so. And maybe you could be working on this while I go. Hopefully you are actually not perfect. But again, it probably didn't take five minutes for them to design their own logo as well. So this might take a little bit of time. Okay, so I'm gonna leave it at that. So that's that's that's closer. That's a bit closer. So I'm gonna take my pent will again. And on a different layer. I'm just going to create his eyes. So I'm just going to click and drag just a little bit loop up for his eyes on and kind of got this like teardrop. Look, we just closed that now with my direct selection tool. I'm just gonna come in here with these points and try to edit it to look how has panda bear eyes look, that is pretty good. Me a little bit bigger and something like That's pretty good. Now I'm just going to duplicate this. So what I can do is actually just command J to duplicate that layer and then an easy way just to flip this layers because it's the same as his eyes just go upto edit, transform path, then flip vertical that flips. This shaped vertical. And now I can take the shape with my move tool and move it over to the right. If this is, like the Halloween version of this logo, the ghoul version, and maybe actually need to rotate it, that's what's wrong. Should have flipped a horizontal, actually. Okay, now, let's just go in here and create his nose. Take the pencil again. Actually, you know what? I'm going to dio. This will be a little bit better. I'm going to take my directing A rounded rectangle tool. Looks like it's kind of a rounded rectangle. And then add a point with my pen tool adding your point tool and get a point right there. If I zoom in here and I take my direct selection tool, I can pull down his nose right there and bring in these points, like so something like that. That's pretty good. Close. Okay, so now there's this little half moon smile down there. So what I can do again is maybe take my ellipse tool, make a little bit of a circle, and actually, this has to be white, so I'm just going to change the fill toe white, and then I'm gonna zoom in Here, Take my anchor point plus tool. Actually, just take this anchor point right here with my direct selection tool because it already has it. Then just take the direct selection tool, actually, and take this top point right here and move it in. This asked me that the operation will turn a live shape into a regular path, and I'm going to do that. I want that to be a regular path. And just with my moved won't move this up, then last, let's create these awesome ears. So maybe we can just use the rounded rectangle tool, so just create sort of that shape right there. Got to change the Phil back to black. Then let's zoom in here, take our direct selection tool and play with these past just a little bit. So just select one path, move it up, gonna change it to a regular path shape. Yep. Gonna do that. Move these both up. Something like that. Maybe move these ones out just a little bit. Something like so Make it a little bit more round, but years kind of pop out a little bit. Maybe bring these up, Jess a little bit and then drop down this curve so that they kind of flop up just a little bit, just trying to get it a little bit closer. Now, with our regular tool, we can just rotate this. Put in the right spot. Let's zoom out. Let me close this Properties tab. And another way to duplicate this is just by pressing the option key in glad dragging or all. If you're on a keyboard so clicking and dragging and that creates a new layer and you can see the beginnings of a simple logo in Photoshopped now I would have to go in here at it. These make sure that the curves look really good. Make sure that all these other curves look good. This looks like the knock off version of the worldwide Life Fund look. So, uh, definitely needs a little bit more work. But that's something that you can create just right within photo shop, using the path tool, some shape tools and the direct selection tool toe edit the anchor points. Thanks for watching, and we'll see in the next lesson 40. What are Blending Modes?: Hey, everyone, welcome to this new section into this new lesson on blending modes and Photoshopped. The first thing I want you to do is go ahead and open up the blending modes dot PSD project files so that you can follow along and you'll see a project with a few different layers. We got Evan yet. We've got this photo of a Siegel. We've got this silhouette photo got a green layer, and then we've got the white background. So we're gonna be learning about blending modes in this section based off of these photos. Basically, what a blending mode is is how does the top layer interact with layers beneath it? You see your blending modes right here, and we've touched upon blending modes in the past, when we did the Dodge and Burn lesson where we used an overlay blending mode in this lesson , we're just gonna talk about normal and dissolve. You can see that when everything's in normal, it's a full 100% transparent image normal. Nothing going on along. Nothing weird about it. If you just scan through these, though really quickly, you'll see a bunch of stuff going on with how this top image blends with the image below. We're gonna go through them in just a second. If we turn on this vision yet, and we change the blend mode of the vignette from normal to dissolve, you see something funky happening. When you use dissolve, it turns the pixels of this top layer, and it blends through the background image in a random way. Some pixels are still black. Some show through the background. The default mode, though, is normal. And so that's what you're going to be using for most of your layers. But you can also know that you can change the blunting mode for not only layers but also groups say We put this vignette and it's normal into a group by selecting both and just dragging them into a group. And now, if we change, you see that this has this past three, which is the standard for a group letting them. But if we change this to something like overlay, something happens to both the entire group. But if we open up the group, each thing is still normal blending mode, and then the last thing I wanna tell you in this lesson before we dive into the different blending modes, as you see here in these list of blending most that there are little lines in between. And this is Teoh group, different types of bloody modes. We have our darkening. We have our lightning. We have our contrast blending modes and those air group together. There's only a few that I typically use, but we'll run through most of them. And then the last thing is just a quick hockey or keyboard shortcut. To run through your blending modes is to press shift on your keyboard, then the plus or minus key on the keyboard, which is next to the delete key on a Mac or the backspace key on a PC, you can see as I press shift, plus it runs through the different blend modes, and this is a good way to kind of see what happens. See which ones you like, depending on what? When you have selected in the next lessons, we're gonna be walking through the different meant blend modes and really trying to help you understand what they're doing. So you know what to choose for whatever project you're working on 41. Darkening Blending Modes: Welcome back. We're gonna learn more about blending mode, so we're still in our blending mode project file. I'm just gonna run through the dark blending modes here. So if we change normal, too dark and let's see what's happening, what's actually happening with this top image is a lot of the background images coming through. The reason is because when you choose darkened, whatever pixels of the background are actually darker than the pixels of this foreground object. It'll shine through, so the lighter pixels, and we can see that if we just move this back to normal, the lighter pixels of the sky of the sea eagles head and the right side over here, and then the blue sky and the clouds. Those become transparent and the background comes through it. It's only the darker parts of the Siegel's wings that aren't replaced if we switch to multiply, this does it in a little bit different way. The technical way that multiply works is by multiplying the luminous levels, so the brightness of the current layers pixels with the pixels and layers below. So it's multiplying the brightness of this sky by the brightness of the pixel right behind it. So the sky of the background or the's silhouetted buildings down here below light, passes through the lighter parts of the images, but not the darker images. So you can see this is a good example with the silhouette that he silhouettes are look like cut outs. Basically, because light imagine a projector shining behind these images. It's not going to be able to shine through these silhouettes if we go a step further and go to color burn. What happens is a little bit more dramatic. The colors get more saturated there, multiplied together in a different way. The darks become even darker, moving on to Lanier Burnitz, similar, less dramatic in terms of contrast, but still very dark. And then, lastly, we have darker color, which is actually very similar to darken if you go between dark and and darker color. But the color that shines through in the highlights is a composite of both the top image and the back image. So where darkened is really just the background image that shines through in blends a bit with the darker color. It's this combination, which gives you mawr of actually the top color. So those are the dark in blend modes, and then the next video, we'll go over the lighten ones 42. Lightening Blending Modes: Now let's talk about the lightning villain modes. Not like lightning strike, but lighten. So if you go from normal to light and we see what happens is it's the opposite of dark, it darken. Instead of the writer pixels of the top image disappearing and the bottom image shining through the lighter pixels, the image shines through the darker pixels. So you see this Siegel's wings, where they're darker. That's where the background image shines through. And I actually wanna move on and I'm gonna turn off this single image, and I'm gonna change this little wet now and I'm gonna choose Lighten, just to see what happened. So you see, this is a little bit easier to see. With just the green background. The green shines through the dark areas for lighten. If we do screen, it does a little bit different of a thing. It doesn't light in or become transparent. For some of the mid tones, it really only affects the darker parts. The black so screen is a great way to get rid of blacks in your image. To have another color shine through color. Dodge is a bit brighter than the screen blend mode and it's mawr intense in terms of the contrast of the color and the saturation, the highlights get blown out. You can see right here that you're very, very bright going down to linear dodge. Add. This is brighter than the color dodge blend mode, but less saturated and less intense. It does make it brighter, you see, So if we go back and forth between color Dodge and linear dodge odd so it makes a little bit brighter, then lighter color is also similar toothy light and blend mode. If we go lighter color, enlighten, but instead it just has the background shine directly through instead of blending it together. And so this would be great if you have a black image. So let me just turn to restore normal. So we have the black silhouettes of these birds flying the building towers, and if we choose lighter color, what happens is the green of the background shines completely through these silhouettes. All the black parts but none of the other parts just the very dark parts. So those are the light ending blend modes, and the next video we'll go over the contrast, which are overlay too hard mix 43. Contrast, Inversion, Cancelation and Component Blending Modes: Let's move on to the contrast blend modes. So here we have our silhouette on and are green background. We can change the background color if you want, just by double clicking the green right there and changing the color. So we want this to be more of a dramatic pink color. We can do that. So now if we select our silhouette and we change from normal toe overlay, this is a contrast blend mode. So what's happening is that the darker parts are getting darker and the lighter parts are getting lighter. We put this above our Siegel and turn on Siegel. You see that it's actually and let's change the Siegel to normal. You see that everything becomes a little bit more contrast it and it's a very actually cool . I really like the overlay option. It's kind of a combination of the multiply and the screen modes, so we'd saw multiply in screen. Screen is great for getting rid of blacks, and your image multiplies. Getting great for getting rid of whites. Overlay is kind of a combination of that softly is very similar. It's just a little bit softer in the way that things are blended hard light becomes a little bit more dramatic. Things get more contrast, ID and really the parts of the image that are dark don't blend with the background at all going to vivid light, the colors get more contrast. Id more saturated. You can see for both images in the near light, the colors get a little bit even more darker, in contrast, is a little bit more intense than vivid. And then the next one, moving from linear light to pin light and hard makes these just get a little bit more funky . The colors get really intense and crazy. And, of course, if you see hard, mix the colors. Actually, the threshold changes so that colors become single colors rather than blends of colors, so they only use a few colors in this blend mode. The's air types of blend Moza I don't use very often if you have a specific use, you might someday say it's flip on the Lanier lighter, vivid lie and say, Hey, that's perfect for this graphic I'm creating. But I typically use the more popular ones like screen, lighten, overlay, soft light and multiply. I'm just gonna quickly go over the other ones. So we have these inversion and cancellation ones down here. So difference, which actually flops the colors of the background. So where there's black, the background image shines through. That's where the blue sky shines through. But in the mids and the lights you have the the actual blue and orange of the sky actually becomes pink and orange. In this version, if I turn off this background, you can see what happens is that we get this completely pink image shining through the black silhouettes. And then the skies become this green and blue, which is the opposite of that red and orange of the actual silhouette image. If we go to different exclusion, it's a very similar thing. But instead of it being as contrast E, it becomes a little bit more gray with subtract and divide. These are other options that actually cancel out pixels, depending on how they're blending with attract, the pixels become black with divide. They become white when they cancel each other out when they become too dark. And then lastly, we have our component group, and when you use Hewitt keeps the hue of the active layer and blends the luminous and saturation of the lower layers. So you basically get the image from the lower layer with the colors of the top layer. Interesting, huh? So you get this bird with the colors of the top layer. We got the blacks down here. We got the orange is up here and the blues in the sky where this one is blue as well. That silhouette layer saturation keeps the saturation of this top layer and blends the brightness and the hue from the lower layers with color. It keeps the color of the active layer and blends the hue and saturation of the active layer with the brightness of the lower layer. Let me flop these, and he might look a little bit different. So let me change this to normal and then change the Siegel too saturation, then color. So you can see here that this bottom image the colors change to this top layer. If I put green up here or pink up here, turn off that and makes it pink layer color. It makes the sky pink, so it's basically making the colors of the bottom image the color of the top image. They just change that back Turn our Siegel back on. And if we turn off this the image, you can see what this does to the background right there of the pink background. And then if we changed from color to luminosity, you can see what it does. Luminosity basically keeps the brightness of this top image, and it blends it with the color of the background image. So another way to instead of having the color of the top image, go to the bottom in it. Midge luminosity has the color of the bottom image. Go to the top image. Okay, so those air blending modes and there's a lot going on there. And a lot of this probably went over your head because for a while it went over my head as well. So the amazing with blending modes is just to play around with them. You will find modes that you use more often multiply screen overlay and soft light. Those are my favorite ones. Those are the ones that I use a lot. Thanks for watching, and we'll see in the next lesson 44. The Type Tool: one thing that we haven't covered in this course yet, but I think it's very important and something I use almost every time I open up. Photo shop is the text tools. So go ahead and start a new composition or a project. Sometimes it's a composition. I don't know why do I do that? I do a lot of video editing and aftereffects work, and it's called the composition and after effects. And I'm just gonna make the with of 1000. But I'll keep the height lower at like 500 so it's a little bit more of a wider bar. The text will is a very important tool, and it's down here so you just select that text will and the way it works is very similar to how you at it and do text for anything. You have your fonts up here so you can choose your fonts. I love League Spartan. It's a free front you can find. Online is great. You can have. If your fund does have the option, you can do the style. So bold light italics, semi bold, ultra bold depends on what font you're using. You have the font size right here. The font size will depend on the size of the fund document. You have your alignment right here. You have your color. So if you want to choose the color, just click that box and choose a different color. We'll talk about these other things in a second. So to add text, just click anywhere on your project and start typing in Hello so you can see as a type there it is centered. So if I want to make this left justified, I can just click that left justified and then it will be left justified. So if I add more texts and I say my my name is Phil and I put a space between my name and its fill, it will be left justified if I choose center. Look, what happens I Onley changes the justification of this last line. And that's the last the line where my cursor is. I need to highlight all of this and then center if I want to center the whole text. If I go back to my move tool right here. You see? A now have the bounding box around the text and I could move it around. I can resize it. You can click the quarter and press shift toe lock the aspect ratio. If I don't hold shift down, that could make it skinnier or fatter. Or if I hold down the option and shift keys, I can increase the size from the center. When you're done moving are around. You'll have to press return on your keyboard or enter if you're on a Mac or enter if you're on a PC to add new tax. Well, first, to edit this text, you can just go back into your textile and click within this layer. But to add new text, you'll have to uncheck this text layer over here. Get your taxslayer or tool and click somewhere else. If you click within here, it will add it to their. So you've got Click somewhere else new text and you can see that it uses the same properties that I chose before what you don't see now. But if I go back to the text will I can see them up here so it uses those properties whenever you set them. So I'm just gonna make these a little bit smaller. Oh, hey, look at that. I could rotate it. And whenever you're done, return on the keyboard and then I'm gonna like this other text. Move it right there. That's how you add text. One other thing. Before we move on, you can use the textile to create a bounding box for your tax of basically a text box. So now if I type in here Hello? My name is Phil. It only appears in this box if I select all this text by clicking right in the middle of the tax impressing command A or control A. If you're on a PC and then adjust the font, which I can do just by clicking and dragging to the left. That's when I can get more of my text on here and with the box, it automatically creates new lines as you Ted type in your text. So that's how you add text and text boxes. And the next lesson we're gonna be looking more at our character in paragraph panels to learn more about the other text settings. 45. The Character and Paragraph Panel: Let's talk about character in paragraph formatting. So if we select any of our text layers and we go to this character or paragraph panel, which you can get to by going toe window and opening up the character or paragraph panel, I'm gonna just actually open these up separately so we can see both of them at the same time. So here we have character and paragraph just goes like this First Tex, and I'm just gonna actually you know what I'll do. I'll just delete all of this tax and start from scratch. So I'm just gonna click here. This is a test text. That's a tongue twister. Select it, just moving to the center of my project and maybe I'll make a line so that we can see what the paragraph settings look like. So you see here that some of the same settings under character we have the size here is the spacing between the lines. So if I increase or decrease this, then there's more or less space between the line. Or you can drop down this drop down and select auto, and it will adjust depending on what the font sizes in the auto matches. The font size of this would be about 69. If I go up 90 bigger than the font size, there will be more space less say like 30. Then it will be less. See how that overlaps this option right here is the current ing. So if I increase that there will be more space between the text letters. If you want to put space between a specific letter, just put your mouths right in between any letter and use this one right here, dragged to the left, drag to the right to make it smaller or bigger. This option right here will stretch out the text vertically. This one will stretch it out horizontally. This one is the baseline right here. It's already set at negative 46. That should be set to zero. That's probably from a project I've worked before, but this is basically moving up or down your text, but it's not really moving down the text. Block it, just moving it down. Imagine there were lines and you were trying to write on the lines and cursive like you. We all learn in third grade, except most people don't learn cursive anymore. This is like writing the text below the line. I'm just gonna leave that at zero down here we have other properties so we can make the text a faux bold or a foe. Italics. What faux means is false. And what that means is, if you're text doesn't have a bold setting up here, or even if it does, you can choose the bold, our italics size font right here. And this is Photoshopped, making this text more bold by adding a stroke or a border that is the same color as your fill color, and it makes it more bold or I talk that way. This one will make it all caps, this one's big caps and small cap. So if I wrote with big caps and and small caps a test text, you see what that looks like versus hobbled. This will make your text a superscript. So if you do want to have a number, so say we want to have a number right here, right next to this text and make it a superscript. We can do that or a subscript like that, and you can make these smaller as well. So say we want to make it a sub script, but even smaller weaken. Just highlight that one letter for that one number character, whatever it is. New kid, even raise or lower it. Using this baseline shift as well, we can underline things or strike through things with this option right here, underlying or strike through or both. Let's get rid of the underlying all this stuff. Let's get rid of and the one moving on to the paragraph panel. This is similar to what we saw above you. Have your left justify center. Justify right. Justify here. You can invent the left or the right margin or the first line if you are left justified, and you in dent, the left margin that's going to affect that. If it's not, if it's center. This thing's not going to affect your left in debt because it's centered. We don't see these options highlighted to fit the with of your text box. But if we did create a text box, let me just take our textual created text box. Let's make the fun a little bit smaller. All right, a little bit more. This is a test text. Just copy and paste at a few times I had literally just pressed Command eight has selected , and then I'm going to press command V to paste it. So now all this text is in here, and if I left justify everything, you see that it goes in and out on the right side. But if I want to justify everything, it will space out the text depending on how you want it, if you want less justified by everything justified to the edges center justified or right justified or everything justified in a big block. So those air some cool tools to use for different types of graphic project with When I am using and editing a lot of text, I will just put my character panel in paragraph panel right here, maybe even get rid of my adjustments panel when I'm not editing photos. Thanks for watching, and in the next lesson, we'll learn about warping your text 46. Warping Text: Let's learn how toe warp your text sounds really cool, right? Well, in another life, I really believe that I was a bike shop owner. My uncle is a bike shop owner in Switzerland. He sells electric bikes, and I always thought that would be so cool. So I'm going to type in the name of my bike store, fills, bikes or super creative right? Soto, warp this text. We can use this button right here. Selector tax hit that warp text button. This brings up a little window with some style options. We can create an ark. We can create and art lower arc where the top is flat, but it bulls is down or the opposite argued upper arc with the bottom not bulging as much. We can do a double arc if we have multiple lines. Weaken do different shapes shell, lower flag, all kinds of cool, different types of effects. So let me just go back to my standard arc, and then we can edit this so we can change it from horizontal to vertical. We can then change the bend. Ourself. We can adjust the distortion if we wanted to go sort of inside or away from us. And same with the vertical distortion and the back and it for forward. So these were some cool tools that you can use to warp your text and then if you select Okay, take our move tool. We can move this around. Just gonna drag those fireworks shot right here. Increased the size press return and drop down the neath fills bike store All right, so this fills bike store looking pretty darn it darn cool If I want to go back and edit the war Pichon just like the text tool, Make sure there's Texas slept selected. Go back into my warp text tool and I could make any adjustments I want I think I got to make this a white text so lightly Just select this later. Choose White That's looking pretty darn funky. Maybe if this was a store in the early two thousands, this would be a great logo for that, but it doesn't look great. And I think one reason is it doesn't really stand out from the background too much. So what we're going to do in the next lesson is learned how to add some style to our text 47. Adding Styles: Drop Shadow, Bevel & Emboss, Strokes: Let's add some style to our attacks, and we haven't jumped into layer styles much, But we will be covering some other layer styles and just a bit. But to add some style, just double click on this layer, and you can actually open up the layer style. We know for any layer, including fireworks or any photo or graphic layer. But just do that for the text layer. I'm just going to move this over to the right just so I can see a little bit better. So there's different types of styles we can do. Bevel on boss stroke in a stroke in your glow. Satin color overlay grating, Overly pattern. Overly outer glow. Drop shadow all kinds of cool effects toe. Add one of them. Just select the check mark or check that box next to your option. And then you can have all source of different options for making this look a little bit better so we can increase the depth of this bevel. We can change the type of bevel we want. Hold on just a second. Let me turn off this background layer and then make this background, or add a little solid colors that we can see more of our tax just so we know what's going on a little bit better. So if I select my text again, go back to my bevel in a boss and now it's a little bit easier to see. Let me crank up the size so you can see more. That's adding a little bit of depth, even though it's not actual depth. It looks like a little bit of depth to this image. You can choose different techniques if you want it hard, so see here. But she's chisel hard. It's just like a sharp line in the middle of the text. Maybe I'll even zoom in just a little bit, which I can't do without selecting. OK, then zooming into this text a little bit more text is at 200% now, so you do start to get a little bit of picks. Elation. Let's that a stroke to this image now, So let's add that stroke here. We have some settings I used for a previous project, but typically your color might just be black. I don't know what it will actually be, but we're going to use some sort of fun color. Let's do, like ira yellowish orange. Something like that. The size is right here. You can choose how big you want the size to be. You can choose where you want the stroke. Do you want on the inside of the text outs outer bounds? Do you want on this center, or do you want it just on the outside? So if you put it on the center or the inside, you can see that the bevel actually effects the stroke as well. And you can even change the blend mode. So that's something to keep in mind, too, because you can actually change the fill type to something like a pattern and then change the blend mode to something like overlay. And that's going to change how this looks. So let's just select, okay? And then turn back on our fireworks, see what this looks like. Okay, not too good yet because we don't want that overlay. We want that stroke toe look a little bit more brighter. So I'm just gonna leave that fireworks image like, so go down to my stroke, which I can then re at it, going to change from Phil type of pattern to color. Make sure that my capacity is at 100% and change from overlay to normal. That really makes that text stand out quite a bit. We can change the size of that stroke as well. The last thing we can do is add a drop shadow. Okay, I'm gonna check, okay? Right here and turn off the fireworks and actually turn off this gray background as well, so that we can see more clearly what the back drop shadow will do. So if I double click this again but a drop shadow and check that on you see that a shadow is added again. This is going to be using the settings that I used in a previous project. So yours might start out a little bit different. You can change the distance, which is actually how far is the shadow away from the text. Typically, you want it right next to it. Unless you want it shining on something else in your graphic. Or if you have this on a photo and you want it to look like the shadow is being portrayed on the background or something like that. The spread is also how dark versus soft it's going to be. And the size also does that. Is it going to be hard or soft? Typically, like something a little bit in the middle? You can also change the angle. So say I want to rotate the shadow so it looks like maybe the light source is coming from the bottom left. We can choose from the bottom left, so the light source now is coming from the negative 43rd degree. It really depends. Typically, your standard is right around that 1 40 mark. You can change the opacity. You could make it a lot more dark for a lot less dark. 35 is about the standard, but maybe you want it a little bit more dark. As you can see, I've added a lot of different styles to this text. If I want to see what it looks like, with or without, I can just easily turn and on and off the visibility of that effect to delete all of the effects we can right click and say clear layer styles Gonna undo that. Another cool thing is say we add new text and I call this grand opening You can't see it because it's white text. But if I copy this text effect by right clicking and saying copy layer style and then going to grand opening and right clicking on saying pace lever, layer style, you could see now that has copied the same style to this text. If we want, we can then go in with our textile and add arc to it by going to the warp text option going arc and maybe just a little bit like so. And I think this needs to be a little bit smaller, so I can either select all the text and dragged down the font where Aiken just make a selection with my move tool grad the edge of the bounding box and drag in something like. So when you do make your text smaller, though, it the bevel and emboss and all the layer styles stay the same setting. So I might have to go ahead and open this back up, go to my stroke and make the stop stroke a little bit smaller lips go back and open up my strap shadow. Make that a little bit smaller. Same with the spread so that it matches this text a little bit more before it looked a little bit funky. So that's how you style eyes, your text. That's how you can copy and paste styles to text. You can also do this with graphics. Go to your stock photos folder and you'll see this bike graphic the free draft that I found from Icon Finder. And I'm just gonna move this text up just using my move tool Selecting this text minutes up here and now if I double click the bike graphic I can this is one cool way to change the color of a graphic. You can just choose color overlay. Now go to that tab. And if I want to match it to this orange, what happens when I move my mouse over to my Photoshopped file? I can click on that orange and have it match, and then I can actually go in and maybe at a stroke, but maybe a black stroke to have that outline of the bike look a little bit better. If I put this on the outside, make it super big. That's kind of a cool technique as well. Gonna add the drop shadow and I might have to go in there and make the shadow just a little bit bigger. Maybe something like that. Making the distance a little bit further for this graphic looks a little bit cool, so we can really see it in the background. Let me just check that same bevel and emboss and that matches the Belvin and boss of the text, so everything is more unified. It's like, OK, and there you can see it that I've added those same or similar effects, and I could have just copied and pasted it. But you can add layer styles to actual graphics or even photos. Thanks so much for watching. If you have any questions about layer styles or style izing tax or using them, let me know. Otherwise we'll see you in the next lesson. 48. Design a YouTube Thumbnail in Photoshop: all right, so you've learned a lot of great tools and techniques in photo shop, but now we want to put it all together and design a YouTube thumb now with those skills. So first I'm going to create my documents size. So I'm going to open up Photoshopped, click New and choose the With of 1920 pixels and the height of 10 80. The resolution. Let's just go up to 1 50 Why not RGB Color a bit and I'll call this you to whitey Thumb now Z. So this is going to be for an image that you have in your folder and zoom out just a bit. So if you go to your finder and you go to the photos under fills photos, you'll find this YouTube thumbnail and G. So this is taken. While we were riding bikes out N. G. The city near Geneva, Switzerland, and I want to make sure that this covers the entire background. I see a little white line on the bottom, so I'm just going to increase the size just a little bit, and I might actually change that later. This is not really having to do with photo shop at all. But with YouTube, people have found through a lot of research and studies that thumbnails with faces do better there, more clickable and in some instances, thumbnails with faces and text do really well. So for most of my thumbnails, I try to have text that explains what the video is about, plus my face or something that represents the actual video. Now this is a fake video. I didn't actually create a video for this photo or about this ride that we did in in Switzerland, but maybe this would be a bike riding in Switzerland vlog style video. The first thing I do is try to place my image in the right area. I'm a little bit small, especially if we zoom out, which I'm doing by pressing Z on my keyboard and holding down the option key on a Mac or Ault on a PC and clicking. Because a YouTube thumb now really is going to be that big. I'm gonna get my move tool back by pressing V going to increase the size of this. Something like there used the keys on my keyboard to move it around. I want to get that sign in there, though, G, something like that might be a little bit better for the thumbnail version. And the other good thing about this photo, as I zoom back in is that it has a lot of this space right here where I could actually write some text. Okay, so the next thing I'm going to do is do that. Add some text. I like to add text before I edit the image colors so that the texts and the image edits I can kind of make together to make the photo colors and the contrast look good. So I'm just gonna take my text tool. I'm going to change the text, color the white and all call this vlog Switzerland, that I'm gonna take my move, tool, move this right here. And actually, I'm going to take my textile, highlight the vlog text and increase the size of logs so that it matches the with of Switzerland. Okay, I'm just gonna put it Maybe about right here. Then maybe I'll click this G image and make it just a little bit smaller. So there's a little bit more room. Move me just to the side a little bit. So this is pretty good starting to get there, but it doesn't. The vlogs text doesn't stand out enough from the background. This was not too bad. And so I want to make this text stand out a little bit more. Now, there's a couple ways to do this. We can add a stroke. We can add a drop shadow, or we can add a shape. I'm going to do this shape. So I'm gonna take my rectangle tool down here, gonna change the fill color to something like a red. And then I'm just going to click in here and create a bar for the vlog part that I'm going to drop this rectangle lair beneath the block text. And actually, I want this red color to match the red of this sign and my jacket, which is pretty cool. It's kind of a similar color. This red is a little bit too bright and too saturated, so I'm going to click the fill Tex, I'm going toe pick, click this little color pickle picker right here. This brings up this dialog box and then my mouse turns into an eye dropper where I can select this color it picks that color for me and I can click. OK, now, when I click off the Phil, this bar is the same color as this sign were very similar. Anyways, I'm going to duplicate this bar just by option, clicking and dragging down. And while I do that, I'm going to hold shift so it locks it into that place. If I don't hold shift, it could move to the right. If I hold shift, it locks it down. I'm gonna make this a little bit smaller like so. And then I'm going to double click. I'm going. I'm going to place it by pressing return on my keyboard. Then get my shape, layer, click the color and maybe I'll just pick black kind of cool. I like having different layers of color, especially in the background of my text. It's little things like this that make graphics look a little bit more professional. If this was just read like this, Yeah, it looks good, but having a couple layers actually looks really good. I think now I'm going to just add an adjustment layer. Did the background to make the colors pop a little bit more so I'm going to add a levels adjustment, make it a little bit more contrast, E and this actually will affect the red of these signs. So I might have to change the color of this red bar and a sec, maybe add a little bit of a photo filter to make this a little bit warmer warming up just a bit. See which one I like l b a 81. Think I like the l B A. I don't want to go too far. I could also go down here and see what my filters are a little bit more easily with the text. And I'm gonna just bring up the vibrance and I'm gonna add that vibrance filter. Bring up that vibrance that's gonna make the colors in the background pop a lot more. Now I'm gonna go back to my rectangle Choose my shaped will go up to my fill Click this color picker, Use my eyedropper, dislike this color right here and you can see that it changes. And when I select okay, it does, in fact, change that background color. So now when I zoom out, this is a pretty cool YouTube thumb now and it's good, not only for when the YouTube it's very thumbnails, very small and someone searching on YouTube and this might pop up, but it's also good when it's big. Because when I embed this video in my website, or if anyone else embeds this video in the website, then it's a nice image. It's a nice text that you can see what's going on, and it's well balanced. You got the text over here, and maybe I can select all of this text and the rectangles behind. Use my move tool and see if it looks good somewhere else. Maybe I do want to see that barn in the background. Maybe I don't want to cover it up. Maybe something like that is a little bit better. Who knows? Play around with it. The last thing I have to do is to save this. So because this project is already 1920 by 10 80 pixels wide and tall, it's ready to go and save as a JPEG, so I can just go up to file save as on my desktop and change the format to J. Paige Click Save. I wanted to be Max file size. Sometimes I drop this down just a little bit, maybe too high, so that the file size isn't too big because YouTube only accepts thumbnails up to two megabytes. So if I click OK and it's just faster and easier and the quality is practically is good at a Level nine and then I could just open up this and see what it looks like. Looks pretty good. Full screen and when it's small still looks good. So that's how you would design a YouTube thumbnail. Hopefully, walking through this project with me has helped you kind of understand what my process is as I designed things. If I am working on more intricate projects, I am more aware of my naming and my grouping of layers in here so that it's easy to find things if there are a lot more layers. But for quick projects, just bam, bam, bam. Add text layers, images, adjustments and we're good to go. Thanks so much for watching. I think it's time to take action for you. So go ahead and either with this image or one of your own design a YouTube thumbnail and posted to the course so that I can check it out and the rest of the students can see it, too. Thanks for watching, and we'll see you in the next lesson. 49. Adding and Adjusting Artistic Filters: in this tutorial, we're going to learn about the filter gallery in photo shop. Filter Gallery is a fun place to add some creative filters to your photos, So I opened up this castle image to go ahead and open up that castle image in photo shop. You can see that I had added a bit of saturation contrast and clarity from a previous lesson, and I'm just leaving that to get to the filter gallery. You click. Filter up here, and there's hundreds of filters that you can add to this layer or two. This photo The first thing that we want to do and we always want to do is click this convert for smart filters Button. This is to make the filters re edit herbal so that when we make some changes when we add a filter, if we decide that later on, we don't want that filter. If we want to make some adjustments, we can go back and do that. So select Okay. When you go back to filter, you'll notice that after we've converted for smart filters, a couple of different options have gone away. Vanishing point there is one and blur lens blur but most of these are good to go. So let's go ahead and open up the filter gallery. You can go through and just quickly add a filter. We've done that. Guijin blurred before. But let's go ahead and open up the filter gallery and see what that does. This opens up a new window. It will open up our window in our picture in our window and down here in the bottom left, you can press command plus or minus on your keyboard. This is a new shortcut we haven't covered yet. Command or control, if you're on a PC and then plus or minus which is right to the left of your delete key on your Mac or your backspace on a PC. Okay, you can kind of see what's going on with this photo, or you can just go right here and say fit. Aw, in view that brings up the images biggest possible. In this view. It will bring up the last type of filter that you used. And so your filters air over here. They're organized in folders you've got, like, 40 years so of them. And the last one I used was this cut out right here and you can see with every one of these filters. There's also editing options to adjust how it works. So with this cut out, for example, you've got a number of levels. So if we drop the numbers of levels, it will actually decrease the number of colors, meaning that there are fewer letter colors and more blocks. If we decreased the edge simplicity, then we get more detail from that original image. The edge fidelity does affect the very edge of the image, and of these colors just a bit. Let's just completely get rid of the cut out and just click on one of these other ones. So let's go down to sponge. That's a fun one. So it takes a little while to load. Because these filters, it's not literally just adding a texture or a filter on top with some sort of blending moon . But it's actually trying to see and create the actual sponge like effect or a water color of fact. So let me just just click the watercolor. It's gonna take a minute toe load in with watercolor. We have our brush detail. If we drag all the way to the left. It's gonna load, and there's less brush detail. If we go all the way to the right, things get a little bit more detailed. But I think for a painting with watercolors, we're going to see less brush detail, especially if it was a smaller painting. The shadow intensity. You can make these shadows of your image more or less intense, the texture you can add, or decrease the texture that is painted on. So it's a very cool kind of gallery. The other thing we can do with the filter gallery is add multiple filters onto the each other. You see down here, this little panel. This is kind of like a layers panel. Right now we have the watercolor filter on, but we can create a new filter our new effect layer by pressing that new effect button. It duplicates this watercolor one because I have that watercolor selected, but maybe I want to go down to stylized Wow, That would be cool. It's select one of our layers right here, watercolor and then click glowing edges, and it changes this watercolor filter to glowing edges. We could change the settings for the glowing edges and This is a combination of two effects . Looks like a hollowing castle to me. Maybe chain decreased edge brightness when you click. OK, it opens up and saves those galleries. Are those filters onto your image? You can turn them on and off just by clicking the eyeball right there. And you can double click, filter gallery after this, loads to reopen the gallery and re at it. So it's gonna open up right here. We're going to change the size to fit in view, and then I don't like that glowing edges. So I'm just going to delete it. So we just have our watercolor now. Weaken, Select. Okay, so that's the filter gallery. I want you to go in there and start playing around. In the next lesson, we'll learn a little bit more about how we can adjust this filter. The filters we add to any image in a more precise way 50. Changing Opacity and Blending Mode of Filters: So we're back in photo shop with that castle that we just edited with the the watercolor filter that we had applied. There's a cool way to edit these filters, and that is, with this little button right here, double click that it's going to open up a little window. That brings up the opacity and the blend mode of this filter so we can actually drop the opacity. So that the filter isn't as strong is that we get some of the background image actually shining through the water color that we've painted on. You can also change the blend mode, say we wanna choose light in or overlay. And as we learned before, the different blood moods do all kinds of different things with our images. So you might want to play around with these blend modes to see how a filter blended into an image might look a little bit cool. And I actually like how the opacity, being a little bit less than 100 looks good for the watercolor filter because the watercolor made it a little bit too dark. But dropping the past. He brings back some of that brightness, and I think you still get that texture, weaken. Zoom in here using our zoom tool, you can see the kind of technique of that watercolor that we're getting. You're still getting that, but it's just a little bit brighter, and I like that a lot. So that's how you can adjust the filters in just a more precise way. Have fun with that one. And in the next lesson, we're going to be looking at how to use one of these filters and a little bit more depth called oil painting. 51. Create an Oil Painting Photo: we're going to take a photo and turn it into an oil painting. No, it's not going to look perfect or completely realistic, but it actually does a decent job for creating an artistic piece from your photo. And it's something that a lot of people actually can purchase or by. I think even Costco has an option where you can turn your photo into an oil painting. And no, no one's not sitting there and actually painting your photo for you. It's just a photo with the filter, and we can do it right here at home. So the first thing you gotta know about the oil paint filter it's kind of funny, actually. Is that photo shop deleted oil paint from Creative Cloud when they updated just having to do with how the program works. But now, in the latest update of Photoshopped, it's back. So make sure that the first thing have to do make sure that when you go to photo shop preferences performances that the use graphics processor is checked on. If you don't have that check donor, if that's not an option for you, you might not be able to use the oil filter because it uses a lot of your computer's memory . I'm opening up this oil painting dot any of file, so go ahead and open that up. I didn't make any changes to it so far and then go up to filter with that layer selected and make sure you convert for small, smart filters. I've already done that. Then go down to style eyes and oil paint. It's going to bring up this window where you can see what the oil paint will look like. I encourage you not to press preview what you can, but it will take a lot more memory to actually apply this filter to the background. We can do that later on. I'm just going to zoom out just a little bit so I can see more and and can actually just click and drag so you can actually see in this preview window what this looks like and you see the strokes as if someone had painted on this photo so you can change the brush. So if you want to change the style eight stylization, you can increase or decrease. Let me just go back to my nose right there. Okay, let's change the stylization, so increasing or decreasing will change the style of the brush. The cleanliness will also change. The style of Are So Higher will mean cleaner strokes, less grooves over to the left, more grooves a little bit less clean in the scale. And one way that I actually typically added these filters is just going to the extreme, going all the way to the right than all the way to the left. To really see what these details dio, I like it being a little bit to the left and bristle. Detailed is actually how the brush interacts with the paint, so it's actually adding those bristle strokes. There's bristle details to this image, and last we have our shine or are lighting so increasing The shine will make the details a lot more detailed and then less will make this a little bit more subtle and same with the angle. It will change where the shadows are coming from on this painting. So if you do want a preview it just click that preview button. And if I click OK, it's hard to see exactly what's going on when I'm zoomed out so much. But when I zoom in, you could see what's starting to happen. Looks quite a bit like an oil painting. And so with this photo, I might actually want to crop in just a little bit. So I'm just gonna quickly do that. Use my crop button crop in just like so. So we're a little bit closer so we can see the details a bit more. Zoom in with my zoom tool, and that's looking pretty darn good. If I want to go back and change the oil paint effects making double click that maybe I want to change the style just a bit, making a little bit more rough. May I want to make it less clean so we can see more of those brush strokes may make the scale a little bit larger so that we can see those brush strokes a little bit more, too, because when you zoom out, those brush strokes become very small compared to what this little preview is right there. You can also play with the opacity and the blending mode, as we learned last time by double clicking that little button down there. We want to drop the opacity so that the oil painting effect isn't the only thing showing. We see a little bit of the actual photo shining through that, or you can play with the blend modes. That's a very cool effect. A lot of people were upset when it was deleted from photo shop, so we're happy that this filter is back in action. And I just wanted to walk through one of the filters from the beginning to the end, just to show you what you can do and just kind of walk through another process. It would take weeks to go through the rest of these filters, so I'm just going to let you go through and play around with these filters yourself. And if you have one that you really like or you're a little bit confused by, feel free to let me know, ask me a question or post a photo online of one that you've designed yourself. Thanks so much for watching and we'll see you in another tutorial 52. Start Your Project and Placing Video: in this section of the course, we're going to be creating a gift or a Jiff. However you pronounce it in photo shop. It's a great way to promote on article of yours or any product or service that you have to offer as an online business. I use them when I'm doing big promotions for my online courses or to put them in my articles And you can see here this is what we're going to be creating, and you have the movie that is a part of this course. So if you want to download that, you can and get going, that's the only value need. So the first thing we're going to do is figure out how to open up a video in photo shop. Well, there's a couple of ways to do it. One is actually just by going right click open with and then finding photo shop. Of course I'm with on a Mac, so if you're on a PC, you're going to have to do the similar thing on a PC. But an easier way is to start within photo shop, so I already have the project that I created open, but I'm going to go ahead and start a new project. So go up to file new. And now I want to set the size for this Jif so you can do a square image. You can do a banner, you can do whatever you want for this image. I decided to go with the square and I'm going to go 500 pixels wide by 500 pixels tall and then the resolution of 150 pixels purse per inch. So then just go ahead and click, OK? And we have our composition right here of our Photoshopped, Doc. So at first you probably won't see this timeline. So I'm gonna go ahead and close this timeline. You're probably going to be seen something like this. So what you can actually just dio is go to your finder, find the video that you want whether you're using this one or another and just drop it into photo shop. Photo shop is going to take a little time to load it. But now we have this video, but now we only see the first part of the video. So what we're going to do first is go up to a window and add timeline. So window timeline and we're going to click this create video timeline button. First, I'm going to have to actually press enter on my keyboard so that this video is actually placed in here and then I'm going to click this create video timeline. And now we have this timeline that starts at the beginning of this video clip to the end. So what's cool is that in photo shop, you can actually edit your video and only select absurd part of your video to create the Jeff. So what I'm going to do first is I'm going to increase the size of this video and you can see as I click and drag the corner, it starts to change the aspect. So I'm gonna hold shift down while I click and drag and just basically make this the size of the square, put it right about centered, and then what I'm going to do is I'm going to take this timeline. I'll call it a scrubber first pressing return on the keyboard to place that video right there in the center, and I'm going to find a good take. So I think something like that is a pretty good. Take. What I can do then is you have this in point and this out point on the timeline. So if I take this in point and drag it to the beginning of the clip where I want the Jeff to start, and then I go to the end and I moved thes endpoint in right there. Now what I can do is play through it. So I click this play button and it plays through the animation. And if it's not looping for you, you can goto tools loop playback. You can change the resolution to 25% or 100% depending on how Fasher Computer is. It might take a little bit of time for it to load and play, but this looks pretty good. So you can basically re edit your videos. You can move them around, and you can select where you want your gift to be. Our gift is about four seconds, which is a pretty good size going from 15 seconds to about 18 so about three or four seconds. So that's pretty good. That means the fall size will be a good size if you do create a gift that's 10 seconds long orm, or even more than five seconds long. This file size is going to be pretty big, and a lot of websites don't allow file sizes that big. And of course, it depends on how big the resolution and the size of your composition is. Right now. It's at 500 pixels by 500 pixels, which is good and sometimes even smaller. Oil export this at a lower, lower size, but in the next step, we're going to be adding text to this gift. 53. Adding Text to a GIF: So we have our video here and we have the right spot where we want it to be created the gift. But we want to add text. So what we do is just taking our textile. We're going to click onto our image right? Here are video and you can see as soon as I did that added this layer. So I'm going to type how to well say bake red. And then I'm going to take my move tool and move this around. I can add different layers. I can change the color with the character panel, make it stand out a little bit more. So maybe I'll do something like blue something like bluish purple, but it still doesn't stand up quite as much as I want. So what I'm going to do is add a little background. So I'm going to take my shape tool. I have it set at White, and so I'm going to just create this bar over here. Now this bar is on top of the how to break red layer so I can just go over to my layer panel and drop it beneath, and you can see here on the timeline that it starts or it's underneath the text layer, and I'm going to just drop the opacity a little bit, so I'm gonna make it a little bit more opaque, so 50% or so and just move it. So it's a little bit centered. And maybe I'll change the color of the baked bread just to add a little bit. Make it a little bit more enticing, a little bit more dynamic. Okay, so now you can see that this text was added where we are in the timeline, and I can zoom in on the timeline with this little zoom bar right here. So here is our whole gift that we're going to anime, and then all of a sudden, right here our text appears. I want the text appear a little bit later after I'm done setting the bread down on the cutting board. So I'm going to select both of these layers by a clicking one and then holding shift down and clicking the next one and dragging them to the right. So right about there. So let me play this for you guys, so it's gonna play through Boom text on play through boom text on play through text on. So that's a pre good little promo for this article. This tutorial that I've created and the next thing we have to do is export it or save it. 54. Saving Your GIF: So now we have our video. We've added our text. The next thing we have to do is save it, so to save it as a gift. Goto file Export Save for Web We're going to save for Web using the legacy features that photo shop has that opens up this new module with different options for saving your images up in the top. Right, you have your presets. So if you click that and scroll up, you have these different GIF options. So you have gift. 1 28 dithered Gift. 1 28 No dithered, and then the same Forgive 32 30 64. What the 32 64 1 28 referred to are the amount of colors that will be exported in this gift . Exported or saved, I say exported because I'm coming from a video world. That's what we say when we save our video projects. But you can think of it as saving. So if I choose 60 32 I'll show you what it looks like with this image. It's not as bod because there's not many colors in this image, but you can see it starts to get a little distorted down here. If I go to another point in this gifts only, just click. Cancel, move. My timeline or right about here will probably be a pretty good point for you to see that file export Save for Web and then you go up to Gift 32 dithered. You'll see it better this time as it loads. There's just less colors, and it's still loading. But so they basically only have 32 colors that they use so you can see the red, the browns, and it really lumps the colors together. If I do 1 28 you'll see that it looks more normal like a normal video because it includes mawr points and more colors. In this gift dither adverse non dithered dithered means that it's more blended, non dithered. You can see as I did, that the edges become a little bit more harsh, so I typically do dithered. The other thing is, you can see the the size estimate down here, so it says that this is going to be 5.647 megabytes, so if you want to decrease that size, you can go from a hired 1 28 to something lower, so maybe let's try 64. So now that's 4.3 to 2 megabytes. If we need it to be even smaller, we can change the size. So over here, under image size, we can change this to, say, 400 and then click somewhere else so that it loads that preset and it's going to actually show up as what we're looking at. So now it's 2.791 megabytes. So there's different ways to basically changed the size of your gift, which is important when uploading online. You can also adjust all these things custom wise up here with the colors, the mountain dither, etcetera. Those are the two options that you really need to worry about. The other thing down here that you do need to worry about is this looping option. So right now it's set at once, and thats going means that it's going to play once and it's going to be done. But we typically want our gifts to repeat, so we're going to say before ever. So now how do we know if this works while we can preview it down here? Or we can actually preview it in on the Web by clicking this preview button down here, so it's going to optimize it for your browser. So this is actually how it's going to look like when someone, when you put it online, when you put it in an article, when you put it in an email, I had a break bread pretty cool. So when we come back toe Photoshopped weaken, just click save. We're just going to save our desktop. We're gonna call this bread gift click save again. And then now let's go over to our finder or your documents. Goto our desktop. We have our bread gift. There we have it, a new gift, all about breaking baking bread and it repeats. It loops infinitely. So that's how you create a gift, and you add text to it so you can do that multiple ways. You could add multiple layers of text. You could change up the text. You could add different videos to this just by doing the same process of dropping new video clips onto this timeline, or basically as a new layer moving around on the timeline so you can do lots of things with video right and photo shop itself. Let me know if you have any questions, otherwise we'll see you in another video 55. Saving as a Photoshop File: in this section, and in this lesson we're going to be learning how to save your project in a variety of formats. The first is just to do a save as a Photoshopped file so that if you're working on a project and you want to come back to it later, you can just reopen that project. I still have his oil painting effect and photo that I was working on last time open and say , I'm done with this project for now, but I know I want to do a little bit more work. What I can do is just click save. And since I had already opened up the oil painting dot any F file, it's not an actual PSD file, so I'm just going to say to my desktop and you can rename it. You want to make sure that's a Photoshopped file down here, right in this save module, you can change it from Photoshopped to J. Paige to PNG. You could choose a different type of image file to save, but we're just gonna do Photoshopped. It's like save. It's like OK, saving it. You can see it down here in the bottom, left and Once it's done, we can close this project. So now the next time you open this up photo shop, you'll see this painting PSD file. Or if you are right on your desktop, you can actually just double click this PSD file, and it will open right back up in photo shop. So that's how you save a project as a Photoshopped project. You can also duplicate this. Say we made some changes. Maybe add some text wedding anniversary party. Maybe this would be the invite for that super quick. And then we want to say this as we can just go up to file, save as well painting, invite and keep it as photo shop. You want to make sure that you save it with the layers. I'll show you what happens if you don't save with layers, so it's going to save it as a copy and say, Save, Say okay again, Go back to my desktop, go open my oil painting invite and now it opens and we don't have our layers anymore. So the text is burnt into that photo, unlike our original oil painting Photoshopped file to make sure that you have those, keep that keep layers. Options selected. Thanks for watching, and now in the next lessons will learn how to save your images for print and Web. 56. Saving for Print and Web: this tutorial will learn how to save your projects for print or Web. There's a couple ways to save your photos or projects. The first is by just going up to file save as and then choosing a different type of file. So we can say this as a J peg, which is great for online because it's a small file size but high quality, or PNG, which is a full quality image but still a fall smaller file size or these other options. Depending on what you're using, Typically you're only gonna need a J peg or maybe a PNG. So if I click save when I have that selected, this next box pops up. That has equality for this image, so I can choose a low or high quality. If you select. Okay, then go back to our desktop. We'll find this JPEG image that is great for uploading online. Let me just go to my finder, open up a new tab, go to my desktop And you can see, though, that this image is 5956 pixels wide by 3975 pixels tall and is 13.2 megabytes is a huge image. So even though I save it as a J peg, it's still really large and probably too large toe post online for a blawg unless you're just saving it in cloud storage or something like that. So we want to make this smaller. And instead of going into photo shop and creating a project that's the perfect size 1000 pixels by whatever, we can actually do that and actually just exported as at a specific size right from photo shop, just go to file export export eyes. This is going to bring up another window with different options for your project, starting over here in the right. Actually, we can see the file settings. You can choose the format between P and G. J Peg Jeffrey Gift, depending on how you pronounce it. SPG I'm just going to choose J. Peg. You could choose change the quality over here going from 100% to 0. I always leave it at 100%. Then over here we can change the scale. So the image size say we change the with 1000 because that's maybe what we know we want for a posting online something like 1000. There we go. And sometimes when you type in a number, it won't let you do that specific number. And so, if you do have that that problem, you might have to actually create a canvas that is that size in photo shops or create a project that is 1000 pixels. See here we can only go to 9 99 when I type in 1000. It doesn't allow me to do that, and that's not down here in this canvas. If I go 1000 pixels right here, see what happens is I get a white pixel line on the right side. So I want the canvas size to match the image size down below. You have your metadata options, which, if you want to save your copyright and contact info, which you can add to in your preferences, you can do that. But we're just going to say none. And then I'm just going to say, Export, all going to save me asked me where I want to save it and what the name is. I'll just say oil painting, too. It will export it. And now if I open up this oil painting, too, and see the settings. We can see that it's 999 pixels by 667. Okay, so that's a better way. Teoh. Save your projects as image files for different purposes. So if we go back up, file export export eyes for print, you might want to use PNG, and you might want to make sure that the with is the proper size. Sometimes, depending on who prince your photos. They'll recommend a specific pixel size for the size of your print. I don't know it off the top of my head, but for an eight by 10 inch print, it might be a certain pixels, and they might require our requests. PNG versus A. J. Peg Always, though, keep that quality at 100%. So that's how you use the export odds Feature in Adobe Photo Shop. I don't always use that. Sometimes when I'm creating projects. For example, if I'm doing that YouTube thumbnail, it's already at the right size. It's already at 1920 by 10 80 pixels, so I can just go up to file, save as and do a quick export as a J peg and that is perfectly fine for that kind of work as well. This just gives you a little bit more flexibility. Thank you so much for watching. If you have any questions, as always, let me know. Otherwise, we'll see you in the next lesson. 57. How to Composite Images in Photoshop CC Tutorial: everyone. Welcome to a quick tutorial on how to composite images in photo shop. So this is a quick example of what we're going to be doing within Photoshopped, basically taking two different photos, putting them together, trying toe match them so it looks like it's one photo. But it also doesn't have to necessarily match. You can just composite images that might look cool together, and I'll kind of show you how to do that. So let's dive straight into this. But first I just wanted to think one of my students on the photography master course on you , to me, who asked about this topic because I think it's a good topic to teach, and it it's really actually a lot of work to learn exactly how to do it properly. As you can tell here, this isn't a perfect image, but it's a cool thing to play around with in practice makes perfect. So if you're in photo shop or whether you're in photo shop or not, take your photo that you want to composite and we will open them in Photoshopped. But first, let's just see the two photos that I am using this Llano Beach that I found on Wikipedia and then this photo of my wife and I during a engagement shoot that we did for the wedding photography class that I have on videos, go online dot com. So first, let's is open up the background so the background layer is going to be this beach. So I'm just going to say, Open up in Photoshop. So now we have our photo and photo shop. It's the background layer, and then we can bring in our next photo just by dragging it onto our composition. So now we have our two layers over here in the layer panel you can see now one way to composite images is just through blend modes, and you will see the blend modes up here above the layer panel next to opacity so you can scroll through these different options by clicking and selecting one. Or you can select your layer. Make sure that's placed on your compositions of pressing the return key, and then she holding shift down. You can hit the plus or minus keys on your keyboard so you can see that I'm scrolling through. And these are kind of cool options if you want to do something funky with the background in the foreground, you can choose one. You can go into it and then change the opacity of each layer, and this will kind of affect how it looks. You can go in and change. The say curves, the brightness or contrast, and this will also affect how it looks. So doing that can be a cool way to composite images. But another way is maybe something more like this, where you want to get it more realistic where you cut out one image and put it in the background. So to do that, I'm going to select my top layer. I'm going to go over to my quick selectable make sure that I have the plus sign up here. I think the size 30 spacing 25 is great. It will depend on the size of photo that you are using and then just drag and select the area that you want to cut out. And you don't have to be perfect because we're going to go back and fix the things that we messed up on. Because sometimes Photoshopped thinks we want something when we don't so to do that just go click this minus tool. So you see here it grabbed his tree in the background. Go in and let's see what else We got this little hole down here, So let's go in and subtract that. We can decrease the size of our brush by hitting the brackets on our keyboard. Something like that, and you can see it's not perfect, but you can go in and actually make it completely perfect if you want. Or another thing that we can do is click this refined edge. But before we do that, make sure you have auto enhance selected that will help it make better selections. But sleep is like that Auto enhance and this module will pop up. You will see that it picked up some of these lines over here, and that will be getting got rid of by clicking the Smart radius, increasing the size of the smart radius, smoothing it out a bit and feathering a bit. We can even add some contrast and just do this until the edge looks a little bit good. But you'll see here that I missed this pot spot down here, so let me just go back and before we do that refine edge do that is going to get rid of any area in the middle right here. And then let's do the refine edge Smart radius Go up a little bit. You don't want to go too much because it can get a little wonky. And I basically do a little bit of smoothing, a little bit of feathering, a little bit of contrast, which seems to help select more defined edges. And then you could expand it or not with this shift edge. But I'm not going to do that for now. I'm just going to hit, okay? And now it will compute that it will select what you have selected, and then you hit. Copy So, command, see, on a Mac or control, see on a PC and then pace command V, and that creates this new layer. If I turn off this bottom layer, you'll see that this new layer is here. Great. So this is looking pretty good already, but we have some edits to do to make it look even better. So this one you can see the first thing that I did is resize it just to make it look a little bit more natural. It's kind of hard to tell because I don't have the photo with our legs. That would have been better toe actually put in this image. But I think that looks a little bit more better. Then we wanted to change the color. So I'm going to duplicate this layer by just dragging it into this new item window. I'm going to rename this Hugh. I'm going to change the hue so that matches more of the background. The whether when we're shooting these engagement photos was cloudy. It was hot summer day, but it was a little bit muggy. The sun was behind us, and you can tell here that the sun would probably believe the shining directly on our faces in this photo and the beach. So go upto image adjustments, hue, saturation, and now there's 100 million trillion ways to do this in photo shop. But this is just one of them. Basically, I duplicate each layer and then I added new effect to it, and then I can go back to the previous layer. If I need Teoh so hue saturation. Let's just play with this you to see what it looks like you can see if I drop it down to the negatives that becomes a little bit more magenta. I want it to be maybe a little bit less magenta, making a little bit yellowish green, and that looks pretty good. You can unchecked this preview dish, see what it looks like. You can see that it just blends a little bit better with the background. The next thing we're going to do is duplicate, so I'm just going to drag this into a new composition or new item. Turn off this bottom one and call this levels go up to image adjustments levels. I was going to change the levels a little bit. To try to match the background may make it a little bit more contrast e and then writing it up just a little bit more. So something like that looks pretty good. Okay, so there's one more step you can see. It's a little bit different. I think I added a little bit of saturation to the hue, so let me just duplicate this one more time. Actually, I'll just do that quickly to this. Let layer adjustments, hue saturation. Then I will add a little bit of saturation, so it matched the background just a little bit better. But there's one more thing that you will notice. It's a very subtle thing, but this background is a little bit blurry in this image where hear the background is completely sharp. And that's not typically how photo would look if you were focusing on the couple right here in the front. It depends on what camera you're using and everything, but I think it would look better if the background was a little bit blurry. So to do that, I'm just going to unlock this background layer. I'm going to duplicate it. You know, this top layer I'm going to go up to filter, going to go to Blur and then gouging blur and then add something like this 12 10 pixels or so. Now that looks a little bit funky, and the reason is because the sand up here and the trees over here might still be a little bit mawr and focus than this background clouds way over here. So how are we going to make that look better? We're going to erase some of this blurry image so that part of it is in focus, and part is blurry. An easy way to do that is to drag us into this little button down here, which will create a mask. And we can erase some of this layer mask by selecting this white box over here, going to our brush by just pressing be on our keyboard. We can change the size and hardness up here are you typically use very large and not so hard brush so very soft feathered, and then make sure that your brushes on black to erase the images. So it's erasing some of this white and just go down here towards the bottom. And when I did this, I did. I started with just the bottom. So this looks a little bit better because the sand right here would be in focus with us, and then I was going to increase the size of my brush. I did that by holding control all Tom a keyboard and dragging left or right. So that's another easy way to increase or decrease the size of the brush. And then I'm just going to erase the blur in these trees up here. So I'm assuming that the camera that we used was a little bit. The Apertura was rather small, actually, so that the depth of field that was big and so all the stuff I think would be in focus so I can go in and clean this up even more with these trees up here. Basically, I just want these clouds in the background and maybe the little horizon out here. Out of focus. Now you can go in play with this. You can actually create multiple layers of blur depending on. Maybe you want part of this image back here to be less blurred than the sky. You can do that. Let's just I'll just show you that really quickly. That will improve how this looks even more so. I'm going to add this to new layer filter good at Blur, Gaussian Blur. Let's just say five, and then I'm going to again drop this into a new layer mask. It's like the white Presby to bring up my brush, said the size and just blow down here. Maybe just right here on this tree in the foreground, and we can. So I just erased some of that image. But to bring it back, I can switch this to the white brush and paint on and bring it back, because maybe I want the tree behind my head to be out of focus a little bit. That will make me stand out a little bit. So something like that looks even better than something like this. I would say so. Wow, that is a quick composite image tutorial in photo shop. You can see that it's not perfect. You can see the sun shining on my arms like this, and you can tell that's coming from the back round of this original photo. But in this photo, it looks pretty good. We can also do a little bit of burning and dodging. So if we take this levels and called us burn Dodge burn dodge basically increases or decreases the brightness of the specific area so we can do this burn tool to decrease the light. So say is about the back of her. We want to be. Actually, that would be in the sun, so the front of her would be a little bit darker. The back of me would be a little bit darker and make sure you have the right layer selected and then the Dodge Tool, so the back of her would be a little bit brighter in the front of me would be a little bit brighter as well. So something like that you can kind of play around with make it look a little bit more realistic. And there's tons of other things you can do to make this look even better. But I think that's a quick, good overview of what you can do in photo shopped to composite images. So thank you so much again for the question on the course page. If anyone else has any questions about this subject, anything about photography video. Please let me know. Try to create a tutorial, and you can also check out video school online dot com for more tutorials and premium courses on all things related to photography, aftereffects, motion graphics, video editing, creating your own business and much, much more. So thanks a lot. Philip Nurse signing out and have a great day 58. How to Add Textures in Photoshop: everyone. Welcome to a quick tutorial brought to you by video school online dot com. Today I am showing you how to add textures in photo shop. I thought this would be a great tutorial because it's something that I remember. I had to look up a lot when I was starting to use photo shop and I was creating this actually save the date for my wedding coming up, and I was adding some textures to the background, and it's actually really easy, and it makes the entire composition look way more detailed and really steps up. The ballgame makes it more professional. As you can see here, while I click on and off, it looks a lot better. So let me show you the process of getting a texture and placing it into Photoshopped. It's actually really simple. The easiest way to do it is just go to Google, type in texture, go to the images. Now what I would do is under search tools. Just click that button and, under usage rights, select labeled front for re use. So this means that all the photos are now labeled for you to use. However you feel free, you don't have to pay for them. You can use them however you want, so you can see that there's lots and lots of textures. Another thing is to click undersize and then goto larger than depending on how big your composition is. Um, well, it will do. You can choose one of these options. You know, picking something above two megapixels is great. That's gonna be super high quality for what I'm doing. So then you basically just find a texture that you like. So let me just pick something like, Ah, this wood texture. That's kind of cool. And you could search in Google for wood texture or grunge texture or something like that. Then just open up the image that you can just simply drag and drop it to your photo shop project. So then you can just scale it or rotate it so that it fills the background or whatever. You're adding a texture, too. So then because I don't want it to just look like that, which is actually kind of cool, I'm going to first turn off this other texture that I had on. Then I'm just going to click on this layer. I added than up in the blend mode. I'm going to change it to soft light, and now you have a nice little wood texture behind our text. One thing you can do to, though, is because this is showing a little bit of the beige, the brown of the wood. I can just change this to a black and white image, just going up to image adjustment de saturate. And now it's just a black and white image. So it's just adding the texture is not adding any color because I chose that color for a reason, and that is a very simple way to add a texture. You can also scroll through any of these other blend modes and find something that you like . You can, even if you have a keyboard with ah that you're using. You can click, shift and the plus or minus, but ends to scroll through. He's blend modes, which is kind of cool. So maybe something like color burn. That's pretty cool. That might look a little bit better, since the wood texture isn't kind of it's very simple, and you can just kind of scroll through and you see that. But adding a texture. You can changed and top the entire dynamic of this project that I'm working on, so that's pretty cool. So that's how to add texture in photo shop I hope you enjoyed and we'll see you in another tutorial. 59. Thank You Video: hello again. And thank you so much for taking this course. It's been my pleasure toe walk you through photo shop for beginners and hopefully I've given you the tools and the techniques and the strategy, the mindset that you wanted when you enrolled in this course with all of my courses. I'm always trying to make them the best course in that subject. So I want this to be the very best photo shop for beginners course out there. If there's anything that can be additive, this course, anything that can be changed about this course that would make it better. In your opinion, please let me know. Just send me a message or comment on the course page. If you did enjoy this chorus, I have a lot of other courses you might enjoy, too. You can go to video school online dot com and check out my course page to see all of my other courses or wherever you're taking this. Just search for Philip dinner and you'll find the other courses that I've taught. I teach a range of courses from Photoshopped designed to photography, video creation, motion graphics. I've got a lot, of course, is out there already. And I've got hundreds of thousands of students taking my courses, and you are one of them. And I just wanted to make this message for you. They say thank you again for enrolling in this course and good luck with Photoshopped. Thanks a lot and have a great day.