Transcripts
1. Introduction: Hi, I'm Kent Newbold and I'll be your instructor
in this class. I've been working with Photoshop for many years and want to share some of the tips and tricks that I've
learned along the way. In this class, we
will be creating or my wife causal legacy print. When a loved one passes away, I like to take some
of the pictures from their lives and create a collage which can be
printed and hung on the wall, creates a wonderful
memory for them. And I've been able to give
many of these copies away to two family members and
loved ones who are very grateful that they have that kind of a memory
to hang on their wall. I've been able to create these legacy prints from my mother, my father, my sister, my wife's parents, and my
grandparents is actually the first one that I ever
did back in 2002 and we'll be recreating
this one in this class. Some of these pictures
are from 1904. Let's take a look at what we'll be learning in this class. We'll go over how to scan your photo and some
of the basic settings that you need to make in your scanner software in order to get the
best possible scan. Also show you how you can digitize your photo if
you don't have a scanner, by using your cell phone, will use the clone stamp tool
and the Healing Brush tools to fix any spots or any imperfections that
we have in our skin. Will go over how to select
that subject and get rid of the background
using layer masks. Then we'll bring in
multiple photos, arrange them and size them, and create our legacy collage. We'll make some final touch ups. Then we'll convert it
to black and white. And we'll also give it
a sepia tone effect. Thanks for joining
me in this class. Click on that first
lesson. Let's get started.
2. Using a Scanner to Digitize Your Photos: These are some of the
pictures that we're gonna be using for our project. We're going to scan these. Some of them, we're only
going to scan parts of it. For example, this one, we only need this small part. And if you measure it,
it's about two inches. How I want this to
be about six inches. I'm going to have to scan
this at 300 per cent, at 300 DPI, or 100% at 900 dpi. We'll get into that a little
bit more in a minute. When you make your
scan, you need to keep it as clean as possible. So it's good to use
this canned air that will blow off the dust. You can also wipe it down
with a microfiber cloth. When you use the candidate
or compressed air, you don't want to hold
it down like this. Some liquid can come out of that candidate can
destroy your picture. You don't wanna do that.
You want to make sure you're holding it horizontally. Okay, Let's move
over to the scanner. Wipe the glass down with
a microfiber cloth, and use a little bit
of the canned air. Can up straight.
Place your pitch, your face down on the glass, and try and get its strategy. Can you don't want
it to be crooked? Let's go scan it. Kay, the scanner
software is open and my scanner
software might look a little different than
yours depending on what brand of scanner you have. I'm going to show you the
settings that I'm going to use. And you should be able to make those same settings in
your scanner software. It makes sure that I'm on a
photograph and reflective, since this is a photograph, not a transparency or slide. The main thing we need to
worry about if the DPI, because it needs to be 300
DPI at the final size. Since the final size is six inches and the original
size is two inches, we need to scan it at 300%, at 300 DPI or 100% at 900 bps. Let's just put in 900. And we need to give it a name. We can do that here. He's about 16 years old. We'll call it a stellar 16. Have more than one
scan of the same name. You can give it
some numbers that will go at the end right here. Then you need to tell it
where we're going to save it. So I'll navigate to my Scans
folder and click Choose. Now we've got all
our settings set. Let's hit Preview and
that'll give us a pre scan. This does a pretty scan of everything that's on
the scanner glass. From here, we can choose
what we want to scan or we just want to scan this
little bit right here. So just click and drag to create a marquee around the part
that we want to scan. Then click Scan. It's all dominoes close our scanner software
or an element. Let's go to File Open. And we'll go find that file, scope and turn on the rulers. And we'll see that
she's two inches tall. If we go to Image, Resize image size, you
can see we're at 900 ppi. Take off re-sampling. You don't want to do that,
just change this to 300. You can see we're going to be three inches by
about six inches. Click Okay, there we go. You can save that file Save if you want
to give it a name. You can do File Save As
I'm just going to go ahead and write over the
one that we already had. If you don't have a scanner, you can actually use your phone. We'll go over that
in the next lesson. I'll see you there.
3. Using a Cell Phone to Digitize Your Photos: If you don't have a scanner
and alternate way to get the photo into your computers
to use your cell phone. You can look at the
edge of the photo and now I'll help you to
keep it straight. The main thing here
is to try to keep the phone level
parallel to the photo. You can see here that the
phone is searching for focus. Since I'm only using a
small part of the photo, I want to move in as
close as I can to the picture to take in order
to capture just what I need. Problem is the phone
won't focus that close, so it keeps going in
and out of focus. And you can also tell it
it's moving around a lot. It's hard to hold it steady to get it just in the right spot. One way to solve that problem is to rest your hands
on a large book that will help steady the
phone and make it much easier to get it
straight and in-focus. I can get it in focus
quickly and I can hold it a lot more steady and I
could without that book. And here's the final picture. Here we are in Photoshop
and you can see that it's 42 inches by about 56 inches. Let's see On the
rulers over here. Let's go up here to
Image, Resize image size. Let's take a look at it. It's 72 DPI. We want it to be
at least 300 DPI. So make sure resample
image is not checked. And let's just change this
to 300 DPI. Click Okay. Now you can see how it worked
ten inches by about 13, a little over 13 inches. But we're only going to use this little
section right here. A good way of measures. Do you use your rulers, but you can change your
0 just by dragging from this corner up here by
the rulers, drag it out. Wherever you stop, that will
set a new zero-zero point. Can see on the ruler 00 where
you can look down here. You can see we're
about eight inches. We need it to be six inches, so we should be fine. Let's take a look
at this though. Let's zoom in command
and the plus sign. Or you can grab this
zoom tool over here. Let's zoom in. Use your space bar, you get the hand and you can
move it around in there. Let's take a look at it. A little bit blurry. Let's look at our scan. This is our scan we
did and the other one. Let's zoom into that
to take a look. This is our scan. This is the photograph. Both photos are kind of blurry, but old photos are blurry. So there's not much
you can do about that, but I do think that the scan has a little bit more detail
than the photograph. So I think I'm going
to use a scan. But if you don't have a scanner and you need to use your phone, I think that should
work just fine. In our next lesson, we'll
go over how to clean up the scan and fix some of these little pinhole dots and things that are around in
it and make it look good. I'll see you there. Thanks. Bye.
4. Using the Clone Tool and Healing Brush Tools: We have our picture open
up in Photoshop Elements. We're going to do
some cleaning up. If we zoom in, you can
see there's a lot of little pinholes and scratches
and things in this picture. We're going to use
two tools to do that. We're going to use the clone
stamp tool right here. And we're going to use the
healing brush tool right here. Let's start with the
clone stamp tool. Let's make a new layer
first stamp tool. You have these
options down here. This is the pattern stamp tool, just replaces your
pixels with a pattern. I have never used the
pattern stamp tool. Let's go ahead and go right
to the clone stamp tool. Clone stamp tool actually
does what the name implies. It clones the pixels or makes an exact copy of the pixels
from one area to another. Before we get going, Let's
change the size of our brush. You can change the
size of your brush by using the bracket keys. Those are the keys right next
to the P on your keyboard. The left bracket key will
make your brush smaller, and the right bracket key
will make your brush larger. Or you can use this
slider down here. I like to use the bracket
keys because you can see it as you're
changing the size. To use the clone stamp tool, you have to select a source spot that you're going to clone from. You do that by holding down
the Option on a Mac or the Alt on a PC and clicking you can see
that you get a little, a little crosshair there. That's going to be
your source point. Makes sure that sample
all layers is selected. We're going to be cloning
on the new layer, but we're going to be cloning
from the background layer. So we need our layer selected. Otherwise it will just cloned from what's on our new layer. And right now there's
nothing on that new layer. Let's select our source point by holding down the
Option or Alt on a PC. And we'll just click right here. Then we'll move over here a little ways and start to clone. You can see it's actually making an exact copy of those pixels. Let me show you what
this aligned does. Let's zoom out a little bit. Who moved down here a
little bit lower and clone, you can see that our
source point remained in the same spot as we had before. Let's check the aligned
and will come up and set the same source point, will just clone over
here a little bit. Now let's move down
here and clone. And you can see that our
source point has moved down to her source point is aligned
with our Clone Stamp tool, rather than keeping the same
source point each time. Let's just throw
that layer away. Let's get a new layer. Let's look at the
Healing Brush tool. Have two options
down here you have the Spot Healing Brush tool only have the
healing brush tool. The healing brush
tool works just like the clone stamp tool
and the fact that you set a source point
and then you can copy the pixels from
one area to another. But it doesn't just
make a direct copy. It will actually try and blend the pixels from
the source point, E in width, the pixels that
are in the destination point. Let's come up to
our source point, hold down the Option
or the Alt and click. Then let's come down here
and start to use the brush. A little bit darker because
it's trying to blend in with the darker pixels
that are already there. The Spot Healing Brush
does the same thing. It tries to blend in with the
pixels that are around it. But for them, when you don't have to use
this source point, you can just click on the
spot and it'll fix it. Let's zoom in a little
bit and see how it works. You can just click right on
the spot and it'll disappear. Or you can even click and
drag and it will disappear. Let's go back to the spot
healing brush and we'll select our source point up here. Let's go down on her coat. And you can see that the
background is darker because it's trying to blend in with the darker
part of her coat. If we use that same source point and come over here
on the background, you can see that
it remains lighter because blending in with
a lighter background. Let's go ahead and
fix this picture. We're going to use both of
those tools, the stamp tool, that's the shortcut S, and the Healing Brush
Tool, the shortcut j. So you can just switch
back and forth on the fly by using those
keyboard shortcuts. Let's start out with
the spot healing brush. Let's make a new layer. We're gonna do it
on a new layer. Sample all layers is checked. Content aware is okay. Let's go start
clicking on some of those spots that
work pretty good. We don't need to worry
about all the specs and the background because
we're going to get rid of that background anyway. If you hold down the space bar, you get the hand tool and you can move the picture around. Right here, we're going to
probably use the clone tool. Hit S. Let's switch to the clone tool. Let's make that a
little bit smaller. Option click or Alt click
to get our source point. Click and drag the
Cologne those pixels. Hit J to switch back to the spot healing brush will just continue to
work our way down using the clone stamp tool
and the Healing brush, using the shortcut keys S and
J to switch back and forth. Some of these spots
are actually part of the grain in the picture and you don't want
to get rid of that. Let's try some of
these other options. This try proximity match, that just kinda looks
at the pixels that are around this spot and tries
to match those pixels, which is about the same
thing as content aware. Sometimes if one
thing doesn't work, you can try one of
the other options and then my work a
little bit better. In this case, productivity
match works just fine. Let's go back to content aware. That doesn't look very good. Let's do a Command
Z or Control Z. To undo that, Let's
use the stamp tool. To get the stamp tool. Let's set the source
point over here. I think that'll look alright, let's go back to the
spot healing brush. Let's click S for the
stamp tool and we'll just clean up this
edge a little bit. We don't care if that
blends and good with that background
because we're going to get rid of that anyway. Okay, I think that looks good. Command 0 or Control 0 will
fit that in the window. Okay, we can turn
the visibility of that layer on and off by
clicking on that eyeball, see what kind of
work we've done. Let's save this, go
up under file, save. And we want to keep the layers. You can see this is the
new name if you want. I'm just going to save it
over the top of our other one because our original is
actually the background layer, this one, so we don't
need to keep this, but if you want, you can
save it as a new name. Can also save it as a
PSD rather than a tiff. That will work fine too. As long as you save the layers. In our next class, we'll use a layer mask to get rid
of that background. So I'll see you
in class. Thanks. Bye.
5. Getting Rid of the Background: We have our picture open
in Photoshop Elements. We wanna get rid of
this background. But before we do that, we're going to combine
these two layers into one single layer. That way we can use a layer mask to knock out that background. So in order to do that,
select both layers. Let's name this layer first. This is our clone and our Healing Brush tool
layer clone heel. You remember that was
on a separate layer. Select both layers. On a Mac, hold down the Shift Option
command and hit E. On a PC that would be
Shift Alt Control E. And that puts both
of these layers, combines them all into
one single layer. Now we can just
turn these layers off and we can get ready
to make a layer mask. This is the layer mask button. Click that and it will add
a layer mask to that layer. Click on the layer
mask to select it. You'll know that it's selected when there's a blue
line around it. The way the layer mask
works, wherever it's white, it will let the pixels on
that layer show through. And wherever it's
black on the mask will hide the pixels on that layer. Let's come over here
by our color swatches. If you hit this
double-headed curved arrow, that will swap out the background or the
foreground color. You can also hit X
on your keyboard, and that will do the same thing. So we want blackens
the foreground with our Layer Mask selected. Let's get the brush. Let's make the brush bigger by hitting the right bracket key. If you paint with black, you'll see that it
hides that layer. Let's click on the
foreground color and we'll pick a gray from
the color picker. Now because we're using
gray, it's changed. The opacity is a little
more transparent. Let's get a lighter
colored gray. And the good thing about the mask, because
it's non-destructive, it's like an eraser, but it's not erasing
any of the pixels, is just hiding the pixels. So if you decide that you made a mistake and
you want to change it, go back to white. And you can just paint with white on
that mask and you can see that it's getting rid
of all that black and it's revealing the picture. That's how the layer mask works. So let's just throw
away that layer mask. I'm going to apply it.
We'll just delete it. Let's make our selection. We need to make a selection of her to get rid of
that background. Let's come up here. This is the quick
selection tool we use that you got all these different
selection tools in here. We'll use the Quick
Selection Tool, but we're going to first click on this Select Subject button. Select Subject. And
Photoshop will do its best to try and
select the subject. And it does a pretty good job. Let's zoom in here and
take a quick look. Hey, that's not bad. You can see that it
missed some places. So with our Quick Selection
Tool selected down here, if you hold down the Shift, it will add to the selection. If you hold down the
Alt or the Option, it will subtract
from the selection. So we're just going
to click and hold down the mouse button and drag right along that edge
to add to our selection. Right here, the value of the
grace pretty much the same. And so it had a hard time
trying to find that edge. Will just help it out a
little bit by clicking the Option or the Alt
to get the minus. And we'll just subtract that. And now we're going to have
to add some a loop back in. Every time you go over it with the Alt or Option or the shift, it refines that selection
just a little bit better. And it will eventually
find that edge. Okay, that looks pretty good. Let's just get rid of a little teeny bit
more right there. Here we need to add some more. So hold down the Shift to get the plus and add
to that selection. Selects too much, just hold down the Option or Alt to subtract, keep refining that edge. Sometimes you just
can't see the edge, can't tell where it
is, and then you just have to fake it. Make your own edge. Okay, Let's move down here. Keep moving around our picture. Let's grab a little
bit right here. It looks like the semen or code. Just keep alternating back and forth with the Shift and Alt or the option to
refine that edge. When you get to the feet, I like to include some of
the floor or the ground. If you take out the
floor or the ground, it's going to look like
she's floating in air. If you include the
feeding your final Final picture. If you need to, you can always mask
that out later. I'm going to go ahead
and speed this video up. Just remember to
just keep working around using the Shift to add to your selection or the Option or Alt to subtract
from your selection. Just keep working on that edge to try and
get that edge smooth. Once the mask is made, you can always go in
and edit it later using the black or the white
with the paintbrush. The Quick Selection
Tool is having a really hard time seeing
the edge of the hand. So this is one time
where I'm going to have to create that edge myself. Finger, we're going
to use the lasso tool to create that edge. I'm going to keep the Lasso tool and use the Option or the Alt to just clean up some of
these sharp corners in here. Okay, I think we're good. Command Z or Control Zero
to fit in the window. Gets it Refine Edge. Now it makes your mask for you. You have different
views right here. It's on black right now. He can have it on white
and black and white, which will basically
just show your mask. It has on layers
which will show you a transparent
background as overlay, as the marching ants
are the selection. And then he revealed layer. That's just your original layer. We're going to be on white. So let's take a look
at it on white. Let's zoom in a little
bit, but we can't dwell. This dialog box is open, so just click up here, similar to close that box. Command plus or control
plus to zoom in. And then we can use
the space bar to get the hand tool to move
it around a little bit. You can see that it's
really feathered. The edges are very soft. We don't want that, but
we don't want it too hard or it'll look like
it's cut out with scissors. You have to get it
perfect medium in there. Let's take a look
at black and white. This is our mask and
you can see it's got a soft edge feathered and
we want some feathering, but we don't want it to be
that match with smooth. Does that really smooth
it out around here? But you can see that it rounded
off or corners up here. We don't want that.
Maybe just a little bit. Just go about maybe 1615. We'll leave it at 13.
Feather, just feathers. It gives it a softer edge
and we don't need that. We need harder edge. Let's add some
contrast that'll make the whites whiter and
the blacks blacker. And it'll get rid
of some of that feathering around the edge. Go back there. Every pitcher you work on is going to be
a little bit different. So you have different settings
for each one. Shift dead. Let's go back here to black. And we'll drag this slider, Dan, you can see how it
moves that edge in or go the other way and
it'll move that edge out. I'm just going to bring
it in just a little bit. This is going to end
up being unwind. So let's put it on white and it's going to
look just fine. Command Z or Control Zero
to fit that in the window. I think that's going to work. Let's go here too. We don't want it to
just a selection. We want a new layer
with a Layer Mask. Let's click. Okay. Let's throw a white layer under there just
to see what it looks like. So let's add a new layer. We'll fill that
layer with white, hit Shift, Delete or Backspace. And that brings up the
fill layer dialog box. We've got white
click OK. And let's just drag that layer
underneath our picture layer. Click, hold down the mouse
button and pull it down. When you see that line get thick and a double line,
drop it right there. And that's how you can
change the layer order, the stacking order
of the layers. Okay, I think that looks good. Let's look at her hair. Her hair looks like
it's been cut out with scissors and we
want to fix that. We can do that by modifying
our mask just a little bit. So select the mask. Let's change this
to black and white. This is your default right
here, black and white. And you can also click on the
letter D on your keyboard, will go to the
default and remember, x will toggles back-and-forth. Black hides and white reveals. So we want to paint on white. We want to paint on our mask, so make sure the
mask is selected. You see that blue
border around there. We want a very small brush. Let's get it. Let's grab our brush. Let's go to brush
settings and make sure that hardness is at 100. And then we want a small brush. Let's go down to one pixel. Let's come up here
and we'll just start right up
here in your hair. Will go from her
hair and make like a little circle around
back into her hair. Keep doing that all the
way around her hair. I'm going to speed
this up again. I know this looks
pretty bad now, but we'll fix it in a minute. Okay. Go up and get the blur
tool and just go around that edge with the blur tool and soften that up a little bit. If you think you need more, just go back to the brush
tool and do it all again. Grab the blur tool again and just go around that edge again. The good thing about
that is because you're doing that
on the layer mask. If you don't like
it, you can just paint with black
and get rid of it. I think that'll look alright. Now there are some
things on our places on our mask that we need to fix. If you want to just look
at your mask by itself, hold down the Option or Alt, and click on the mask, and that shows you your mask. Zoom in a little bit
command and the plus sign. And it looks like we need to
fix its little spot up here. Let's get the paintbrush
will paint with white. Let's make it a
little bit bigger. Left bracket, right bracket key, paint with white right there. And we have some places in
the black that we need to paint black right there. Let's hit X to change your
foreground color to black. I'm just going around to
make sure I have all the spots in the black covered
up, painted black. To show your layer again, just hold down the Alt or
the Option and click on your mask and it will
make that visible again. Command Z or Control Zero
to fit in the window. Now we want to save this. Go up to File, Save. Now save this with all
of our layers in it. Now we haven't saved
with all those layers if we ever want to go back
and make any changes, we've got those layers. But we want to save this as a silhouette without
all those layers. Because when we bring it
into our final picture, we don't want to bring
in all those layers. So we want to save it
as a separate file. I'm going to select
all those layers and click the trash can. I'm going to drag the layer
mask to the trash can. And I'm going to tell it
to apply it this time. That gives us one layer with
the transparent background. Then I'm gonna go
up under Save As, and I'm going to leave
it with the same name, but I'm just going to add silhouette to the
end of the name. And we're going to
save it as a PSD. Psd and tiffs both
save transparency. But the PSD seems to be a
little bit smaller file. I'll just save it as a PSD. You want to save your original
PSD, you can do that. I just left mine as a tiff
because that's how I saved it. When we scanned it. I've already got the other picture
silhouetted for our collage. So in our next class, we will put it together. I'll see you there. Thanks, Bye.
6. Putting it all Together: We have our picture open here, but I've also got my other pictures that
are going to be using. These have already
been silhouetted. We're gonna put these all
together in a collage. Let's come up under File. New Blank file. I'm just going to make
this a eight by ten. Let's start bringing our photos. And you can do that by clicking on the thumbnail and the photo. And just click and hold down the mouse button and drag
it into your workspace. I'm gonna make this a
little bit smaller. You can make it smaller just by dragging these corners squares, these are called handles. If you drag the middle ones, it will distort your picture. We don't want to do that. So let's just click on
this cancel button. If you want to scale
it proportionally, just use one of the
corner handles. And then click and hold down the mouse button and you can move it where you
want to put it. I'm going to click
the check mark K. That's our first one. Let's
go back to the photo band. Let's bring in the
one that we scanned. As you bring it in, you can see it puts it on its own layer. We want that to be on
top of this layer. You can change your layer stack
by clicking on the layer, hold down the mouse button
and drag it where you wanted. When you see that line between the layers get thick and black, it looks like a double line. Drop it right there. And that just changes the
order of those layers. Let's just slide that over here. I'm going to actually enlarge
that just a little bit. Even though we scan
it at 300 DPI, he can go a little bit under
300 DPI and it'll look fine. 300 is the target. Click the check mark and
let's go get our next one. Let's go to the photo
band and we'll grab this one where he's
playing the mandolin. He lives slide that
over here a little bit, and let's make that one
a little bit smaller. About like that and
click the check mark. The main thing I want
to do right now is get them all in there and get them basically sized
close to what I want. And I can always go in and refine the sizes
and the positions a little bit later once I get them all in there
and see what I've got. Let's bring in this one. We'll make it a
little bit smaller. Let's move it over
just a little bit. Hit the check mark. Now let's move that layer
on top. There we go. I'm gonna go ahead and
move it up a little bit. And I think it's still
a little bit too big. I'm going to shrink
it a little bit more. Something about like that. Let's click the check mark. Let's go back to the photo ban. And let's bring in this one. Let's make that smaller. Smooth that out here. You can see that got the head or another little boy on there. We need to make sure
that we cover that up in our final collage. I'm gonna make that a
little bit smaller still, and move it up to about there. Click the check mark. Let's go back to the photo, Ben. Let's bring in this picture. Let's make it a little smaller. We'll move it over here.
We'll put her right in front of that little
guy we want to hide. Make that a little smaller
still. Check mark. Go back to the photo
printer will get this one. Let's make it smaller. Tip the check mark, and let's move it to the
top and our layer stack. Let's just move it over
just a little bit. Make that a little
smaller still, and we'll move it
just a little bit. We can always refine
these positions later. Click the check mark. Back to the photo. Ben,
let's grab this one. And we'll do the
same thing with as soon as we've done
with all the others, we'll size it and
we'll move it around, get it about where we want it. We can try and get the sides
of their heads kinda close. Those two, they're right
together there at the bottom. Checkmark. Let's move
that up to the top. Let's bring in her last one. We'll make it a
little bit smaller. Let's hit the check
mark and move that layer up to the top so
you can see what we're doing. We need to move her
over just a little bit and we need to make her
a little bit smaller. I don't want that fan to go right over that
little girl's face. Let's move that
down a little bit and we'll make it a
little bit smaller. I'll click Okay. Now that I've got all
my pictures in there, I can resize them
and move them around until it looks the way
I want it to look. First of all, I
think I need to make all of them just a
little bit smaller. On second thought, this one's probably okay the way it is. You just click on the
image in the picture, it will automatically
select your layer for you. I'm just refining the size
and the position of these. You can use the arrow keys
to move them if you want. This is all subjective. We just move things
around and size things around until
it looks good to you. You're the artist here. You're the one that needs to be pleased with the final result. Again here I need to make
sure that that fan doesn't cover the little girl's
face in the background. Okay, I kinda like that. There's a couple of things
you need to do still, we need to feather the
bottom of this picture, and we need to feather around the ground on this
other picture. These are already feathered and this one's already
feathered, so that's fine. So we can do that
with a Layer Mask. Let's come over here. Let's find that layer. You can use the eyeball
on that layer to, toggle on and off
the visibility of that layer to make sure that
you have the right one. So let's add a layer mask. Make sure that
your Layer Mask is selected as the blue
line around it. Make sure that black is your foreground color
right now we have white. You can hit this
double-headed arrow, or you can just hit the
X key on your keyboard. That will swap your foreground
and background colors. Let's get the brush tool. We want a soft brush this time. So let's click on Brush Settings and it will
take the Hardness down to 0. Okay, and let's see what size. So we need a bigger
brush than that. Let's go with a fairly big
brush, something like that. Just brush back and
forth a couple of times until that hard line disappears. Let's see one thing
here I want to fix. I don't like this hand
touching this hair. So I'm going to just move this picture down
just a little bit, give it a little bit
of space between their hand and her hair. I'm going to use
the down arrow key just to nudge that
down a little bit. If you hit the down arrow key, it will move one pixel down. If you hold down the Shift, every time we hit the arrow key, we'll move ten pixels down. Okay, that looks good. That looks good. I still
need to feather this one. So let's find that layer. This layer right here. Okay, Let's do the same thing. Let's grab the layer mask. Make sure the mask is selected. You see the blue
line around there. I'm going to paint with
black paint brush. I'm gonna make this brush
a little bit smaller by using the left bracket key. I'm just going to paint
around the bottom of that and feather that
in just a little bit. Okay, Perfect. I think we're done with that. Some of these have a
color tint to them because I scan them in RGB mode. So we need to take care of that. Now. Let's put these
layers in a group, select the top layer, and then hold down
the Shift and select the layer just above
the background layer. It won't let you put the
background layer in a group. Click on this second
icon from the left, and that will put all
those layers in a group. We'll just call
that group working. Now we have those layers. If we ever want to
go back in and make any changes, we can do that. Now we're going to make
a composite layer and put all those layers onto one composite layer
with that group selected. Hit Shift Option Command E, if you're on a Mac or Shift
Alt Control if you're on a PC and that will create a composite layer
above our group. Let's turn the
visibility of the group and this background layer
off and you can see that it doesn't make any
change because everything is now on that top
composite layer. Let's use an adjustment layer to change that into a
black and white. This is the Adjustment
Layer icon up here, the half colored
half white circle. Click on that and
choose hue saturation. Well, the saturation slider all the way to the
left and that will desaturate the colors or turn
it into a black and white. If you want to put some
color back into it, for example, these
little picture. So if you want to have
a sepia tone look, you can do that with
another adjustment layer. So making new hue saturation
adjustment layer, click the colorized
box and then you can use the hue slider
to change the color. That gives us a sepia tone. And you can do whatever
color you want, a cyan tone, magenta,
whatever you want. I'm just going to make
it a little bit of a sepia tone,
something like that. If that colors a
little bit too strong, you can change the opacity
of that adjustment layer. We'll just take it
down a little bit just to bring back
some of that black, make that yellow not
quite so strong. I want the sepia tone
effect to just be subtle. This is our working file. We want to save this
with all the layers. Let's go up under file Save As. And we'll navigate
to the folder. And I'm going to call
this collage working. It's a PSD. So I keep all of those layers. Click Save. Now I don't want to take
this to the printer. This is for working file only. I'm going to save it
as a jpeg that will flatten it and make it
a much smaller file. And that's the one that I'm
going to print from file. Save as JPEG, and that will
automatically flatten it, will just keep it the same name, or we can just add final
on the end of that name. And click Save. Jpeg is
saved, it's compressed. That means it throws away some of the
information that's in that photo in Photoshop
thinks you don't need. And most of the time you don't. But I like to keep the quality
is the highest possible. Now if you ever need
to make a change, you can go back to
that working file and make your changes
to the working file. Don't make your
changes to your JPEG. Make your changes
to the working file and save a new JPEG. Click, Okay. Now this JPEG is the
file that you'll take to your printer or to the
lab to get printed. That's the end of this
lesson and our next one, we'll talk about
the class project. I'll see you there. Thanks, Bye.
7. Conclusion - Class Project: Now we've finished our collage. I want to show you some examples of some other ones
that I've done. In this one, she was sitting on the steps and the
original picture, so I kept the steps. She was sitting on a
bench and I got rid of the bench and set her
on the steps as well. You can see that I have a
vignette and the background. So this is actually a
full bleed picture. And I also give it a
sepia tone effect. This one is much
like the one that we worked on in this class. Left the white background. When I left it black and white, I didn't give it the
sepia tone effect. Here's another one that I use
this sepia tone effect on. Notice that the little girl in the lower-left corner
was sitting on a horse. I left part of that
horse in there as well. This one, I left some things
in there, for example, this wheelbarrow, I got a lot of comments about leaving
the wheelbarrow in there. Everybody seemed to like that. And the dog I left the
dog in there as well. Things that interests
and tell a story. My dad used to always
talk about that dog even though he was very
young when he had that dog. You can see I also added the
vignette and the background. If I had left that white, his white hair would have just blended in with
the backgrounds. I put the vignette in the
back to add some contrast. Those are some of
the legacy collages that I've created for
the class project. I want you to create
your own legacy collage. Save it as a JPEG and upload
it to the student gallery. And look forward to seeing your class projects if you have any questions or any problems. There's a link down
below for discussion started discussion leaves
your question in there, and I will get back
to you as soon as I can and try and help
you anyway that I can. Thanks for taking this class. And I hope you have fun working
with Photoshop Elements. I'll see you in the next class. Thanks, Bye.
Kent Newbold
