How to use Adjustment Layers in photoshop

1. Introduction: My name is Lauren and today we're going to use adjustment layers inside of Adobe Photoshop CC to post-process slash edit this landscape photograph that I took at the ancient bristlecone pine forests about three hours north of Death Valley. So we're going to process it from this state here into this state here, using nothing more than adjustment layers inside of Adobe Photoshop CC two has a lot to cover today. Omega, from beginner to intermediate adjustment layers, how to use them if you know nothing about them. The first thing we wanna do is analyze the image and ask, What do we need to post-process this image? Well, I think the compare it to where I actually post-processor already known advanced here. But let's say that this was our raw file. And most raw files are flat and sometimes the exposures off if you have a nice bright back-lit sky. So the foreground is dark in comparison to the sky, and the colors aren't quite as good as I think they could be. And we definitely have some brightness issues we needed to deal with here in the sky. Well, we can correct a lot of these things inside of Adobe Lightroom or Adobe Camera Raw. But the difference between Photoshop versus Adobe Camera Raw slash Lightroom is that we have all the selection tools and we can be much more precise with what we're adjusting. Photoshops answer to adjusting all these tonal variances and covariances is called adjustment layers. So let's go ahead and jump right in and let's go and edit this photo here today using nothing more than Photoshop adjustment layers. 2. Adjustment layers overview: To begin with, what I want you to do is make sure your layers panel is open and you're actually selected on the layers panel. If you do not have an open, go ahead and come hear the word window at the top of your screen and click on the word layers and it will pop up. Okay, I'm gonna go ahead and group it here with these three panels here because these are the ones I typically use in my post-processing. So let's go and click on the word layers here to access your adjustment layers, make sure you're on the layers panel, dropped him very bottom. We'll look for the icon That's a circle, black, white, circle 5050 here. Click left-click on that, and they dropped the pop down for you. Okay, We can left-click and click any of these adjustment layers. And it will give us an ability to change things about this photo based on what that adjustment layer actually is intended to provide. So let's go ahead and discuss what these adjustment layers do and then let's actually use them. And then let's see how we can use them in a more finessed, precise way. So to begin with here, this first set our fill layers. Okay, it's going to fill something with a color, a gradient, or a pattern. You typically would like to make a selection first, then fill that selection with one of these three things that's gonna be covered in the next lesson. Layers, adjustment layers for graphic designers. This is adjustment layers for photographers and landscape photographers, portrait photographers, and he's ever been taught photography. We'll be using the adjustment layers that dial-in and our tune it to photography. Okay, not, not necessarily customer and not necessarily graphic design. That will be the next lesson if you're a graphic design or you want to implement some text into your photo. Check out the next lesson, which will be covering graphic design. I'm only going to focus on the adjustment layers that are used to edit slash post-process our photography. So the next group down here, they're kind of grouped zipper about these bars, we have brightness, contrast levels, curves, exposure. These will all work with the tonality of your image or the luminosity of your image. They'll allow us to create contrast by amplifying the difference between light and dark values, they'll allow us to correct for an exposure like in this case here, our sky is too bright or foreground is too dark. We can separate those two pieces and attack those in different ways. They allow us to work the tonality. The next group down here, these are all going to work with color. They're going to allow us to either take colorway and color to something or even changed the color altogether from one color to another. We're going to cover those as well. Down here, this last group, these are more artistic minded adjustment layers and you can click on those and play with those when we're down here in the huddle, use adjustment layers. I'm not going to cover those in this lesson. This lesson will be covered in the graphic design lesson. Following this one, only the lessons that are pertinent to photography will be covered in this lesson. So don't convolute this lesson with erroneous information. This is not relative to landscape post-processing. 3. All adjustment layers effects: Let's go and start with the first group here. We have two adjustment layers we're going to ignore. We're going to ignore brightness contrast. We're going to ignore exposure. We're going to focus only on levels and or curves. Now why is that? Well, brightness, contrast and exposure are really two old antiquated adjustment layers that go way back decades with Photoshop. So if you have a Photoshop save file that has these type of adjustment layers before there's new ones were created, then it would make that fall backwards compatible. But they are antiquated and they're not very useful in today's post-processing. They had been surpassed by levels and curves. So I'm not going to waste your time showing you adjustment layers which don't really work well. It works well. That's why you're here. Let's go ahead and start with levels. So let me go and click on the word levels and what will happen? Well, we will get a brand new adjustment layer that will pop up above wherever we are on at the time when we make that selection. So make sure you're selected on the pixel layer and then make your adjustments so that all those adjustments stack above that. So in the layer stack the layer or when photoshops up here looking straight down our layer stack, it will take this effect and shine it down on the pixels beneath it. So if we were down here on this after and we made that adjustment layer, you'd never see it because this pixel layer here would block it from this view. So make sure you're on your topmost pixel information before you start creating adjustment layers. It's not all that necessary which order you make these adjustment layers? In photography, it's more important when we're doing graphic design work because we're gonna stack different shadows and patterns in the second order will matter. But as a general rule in Photoshop here, the adjustment layer order doesn't matter too much. So when we make a new adjustment layer, we're faced with this new dialog that pops up here in this dialogue. In this particular dialogue here for levels, we have an icon associated with that adjustment layer and you see it right here as well. And we have a graph inside here and some sliders, and almost every single adjustment layer will have a dialogue with some sliders. And you tweak just like you were tweaking them and say Lightroom, Classic removal or even Adobe Camera Raw. But they differ here in Photoshop because we can use selection tools to fine tune them. And I'll give you an example right now. In this adjustment layer here, we have the dialogue, we have 222 ways you can be clicked on here. So if you're clicked on this right here, this mask, we want to ignore that for now. That's how we can work with a Layer Mask. And there's a layer mask tutorial link below funding how to use that? Please check that out. If you're on this, just simply click on the icon right here. This associate with that adjustment layer. They're all going to look different. They all have different little icons that designate what adjustment layer type they are. So right here on levels. In this particular dialogue, we are going to have a graph of our histogram, and this shows our dark pixels to our light pixels. Let me just show you how we can use them. If I push in this dark slider, I'm going to move everything that's black to more black. Everything is slightly black to pure black. The more I push it, more convert things to pure black. Alright, let me go and move this back on the right-hand side. I have my highlight slider. So the more pushed the right, the more I'm going to brighten everything. So everything, every pixel is from right here to right here has been turned pure white. And the more I push this, the more information on turning pure white. Alright, so as a general rule and landscaping, we're trying to expand our dynamic range. We want some nice black swan and some nice Whites won't every value in between. That doesn't mean you need to introduce pure black and every photo. And that doesn't mean you need to introduce pure white and every photo, if there's not specular highlights in your photo that you probably wouldn't want pure white in there. Anyway, you'd be losing detail. So in this particular image here, let's go ahead and push our blacks in. Let's go ahead and push our whites in. And this right here is our mid tone slider, which means the pixel information that's not too black, not to white. The gray tones in between with this was converted to a black, a black and white image here, we can left click that and drag that back-and-forth as well. They're attached. So you see how this mid tone slider moves. When I move the black slider. If you need to move the blacks in, you can always compensate by pulling the mid tone back. Alright? Unfortunately, we're not really getting a good, a good result with this because we're doing in global process, we're trying to process everything in the image. And that's not typically how you want to post process. You want to select the areas that needed different treatment. So let me go ahead and close this dialogue. And if I want to come back and change any of their time, closing the dialog does nothing that doesn't change my effect. To come back here and double-click on this adjustment layer icon. This is the mask. Make sure you click on the icon, double-click. It, brings it out, log back up. And I can change this anytime. I can say this fallen ten years later, come back and change this, tweak this to a different lighter or darker value. Maybe my printers printing too dark or too light. I come down here and lift those blacks up so that I kinda compensate for my printer. And so these bottom sliders will be used for, is kinda compensating for your printer. But up here, this is more like how you're going to adjust it for how you'd like you buy your eye if your monitor is calibrated, so make sure you monitor is not too dark or too light or you got to work against yourself and your files will look good online if you're sharing them on something like Instagram. Regardless here, the problem with we had with levels here is that we're adjusting everything in a global process. Let me go and close this, this time, let me do it. I'm going to have a different approach here. Let me go ahead and turn the eyeball icon off. It's still there. We're just changing its visibility. 6. Adjustment layers with selection: This time let me make a selection first. So let me use a new selection method here inside of Photoshop 2021, which is Select Sky. I compared the word select a drop-down and say the word sky. You'll notice it's grayed out. It's grayed out because I'm located on a on a layer here selected with no visibility. It's always best, usually make your selections when you're on the topmost pixel information. So let me make sure I'm on my pixel information here first to make sure the eyeball icon is turned on. Come here to select sky. And Photoshop will select this guy. Now going to learn a little bit about adjustment, about layer masks here for a moment. Make a selection first. Anytime I make a selection before I create an adjustment layer, that selection will be automatically transformed into a layer mask. And the layer mask does, is it blocks part of our image from the effect we're going to take place here. So this allows me to separate the foreground from the background and give a different treatment. So I'm not darkening down my foreground more by trying to darken down my sky. I can separate them into two pieces, if you will, and give them different treatments. And we'll go to demonstrate right here. Let's go back to the adjustment layers here. Let's click levels. And this time I want you to look right up here at the thumbnail that it created. I now have a black and white thumbnail. And what's white will be adjusted by the adjustment layer was black will be ignored. If I Alt click on this, you can see the mask in real time. What's black will be ignored, what's white will be changed. And a good alt click back on my mask again. And you're going to see what's going to take place here. So want to make a selection first and then make an adjustment layer. I can cut pieces. I can mask pieces separately from the image as a whole. I don't give it a global process, only have to change what I want to change within my photo. So in this case here, I'm defaulted on this mask icon. If you're seeing this and you're confused, let's go ahead and click right on the left. This is the actual adjustment layer portion, the adjustable dialogue portion of that adjustment layer, I should say. Let's go and push our darks in some. Let's go ahead and push our whites in a little bit here, and then let's bounce around with our mid tones when we find something we like better. So we'd like that. I'm going to go ahead and close this out. I'm going to go ahead and change my blend layer, my blend style here, into luminosity. Now there's lots of them here you can play with. But as a general rule, when you're affecting your tonality, anything it just lightness, darkness, exposure, contrast. You want to set that layer blend mode to luminosity. The reason for that is is that if you make an exposure changing your darken something down, you get saturation is a side effect. Now you may like that saturation effect, but we're going to have a saturation level adjustment layer here in a moment to work with the saturation separately. So they don't kinda intermix. So you want to make sure your color information isn't changing your total information. You want to make sure your tonal adjustment layer changes don't affect your coloring. We do that by simply changing the blend mode of anything that's in that a levels adjustment, adjustment layer to luminosity blend mode, anything in the color category, we're going to change the blend mode to color it. Alright, so let's go ahead and do that. So now we have the sky change separately than the foreground, but the foreground is too dark. So let's go ahead and make another selection of the sky. But let's invert that selection so we select everything but the sky. And let's use another levels adjustment to adjust the foreground separate from the sky. So to do that, make sure I'm going to make sure I'm on a pixel based layer. It's just easier that way. Come down here the word select, Select Sky. It's gonna make the same selection we had before. But now I want to select everything but the sky. So it's easy for me to use Photoshop. It's like the sky. And then I can use the power of Photoshop to invert that selection, meaning our selects, everything else. So I select the sky first. Came here the word selecting the menu system dropped down to inverse, and it will change the selection from the sky to everything but the sky. Now you can see my marching and border around here. I'm selecting the foreground. Now I come down here to my adjustment layers and click on the word levels. Now what we see is we see an opposite mass than we had before. But hold on the Alt key on view the mask, we can see what's white will be changed with black walnut. So now I'm also defaulted here. The mask want to default here on my adjustment here. Now I'm on this adjustment. What I really want to do is brighten up this mid tone. Well, this is my mid tone slider here. If I shifted to the left, I'm going to brighten it up. But now I can't blow out those darks. So now the darks are kind of washed out. Well, I grabbed my black here, slide here and push it in a little bit and compensate. And then keep playing with this until I find the right exposure that I think would be more correct. And you may disagree, that's fine. This is when you post-processing your image, you pick what you yourself like. I'm going to leave it right about here. Now. I don't like the colors, the colors are off, okay, but we're gonna look at the colors in a moment here. But now, if I go ahead and control-click, if forgotten, sorry, I forgot and Shift-click these and throw them in a folder, in group them together in one folder here, I can turn this eyeball icon off and on. And we can see we've made some major improvement, if you will, to that particular image when it comes to balancing the exposure levels. Now, it's a little over done. So what I can do here is I can select this group which will make changes everything in that whole group right here, and grab this opacity. And I can dial that back a little bit so it's not quite so overdone. Alright, so what I'd like to make my adjustment layers, I like thymic a of like the overshoot them. And then I needed to use my opacity to back it back off so I could just keep bouncing around that so I see exactly what I want my eye. I'd like to overshoot, use my opacity, bring it down to taste. Alright, so let's go ahead and drop down here again, another adjustment layers. Now we have curves. Curves works very similar to levels. I am going to leave a link in this description that shows you how to use levels and curves, how the different curves are typically more powerful. I don't want to go into great detail in this lesson about curves. I'll just give you a quick example. Let's click on the word curves mixture. You're not on this mask portion of this dialogue. Make sure you're on the adjustment portion. This is my black information, this is my white information. And I can change with putting points in this curve, different tonal values. So let's say that I want to darken just the darks. I can pull this portion down. And let's say I want to lighten the lights. I can push this forward. Now I've introduced a ton of contrast by darkening the darks, lighten the lights and we have what's considered an S curve. Traditional S-curve introduces a lot of contrast in your photo, but we've also lost a lot of the highlight information, right? So I can grab this white slider here, pull this back down. Okay? Or I could grab this white up here and move it as well. If I can grab it, It's easier usually to grab this little slider down here and bring some information back now and come back here, even in with my midtone, mid tone here, I can control the exposure this way. This actually looks pretty good, but it's a lot of contrast that's really affected the color. Like I said, it wouldn't. Let's go and close the dialog. The change is still there. It's just the dialogue. We can always bring it back by simply double-clicking the icon and it brings it back up and we can change it is many times we want as we post-process, sometimes you're bouncing back and forth, changing one thing, coming back and reach, changing something else, giving your eyes a break, come back and changing. And again, that's the beauty of the adjustment layers. They are non-destructive. But now we're on this adjustment layer that's adjusting the contrast. So let's go ahead and change our blending mode from normal to Luminosity, and we don't have those colors shifts. Now we just worked with luminosity. Now we don't have those blending colors kind of affecting us that we can kinda see a little bit more. And honestly, I think that the foreground still a little too dark well, and come back in here to my group where I have adjusted. And if I'm not sure I can turn this off and on to see which one is where I was just that foreground. Double-click here. And now I can brighten that foreground up a little bit more and bring it more into balance. Alright. 8. Color base adjustment layers and editing: So now let's go in and work with a couple of adjustments, color adjustment layers. So if I drove down here for my layers panel to this half black, half white circle, I can come down here and now these are all going to adjust the colors. We have vibrant hue saturation, color balance, black and white. So what does vibrance? Vibrance is like a saturation slider, but it focuses smartly on things that are more subdued. Saturation is going to move everything up proportionally, is going to increase every color at the same level of where it started as a base saturation. Saturation. But vibrance is going to use a little bit of ai to say what's more subdued aniline focus on that. Let me give you an example. So I clicked vibrance and again, we have our adjustments layers. They look different for every adjustment layer, this is working with color. So when early wanna do is come here to normal and drop this down to Color. We are not introducing tonal shifts when I make these color corrections. So vibrance will, will, will actually increase the saturation on the subdued colors. More. It'll increase it on everything, but more so in the subdued colors. Let's look at the color of the sky here is kinda nice, but we're getting some really blue patches down here on the foreground. Because it's really focusing on what's more subdued. The blue down here is much more subdued than the sky, so it's actually cranking that up higher. Now let me go ahead and move up the saturation. And now we see the sky is saturated, but the blue is the lesser degree. Well, in this case, I really don't want to adjust the saturation on everything because it really makes this foreground really ugly in my opinion. That's why we use Photoshop to make selections first, let's do the same thing we were doing before. Let me go and turn off the visibility of this. This time, let's select the sky and give it a different treatment than we give the foreground. So first makes sure on a pixel based layer here, select sky. And let's adjust one with a hue saturation adjustment. Listen to us, just another one with a vibrance. Alright, so let's come down here and let's click on the word vibrance. And let's increase the vibrance now that we're just working with the sky. So we made that selection first. And what we're really getting, we're getting a little bit more blue being punched up here than the actual yellow and orange because it's less, less saturated. Now let's go ahead and supplement that with more saturation. Until I like the sky. If I think the blue is low overdose, I can bring that vibrance back down because we know that vibrance is more focusing on that blue. Let me go ahead and close that out. And now we have this. If it's too much, we think it's overdone. Come back down here to opacity slider. Drop that down a little bit more. Now, let's come back there. I think I overshot here, my computer's a little slow. So now let's focus on the saturation of the foreground. So almost limitless pixel-based layer. Again, I'm going to say select sky, but I'm going to invert that selection. So I'm just focusing on the foreground in this case, select this guy first. Then we go to Select Inverse, which will select the inverse of this guy, which is the foreground. Now let's come down here and let's just pick Hue Saturation so I can show you what that does. So in hue saturation here, I can move the saturation as a whole. Or I can move just a particular color. So I can choose here from master two different colors and work with just the saturation levels of just those colors. Let's go ahead and first increase the saturation on everything. And then we'll notice that the blues are becoming extremely oversaturated. My crank the saturation up here, then I'm going to change this to the blue color channel information. Alright, and I'm going to pull the saturation down just on the blues. Let me go ahead and go to the science as well. Maybe even the purples, I'm not quite sure exactly what that's being mapped to if I don't know for certain. And so just bumping around here, I'm guessing I can grab this particular little icon right here, which is a scrubber. I can left-click, well, when I have it in my hand here, I can left-click on this color and hold down my shift key and pull it to the right. It will move whatever colors it needs to, wherever slides it needs to, to adjust those blues. Now let's say I want to increase this in the trees. I go ahead and with this scrubber still selected, left-click the street moved to the right and I can increase saturation. That way. There's a lot of overlapping colors in here, so it's really hard. So I could use different selection tools. I can actually come down here and say, well, I don't really like all the blue. I could grab something like this polygon Lasso Tool, lasso around where the offending colors typically are residing. And then when I feather that, so I go to select modify. And let's feather this by about 50 pixels. So we have some feathering between those changes, so it's not really abrupt. Now that selection made first, let's come down here to hue saturation. And let's pull that saturation down. And that's the saturating anything to more of a flat gray here. Let's go and crank it up a little bit more. Now it looks better. If I really want a different color altogether, I can click the word colorize right here, which will turn that whole thing into a specific color wash. I'm just going to go and demonstrate. I probably won't stick with it. Let's click the word colorized here. And now it's going to color this area to whatever I have selected here, my hue adjustment. And I can keep moving till I find something that would be more like say a brown, pull my saturation down even more. Then I work with my luminosity of those colors by lightening and darkening them right here. And let's say I like that, but I think it's overdone. Make the adjustment first be selected on this adjustment layer. And let's reduce that opacity. So it's not quite as strong. And that brings a little more imbalanced. The colors are still off, right? Like we have some brown shifting and here we have all kinds of things going on here. Let's go and turn off our color adjustments here, just so we can start at a baseline. So I can kinda show you the other tools without really putting this thing up too much. So now that I'm on, it doesn't really matter too much where I'm at in the stack. You can move these around. They don't always have an effect, they will, if they're filled layers, if they're just failures, typically doesn't matter what order they're in. Let's come down here. Make sure we're above or pixel layer, this layer, the new layer will pop up above the pixel layer, so it shines down on that pixel layer. So I can be on this, or it could be up here. And he's long as I'm selected on this layer or above my pixel information that I want you to affect. Come down here. And this time, let's pick the word color balance. Alright? I'm going to color balance everything. Alright, I'm not going to make a selection first, but you could, in this case, I want to look up my colors and say, well, what about my colors? Well, I don't always know, sometimes I just want to play. I want more reds in here. So I'm Rom selected between, I can select between my highlights, mid tones and shadows. I like to start with my mid tones because that's 80% of what it's going to affect, then I can tint different colors in my shadows and highlights if I so desire after the fact. So make sure I'm selected here between shadows, mid-tones, or highlights, meaning which luminosity range of values we're working with here, I'm working with the more middle gray area. If this was a black and white image, and let's shift some more red into the image. That looks better. Let me go ahead and try the blue here. It looks like the problem we're having here is if I correct the sky, I get the color cast, the foreground. So now I have to go back here again. Let's go and turn this off. And let's make sure I'm selecting my pixel layer and let's select the sky, and let's do them separately. So select sky, make the selection first before you make the adjustment layer. And it will mask to just the portion that's selected and only affect that. So while I have this selection in place first, come down here to my adjustment layers and click Color Balance. And let's put some red into that sky. Let's put some yellow into that sky. Let's play with our magenta here. That's not, that's not so bad there. Let's go to our highlights here, and let's push some yellows into those highlights. I'm kinda overdoing it here. A little overdone. Let me go and close this dialogue. Doesn't take it with a change. You just close the dialog while I'm selected on this adjustment here, Let's go and drop down to the word color. So it's not giving us a shift in luminosity. And that looks much better, right? But it's overdone plus plural opacity down and find something a little more tasteful. Now let's do the opposite, and let's select the foreground and make it color adjustment the foreground that's different from the sky. So it can introduce reading the sky without inducing red into my tree because they're in the same selection. So I make my selection first, and then I can just make my adjustment layer will only focus on what is selected, select sky. Then we're going to do an inverse of that selection. So it's like the foreground and we're going to have color balance on that as well. So select inverse here. And now we're selected just on the foreground. Now when I click Color Balance, I can shift those colors more blue, more yellow, more green, more magenta, and more red, more cyan. So right here, I think I have too much blue in here. Let's see, I was getting all those blue patches. Let's put some yellow in there which will neutralize those blues. And now it looks a little too green. Let's move this to the magenta slide to neutralize some of that green. And then let's just play with the middle here and see what we needed to do. And that looks much more neutralized to me. Looks more of a neutral colors too little too dark. But I'm also on normal here. Let's move that to color. And that affects our tonality a little bit better. So this is how we can correct the colors. Let's keep working down here, so I'll show you more adjustment layers. Black and white is going to allow us to convert this to a black and white. But with these colors here, we can actually, we know there's a lot of red in here, right? I can actually allows me to adjust the luminance of that red. So I can make a custom black and white much more striking by focusing on specific colors, changing their values. And then with the yellows here, we know there's a lot of yellow in here, but it's primarily in the brighter areas. So if I want more information in the sky, I can darken the luminance of the yellow channel. If an over darkens the red, I can bring the red back up and find something a little more harmonious. And then if I really think that that's too flat, which it actually is, and come back down here through a curves on top of there and put a really strong S curve on there to make a really strong high contrast. Let me control Z here. If you have dots, you don't like left-click, pop them off. Let me put one down here too dark in the dark. So let me put one up here. My computer's is moving really too slow today. Darken the darks, lighten the lights, and I can make it extremely contrasty. Let me change from normal to luminosity. And then let me pull this opacity back down. There's something that I like more. Alright, not saying I like this, just showing you how you can use these. Then go ahead and turn off the curves. Let me go and turn off the black and white will show you what they can do art, Let's go and drop on down here, see what other adjustment layers we have to discuss. We have the photo filter and I'm going to click this photo filter will put a color wash, a top, something with a blending mode already built into it. So in this case, we have defaulted here to a warming filter. You can drop down and choose different colors like CPO. Alright? If you don't like the pre-made colors here, you can also double-click on the color itself and choose your own color from the color picker. And it will put a carrot top that. Now density, we're telling an opacity slider. So if we go and crank that up, that effect becomes more apparent. Now in this case, blue is opposite of orange. So blue is going to neutralize the orange. It's going to blow up the foreground is going to take some of the orange out of the sky. We typically won't use that in this particular problem. In this particular instance here is want to show you what they do. Let's go ahead and turn this off and let's drop down here again. So now we're gonna go ahead and click the color lookup table down here. When I color lookup is a set of mapping instructions set within a specific little file. There we'll remap your contrast and color. Might map a near black to black. It might map a yellow to an orange. Different lots or color lookup tables that have different effects. So to implement that right here from this dialogue, we dropped down humerus is 3D. Let file drop-down and pick some of these preexisting. If I pick something like bleach bypass, it has a really strong overblown washed-out look, let's go and click it. And it will really throw a lot of high contrast on there. Alright, so this is how we can post process our image using adjustment layers. Now, obviously I didn't make a perfect adjustment here. I'm just showing you what they all do and I'm comp stacking them on top of one another. You adjust your own way less than two coming up his graphic design with adjustment layers, how to put in patterns, fills, textures, add texts, can be pretty awesome. Tick that off. You're in anything graphic design. The third follow-up to this little miniseries here is how we can use adjustment layers in a very fine-tuned, more of an intermediate to advanced lesson when you're ready for that, when you've watched the layer mask and lesson, that has a prerequisite, I'm going to show you how we can make our own custom layer masks, how we can use really detailed selections and we get very precise with our adjustments for post-processing.