Photoshop Retouching Masterclass (Part 1) - RAW Processing

1. Introduction: Hey there. Firstly, thank you so much for joining the Photoshopped Retouching Lost Recourse. It's a pleasure having your a part of the program before we start the course, I thought. I just give you a little introduction as to who I am, a background about me and what you'll be learning in this course. So my name is Sheldon Evans, and I'm an internationally published photographer and retouch us on, confident that you'll be gaining knowledge from this course that you'll be able to use in the field and in the industry. You'll be learning industry standard techniques and tools used by professionals just like myself all around the world. So you'll be able to use these tools and techniques no matter where you are in the world, and you'll be able to compete with the big dogs by the end of this course. So in this course will be covering everything from the very, very basics off. Opening up your image in photo shop, doing a basic role conversion and getting the colors correct before importing your image into photo shop and then working on the actual retouch will be doing skin cleaning up will clean up the hair will work on. The eyes will be doing, dodging and burning. Will color correct our images? So we'll be doing all of these things and I'll be covering every single step of the way so I won't leave you hanging at any part in the course. I narrate everything that I'm doing while I'm doing it so that you can follow along very, very easily. In addition to that story ALS you'll be getting the raw files that I'm actually working on in the course so you can follow along with the exact same video and the exact same image that I'm working on so that you're not lost at any step of the way. You're welcome to work on your own images if you'd like to do that. But I have provided the raw files just in case you'd like to follow along, as well as a few extra raw files in addition to the ones that I work on in the course that you can play around in your own time and edit those on. I encourage you to do that because I'd really like to see your work and I want you to participate in send those edited images to me so I can take a look at them as well and see how well you're doing and how you're comparing to industry standards and the professionals out there. And I'd love to see this and make sure you do keep in touch. So, as I said, you'll be getting those raw files. You'll also be getting Photoshopped actions, which will speed up your workflow so I will show you the basic steps in the course to create your own layers and you're dodging and burning layers and your frequency separation layers. But I will also be adding the Photoshopped actions to the resource section off the course, where you can download the actions and speed up your workflow. So if you do want to take this on to do it as your career, whether you want to be a full time retouch or you want to eat, retouch your own images. You'll be able to use these actions to speed up your work for and really take your images to the next level, as well as additional Photoshopped files, where you'll be able to see what I've done as well in the raw files that I've provided edited in the course, so that is a little bit about me a little bit about what you'll learn in the course on before I waste any more of your time, let's get started and start learning. 2. Wacom Tablet: one more thing before we start, I'd recommend that you get yourself a tablet, a drawing tablet off sorts. So this is a wake on drawing tablet. I will place a link below this video where you can purchase one. I'm not gaining anything from this. That's just for your own good and to make it a little bit easier for yourself. While you can get through this entire course using just a mouse and keyboard, it's perfectly fine. A lot of people do that, but if you do want to take this further and make it easier on yourself, I'd recommend getting a tablet that the reason is is that it will speed up your time and speed up your workflow. So you have a tablet with a working area over here, where you're able to use a pin and paint on the tablet. So don't worry. If you don't have a painting, background or drawing background, that's perfectly fine. It takes a few minutes to get used to. You'll be editing like this in no time. So the reason that this is perfect and amazing for retouching is that it's pressure sensitive. So the harder you press with your pen, the bigger the brush on your screen will get or the darker the paint will get as well. So it's very, very summer to painting in real life or drawing in real life, which makes it perfect for retouching. You also have programmable buttons up here so you can ditch your keyboard entirely and program shortcuts to these keys, which will speed up your workflow and save you time as well. You can also get a wireless plug in, and so you can make this wireless connect your laptop to carry around any cables, and it's really not that big. I do recommend getting the smaller one. This is the smaller one and because you really do not need a big retouching panel unless you're doing big swiping motions, which we don't really do in retouching. If you take a look, you can probably see in this video that there's a mark in the center off this tablet where there's a lot of scratching, and that is because the majority of my work is done in the very center of the tablet. You don't need the entire workspace because the movements that we do with retouching are very small and very minute and very precise, so having a big tablet is useless. In any case, I'd really recommend giving. The smallest size is awake on bamboo tablet. It is the cheapest one as well, which is why I recommended it is amazing. I've had this thing for years and it's never let me down. So I really do recommend getting one of these. If you want to speed up, you work for it and follow through the course really, really quickly. But that's all from me. It's getting to the learning. 3. Browse in Bridge: Alright, guys. So let's get started with the very first off our camera roll, and I'll be showing you a few different ways to open up your raw files and my preferred method. So the traditional way is obviously to browse to find out if you're on a Mac or maybe Windows Explorer for using a Windows PC and just flip through your images Brazda wherever they stored and then flipped through through them. But the problem that I have with this is that it's incredibly slow, so you can see that if I selected image here, it's gonna take a while to load up the preview. And it's going to slow down your workflow so much. The problem with this as well is that this rule preview isn't very accurate because it's being processed through your operating system instead of through camera raw through an adobe program. So what we're gonna do is we're gonna open this in bridge, so if you're in photo shop, all the after do is click on file and then browse in Bridge on. That will bring up Adobe Bridge if you've got it installed, and the best part about this is speed, so I've If you obviously got some images saved here that will be using throughout the course, and all I have to do is I can flip through the images super quickly, as you can see here with no delay at all. And I have a high quality raw preview on the side here that I can zoom in and see how shopped my image is and decide on whether or not I want to use it. We've also got some exit starting at the bottom showing what Cameron, What lanes? This This image was shot on, and you can also hold, shift and select multiple images if you want to compare different shots, which is fantastic if you're quickly flipping through images and then finally, you can rate your images on a scale of 0 to 5 stars, so separate this image. Three stars. Let's write this image three stars. You can go up here and show images with three or more stars. Therefore, you can quickly make select from your shoot and go through the images that you want to use on images that you don't want to use. You can also change of you to a form strip view if you want a larger preview, and you can flip through your images this way, I absolutely love with Ivy Bridge. So once we've decided on the image to use, let's start off with this photo you're going to right click and open in camera raw. If you've shot in J. Burg, which we've spoken about before, you don't want to be a shooting in J poke. You want the highest quality images possible possible, especially if you're going to be retouching. You need that extra detail. You need that extra detail in the shadows on the highlights and so on. So we're gonna open this up in photo shopped to do that. If you're shot in raw, all you have to do is double click that photo and it'll open up in adobe camera raw. Would you get to see here where we can adjust some colors and start without basic rule conversion, which I'll speak about in the next lesson? 4. Workflow Options and Color Space: right now that we have our camera roll window open before we even think about adjusting exposure. In contrast, in all of these settings on the right inside here, what we want to do is make sure that we have the highest possible quality image to work with right from the start. And to do that, we have to set up our workflow options. To do that we'll have to do is kick This underlined her of text down here and a workflow options we know will public. And the first thing we're gonna select is our color space. So as you can see, I have pro photo RGB selected here. What you want to make sure that you don't have selected is s RGB. This is the smallest color space you can have Pro photo or even Adobe RGB selected. Now what I mean by color space. Let's take a look at this little diagram over here to explain color space a little bit better. So this horseshoe shape in the back is basically the visible color that we can see with our eyes with a U. N I. The visible spectrum of color and each color space as we get smaller pro photo RGB adobe s RGB and then Matt paper incorporates fewer and fewer and fewer colors off the visible spectrum of light. Now, if your image was shot in pro photo RGB, you basically have the highest number of colors to work with. You've got the extra greens thes blues, these reds that you wouldn't have if you were to be working in an S RGB image. As you can see, if you work in SRT, be you losing all of these additional colors around the edge here which would result in a lower quality image so your image wouldn't be as accurate. Why have as many colors as it could if it was shot or edited in pro photo RGB. So we want to make sure that we're working in the highest possible quality color space so that if we print our images, which a lot of you will be doing if you're going to be working as re touches or even editing your own photos, you may want to publish a work in print in magazines on billboards and you will need a pro photo RGB color space for that because we're able to print those colors, obviously as monitors and as displays get better over time, more and more monitor or being able to display this extra range of colors. However, at the moment s RGB is basically standard for Web and for devices. So say you're publishing your work on instagram or your website s RGB is more than enough, But you don't want to be editing in that in case in the future. Or if you're definitely going to be printing your work, then you want to be using pro fight already be. So make sure that perfect already re selected here, there. Next, we're gonna take a look at a depth. Now death is basically the number off steps in a certain color or the number of shades off a certain color that you'll have in your image. So at 16 but you have the most number off shades of a specific Clark color in your image. So, for example, let's take a look at this image. Over here. It's light at the top and dark at the bottom, so there's different shades of gray in between the top and the bottom of this image. Now the more steps that we have this smoother this transition or the smoother this Grady int will be from light to dark. So the fewer steps we have or the lower the depth, the more harsh degrading will be. So you'll actually be able to see the lines or the steps in the great aunt here which you may be able to see on this video because this video is going to be compressed. Obviously, if it was un compressed, the video file size would be massive. So you might even be able to see it on this video and get a better armed idea off what I'm saying. Then we're gonna take a look at image sizing. We're going to leave it exactly where it is because we want to work on the original image, lies and then resolution. We're gonna set this to 300 dp I or 300 pixels page. If yours isn't already said to that which is the standard footprint, then outward shopping. You can completely forget about this because we will be sharpening our images on our own in front of shop later on in the course, and then finally opening finish up as smart objects you want to check this box? We will. I will show you another way to open it as a smart object later on as well. But for now, we can just just check this and I'll explain to you why we have to use more objects as well . Upcoming. So click ok and that box will disappear. 5. Basic Camera RAW: let's start off without basic camera raw adjustments. So we've got a few different options that we can go to over here, which we'll get to in the future videos. But for now, we're going to just focus on the basic adjustments. Now what this is going to do for us is provide us with the best possible image to start off with. We're building the foundation of our retouch here, like just as a house. If the foundation sucks, the house is going to collapse. So we want to have the most dynamic range on the highest quality image to work with before we take it into photo shop on, start editing the skin and editing the colors so we can start off with white balance. The white balance in this image is perfect, as you can see. But if you've shot your image or you receive an image from a client that the white balance is off, you can easily adjusted here without losing quality. As long as your images of shot in raw, you're not going to lose detail. Lose quality when adjusting the white balance in post production. So let's take this back to us shot as it's perfectly OK, and they intend we can adjust the tend Sometimes Maybe, if you shot in studio and you're not using high quality lights or you're in a setting where the lights have returned to them, such as a green or a red turned, you'll be able to correct that here as well. This is perfectly fine because these were shot in studio with studio lights, so there's no turn toward color costs on the image, so we can leave that as it next up is exposure. So if you've ever exposed your image, or maybe it's under exposed and you can't see what's going on, you can bump that up or lower that here very easily, without amusing too much detail as well. Obviously, depending on what camera you shot on, the dynamic range of the camera will affect how bright and how dark you can adjust this. So if you're coming, camera doesn't have a very good dynamic range. If you increase this too much, you'll start seeing a lot of noise and detail loss in your shadows, so ideally, you want to expose your images as perfect as you can in camera. But on the occasion that you haven't done that or you've made a mistake. It doesn't matter. You can adjust that and fix that. Here. Next up is contrast. I'm going to drop the contrast slightly. What this will do is to lower the transition from highlights to shadows in the image and make those steps a little bit smaller. So in turn, giving us a slightly bigger dynamic range. I'm gonna set this to around minus 10 because that gives me a little bit more of a flat image, then highlights. If you've got shot in the sun, maybe you shot in studio and you've got some hot spot on your image or part of the image that are over exposed. But you don't want to bump up the exposure off the entire image. You're able to adjust that with our highlights. So if you shot in studio and your image looked like this, with some of the highlights blown out, you'd be able to recover that detail and bring it back. What we want to do here with this part off the camera roll adjustment is make sure we have the best possible base image to workers so that we can see the highlights and see the shadows clearly, so the highlights in this image are okay. I might drop them one point just because this slight hot spot there and chin. But that's okay, then for shadows. We want to make sure that it's comfortable and easy for us to retouch her skin. That is, in the shadow part of the image, so we can see the skin here. Perfect. But as you can see on her neck and just below her neck and a chin were starting to lose a little bit off detail. It's only bunch the shutters up very, very slightly. Just again back that detail so I can see the separation and a little bit better and see the detail in a skin a little bit easier. That is about right, maybe even less than that. That's a bit much. That's okay. I can see the detail now, then blacks and whites is pretty much the same thing. All this is doing is it's going to lower or increase the contrast off your whites and the blacks of the image. So while over the blacks will see increases the contrast. If I bring it up, it'll decrease that contrast in just the dark areas of the image. And the same goes for whites. You cannot increase or you can decrease the contrast image. So I'm gonna leave this where this is. I like the way this image is looking charity. Now, charity is something that a lot of people either go overboard with or they just use it in the wrong way entirely. So to skimp out on details, right, we want real skin. Real skin has real pause and real texture. Now, if you drop the clarity down, you're gonna start losing some of the detail and some of the texture. And you see images like this floating around the Internet all the time, and it looks horrible. We don't want this. We want high quality images, and real skin has texture. So ideally, you'd leave this zero depending on what your camera looks like. But if you shot on a camera and you don't have as much detail as this image, then feel free to bump bump up the clarity. But be very careful with how far you go because you can go overboard very easily as it can see 13 points already in this image is starting to look a little bit too clarity like to to contrast the any weird. So we want this just around. I'd say two point is more than enough, this image just so that we can see the detail clearly in their skin. Actually, I'm really that off completely. This isn't just perfectly shop, then D haze. If you shot your image in, say, direct sunlight and you've got a lens flare coming in from the corner or across the image, and it's blowing out the image of creating a haze across that you can use this to increase that contrast, and it will remove that so this could happen if it was shot in daylight. But you to use this to remove that, to just increase that until your hazy is gone. I'm going to leave it where it is because this was shot in studio. So there's obviously no lens flares here or any sort off hazing in the image, then vibrance and saturation with these two people get confused very regularly. So what vibrance does and what saturation does is increase the saturation of damage. But the difference is is that saturation will increase the saturation off every color in the image. So if you just like this up, you'll see it starts looking very strange. And very our engines trump like. But if you drop it down all the way to zero, you can see that the image goes completely black and white and completely de saturated. Where's vibrance? You can drive it all the way to talk. Yes, it does get strange, but it's only saturating the colors that are currently de saturated or not as saturated as the other colors and image. So if you drop this all the way down to zero, you'll see the image still has a bit of tim to a day, some color lifting ellipse. That's because those colors are already saturated, so you can adjust this depending on your liking. I can see that I'm losing some saturation interchange, very slight amount of saturation forehead region. So I'm gonna bring the vibrance of just a little bit to even that out, and that's basically it's for our basic camera roll adjustment. Now we've got a very good basic baseline image to work with. If you press P on your keyboard, you can see the before and after of what you've done, you can see it's just a minor adjustment. We've just gained some detail back in the shadows and a little bit more in the highlights, and it gives us a little bit better oven image to work with. 6. HSL Colors : Now let's take a look at the colors in our image. Obviously, you can adjust the warmth using the temperature slider here if you want to make him a little bit warmer or a little bit cooler, as we spoke about in the previous video. But we're gonna leave this where this is depending on what your client wants or what you'd like. Maybe you prefer a slightly warmer image. You can do that here, but don't worry about that because we will be playing with color later on in Photoshopped. But what we're going to be taking a look at now is these. This these two sliders or these two panels here so tone curve is another way to adjust your highlights in your shadows and detail into your shadows here, which you can leave. Word is, were perfectly fine where it was because we just adjusted that in the previous panel. And then, if you're going to point, you can adjust the individual colors here as well, using a tone curve, which you can also forget about because we'll do this in front of shop later with curve layers. When we start color grading our image, we can skip sharpening as well. I don't want to shop in my image again. We'll do this later in Photoshopped, as I said, and we can add sharpening to specific parts of the image, depending on how and what is in focus. What we're gonna be taking a look at now is the HSE L adjustments or hue, saturation and luminant adjustments. What these refer to are the individual colors that make up this image and how we can adjust what the here is, how saturated they are and how bright they are with luminess. So you'll see. If I start off with you and I start adjusting the red slider you'll see it starts changing for you. You know, lips, because that's where most of the red color in this image is. If I just the oranges, you'll see it'll adjust her skin because that's where most of the orange in this image lies . And with most people, almost every human being color in the skin comes from oranges, yellows and reds. So if you play it with the sliders the most, that's what you'll be affecting. The skin turns off the image, So what we want to do is have a nice even skin tone or the best possible skin tone that we can have to work with before we start adjusting. Inflating Photoshopped. You can also play around with the blues and purples and the acquis here, depending on what side of colors on your image may you've got some blues in the background . You'll see if I just the blue slide of the background will obviously change because there is some blue in the background. So what I want to do is add some vibrance to her face. Just add a little bit more life, a little bit more color. Obviously, she's beautiful, but we want a little with more color in the skin. So to do that, we're going to go over to the saturation slider and we're gonna bump up the Oran saturation . Obviously, you can go overboard as I've spoken about before. It's very easy to go overboard here, but we want just a few extra points off color. Maybe 23 That is OK, and then reds. I want her lips just a little bit brighter, so it'll make it a bit easier later on, so we don't have to add color in later. So to do that, all you have to do is bump up the rid slightly. That's what Kerry and then Luminant. I want tulips to be a little bit brighter as well. So to do that, you're just gonna slide this. You can obviously adjust this as much as you like, depending on what you want, but I just want them a little bit brighter for this retouch and that's OK. Now the background is OK for me, but as you'll see when I justice, it looks like the colors are perfectly fine. But there is a slight blue cost in her eyes. This is not pure white. So to fix this, we're going over to the saturation slider. Go to the Blue Slider and we're gonna drop this and you'll see it. That obviously drops the blue in the background, which we can, adding later with turn curves and mosques, which is okay. And But what we want to do is make sure that we have the correct colors in her face, which is what we're going to be editing. But most so I'm going to drop the slider slightly, yes, so that her eyes are the correct color, and that's careful that I like the way that looks then you you can obviously, if you really want to, you can adjust the use of the colors. Maybe some of them are off. So if we adjust the year of the blue, maybe you wanna add more teal to the background. You want more purple, depending on what you like, you can adjust that here. I believe it is because we will be working with color later on, and then you're welcome to browse through the other panels here. Such a split turning, which again you don't have to worry about, because we will be working with colors later on. What you can do here is add colors into the highlights of the image and add colors into the shadows off the image. We're gonna leave this zero and zero because we work with that later. Ines Corrections. Now let's corrections is also up to you. It's a taste option, depending on what camera you you shot your image on and how you want your image to look. So there is a slight but a vignette ing in this image. As you can see by that, I mean slight darkening around the edges, which is caused by the lens and the camera combination. If I click, enable profile corrections, you'll see that it removed that. Let's go for before and after. By depending on how you like your images to look, you can keep us on and off. And if you have shot on a wide lens, oftentimes the distortion will be there so you can adjust the distortion of your lens here . But I'm gonna leave it where it is because this is perfectly fine. I'm also gonna leave the vignette ing on this image because I like the way that it almost draws you into her face because it focuses her using these dark edges, then effects. We don't want any grand on our image, so keep that at zero camera coloration. You can leave this where it is again, playing with color and presets and snapshots. You can leave where they are, so now we've got our basic adjustment. It's time to open this image, and to open it, you can either just click open image, which I've spoken about before. We'll just open the image in photo shop, but if you hold shift opened open it as a smart object, which I'll show you why we're opening our images as smart objects now. So hold shift and kick open object. 7. Smart Objects: Okay, so now we have our smart object opened in Feder shop. But what? What I've gone ahead and done is opened it as a regular file as well, so that I can show you. The difference is now what is the advantage of a smart object over a regular J pic image? Well, if you have this regular image here, when you start adjusting the colors and the shutters, say you want to readjust the colors or the the darkness and the brightness of your shallows and your highlights, you're going to start editing your image in a destructive way. You're gonna start destroying those pixels and adding noise to image. However, if you have a smart object, you can see it's a smart object by this little paper icon in the corner. When you double click your smart object, it will take you back to camera raw. We can readjust any of the settings that you adjusted before. So again, you can add detail to your shadows and to your highlight, depending on how you'd like to adjust that, so that is a great way to edit non destructively. And that's the point of this course. We want to be able to edit our image and then go back if we have to change things in a way that won't degrade our quality of our image. So we're going to delete this later, and I'm going to show you how to copy a smart object. And why would copy a small object? Now what you do to duplicated layer is you press command or control J to duplicate a layer or right click on it and say duplicates. Now. What this will do is it doesn't create a new smart object is just duplicates the layer underneath it. So if we open the camera raw adjustments off the top layer and adjust the exposure now, obviously we wouldn't do this. I'm just doing this to illustrate a point and we click OK, you'll see it will prepare smart object, but it will apply those settings to both layers, so we just have a layer that looks exactly like the layer below. But what happens if we want a smart object that is a duplicate that is independent of our original layer? To do that with the right click and say new smart object via copy on this will create a completely separate smart object. So if we open this and increase our exposure just to illustrate points again, you'll see that it applies it only to the top layer. Now, why would you want to do this? Well, if you want to work on specific parts of your image, you'd be able to do that by creating a smart object that is separate from the previous one . And we can do that with mosques, which I'll show you in the next video. 8. Lightroom RAW Processing: Okay, so now that I've shown you how to edit your photos in camera raw, some of you might like to use light room instead because light room and capture one or raw processing program So you can import your raw files into this program and then editor, just as you would in camera roll and then exported to photo shop where you can then edit it . So if you've opened light room for the first time, this is not gonna be a full light from tutorial. Obviously, it's just going to be to show you how to edit your raw images, not how to manage your full catalogue. So to do that, all you have to do is click import and then navigates on your hard drive to where your files or your food is, or that you're going to be editing so minor on my desktop and its beauty retouching. Then you can select which images you'd like to import. So I'm going to select just the images that we're gonna be working with now, which is unchecked all just these two, so you can check them up there and then click import, and that will import your files into light room where you can browse at the most recent import. Or you can save them into folders on your light room. Hard drive so or your life from catalogues. So then, to edit the file photo, we're going to double click on it and you'll see that this is the same photo that we had in camera roll. Now, depending on whether you open this in light room or camera or capture one, there are gonna be processed in different ways. And the colors won't be identical because each program, ah, processes of the fighter in its own way. Now, to start editing this, we're going to click over to the develop module, and now we can start editing photo. We've got the same adjustments and the same tools that we have in camera raw here. And as you can see, the adjustments are saved from camera roll because it is saved in a file alongside this. Footer it on my hard drive, which will identify which settings have bean change. So via justice settings here, it'll adjust the settings in the original raw file, which will then coincide with your raw edit so you can adjust these settings, just as you would in camera raw so you can adjust your exposure. You can adjust your highlights of clarity and everything like that as well and your tone curve. So if you'd like to do color correction, do you can do that in here as well? These are the exact same settings that we saw in the camera roll module. Inside off. Finish up so you can go ahead and do sport, turning your you saturation and your sliders your detail. Everything else is exactly the same as before, but one thing that light room has the camera doesn't. Which is fantastic is local adjust adjustments or brush adjustments so you can click this icon up here and you can use a brush and you can target specific areas of your photo. So say you wanted to brighten up your face. You could do that here, and it's doing it in a nondestructive way because you're working on the role file. But we don't really have to do any of this because we will be working with our rule file later on and adjusting the colors in front shop. But this is just another way that I wanted to show you to edit your photos in light room. Now let's delete this brush quickly. I don't want that brush, so I'm just going to go ahead and delete it, which is over there and then don't. Okay, now, one thing that you have to do is if you're going to be editing and lighting light room and then exporting to photo shop to finish your retouch, you need to make sure that light from this sort of correctly. So go ahead on light room and click in preferences in on Windows. It will probably be file and in preferences, and then you want to get to external editing. So if you're gonna be editing in Photoshopped CC 2018 or whatever version of photo shop we're gonna be editing in, gonna make sure that you're far format is either PSD or tiff. Now, the difference between these two is not really that much except that tough. You can have no compression on your foot so you can sell it to zero compression. And for with tough as well, you can work with larger files. So maybe you're working with lots of different layers. You can work in itself file. So I only said that to tough. You know, make sure that your color spaces said correctly, just as we did in camera raw. We want to be working at 16 butts. Resolution said to 300. I think the default is around 2 40 with light rooms. And make sure that you change that and said your compression to that. And then again, if you're not gonna be everything in Photoshopped, maybe you gonna be editing in a different program, just have their sittings, the same here, and then you can go to file handling, which is perfectly fine. We can set that where it is and we can click close. So now when we open up our Photoshopped photo in Photoshopped from light room, we're gonna have the same settings as if we were just using cultural. And to do that, we're going to right click and say it's in open as a smart object in photo shop, remember, if you just take this, it's gonna open up as arrested or Ajay pig. So you want to make sure that it's open a smart object in for the shop and that'll send it over to photo shop as a new layer