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Photoshop vs. Lightroom Superpower

Let's talk about the superpowers for photo shop and light room. There are so many adobe programs, and they're all fabulous. But there's only so much time in your life to be editing your images. And in this class, I'd like to illuminate Theseus for powers of each program so that you know exactly which program to use when, so that you can be as fast, an efficient and productive with your editing as possible. So that's what we're going to be looking at, basically, everything you can do in light room. You can do in photo shop in one way or another. But there are a lot of things that are far, far easier and faster to do in light room, and we're gonna talk about what those things are. First, we're going to start out with looking at a few visuals so you can get an idea a visually of the kinds of projects that you can create in one program versus the other. And then we're gonna pop over into light room and Photoshopped and create some of those projects together. So we get a whole lot of fun. S...

o to start light room is really a powerful, database driven image management and editing program. Okay, so it's underpinnings are a giant database. So it's fantastic for importing your images, organizing them, applying a star rating system, getting rid of the bad ones, keeping the good ones, being able to view a subset of your images quickly, getting to the best of the best, and so on and so forth. Flower shop doesn't have that, but if he installed bridge, which you get with photo, Shaw is not a It doesn't install automatically with Sisi like it used to, but you can install bridge. So Bridge is a not really a database program, but it is an image browser. So some of the image importing organization filtering, sorting things that you can do in light ring you can do in bridge if you choose to install that. So just so you know that, but bridge can't do everything. That light room does really Bridge assistant image browser, a file browser So you don't have to import things onto your hard drive with bridge to use it, but basically just let you see thumbnails of everything that's on your hard drive, which is really handy. Whereas light room is a database. So when you import images with light room, light room creates a catalogue of those images, and your edits aren't really applied to the image that kind of kept in that database along with the images. So we'll talk a little bit more about that here in just a minute. So searching for your images is faster in light room. Finding the right images is faster and light room than it is in bridge. While you can do some of that stuff Enbridge, so that's just a little bit about the database portion of that. Now, one of lighter and superpowers is its ability to edit your images non destructively. So I mentioned that it uses a catalogue system a moment ago. So you're You can always get back to your original images when you edit with light room, which is absolutely amazing and movie import. Dante. If you change your mind or you need to go back and change something or client changes your mind for you, etcetera, etcetera, so you can always get back to the original. It's nondestructive editing. That's what we've got that little life raft around the light room folders there because it's a safe place to edit. Your image is now over. In photo shop, you can edit non destructively, but it's not an automatic process. You have to do that using layers and things like that. If you are shooting in raw format, you can dio some of that nondestructive editing an adobe camera raw, which is like a little application that runs inside of photo shop, so to speak. So, really, the image editing portion of Light room is adobe camera raw, the develop module in light room, which is where we edit our images and we're gonna look at that. But that really is adobe camera raw, and we'll take a look at exactly what you can do in in both programs versus the other in a moment. But the whole nondestructive editing thing is really fantastic, as you might suspect, so that's a big deal. As I mentioned, the develop module in light room really is camera raw, so we're working with light 15 and I'll point out to you if I'm using anything that's specific to five. Most everything I'm gonna teach you today works in light, run for as well, camera raw, same kind of thing. So here's just a screenshot showing you a comparison of the two editing worlds in camera, raw and in light room. And as you can see, you've got all the same slider. So they really are exactly the same in this respect. Now you'll notice down at the bottom right of that screen shot. We've got some other panels that are not expanded here that got little flippy triangle horizontal. So you know they're not expanded. Flippy triangle really is a technical term. So anyway, things like tone curve hs l split, toning in detail. Those things were also in camera raw except for their little buttons underneath the history. I'm in camera raw, so they are there. But they're a little bit different spots in Liar. And so I just wanted Teoh show you how similar they are in one of the biggest superpowers that light room has over Photoshopped. You know, aside from the nondestructive editing thing is, it's easier to use because it sliders and there's nothing easier to use them Sliders. Okay, photo shop, not so many sliders. So here are a few visual examples of the things that you can do in light room. So what we're looking at here is a recent Black Belt championship that I got to shoot in Colorado recently. I recently started kickboxing. I just got my yellow belt. It's all about kickboxing, but And also I wanted to find a really crappy image to show you how much better you can improve it in light room. And it's kind of crappy image after the top left. So that's the before image. So what we've done in light room is we have corrected the exposure, that toning and lighting. And we've added a soft edge vignette because I didn't want to crop the image to the subject, which is Miss Scott breaking her boards. They're going for her black belt. I wanted you to be able to see the other people in the background, so I didn't want to crop it. But I definitely wanted to make that area less distracting. So, using light room, it was very, very easy to adult edge of in yet just a dark in the area. Put the focus on what I wanted it to be, which is Miss Scott breaking the boards there. So that's just, in example of what you can do light room, more examples. We see the rather crappy before image at the top left, and then we've got how we can improve it in light room. So what we did here is we corrected color and lighting, and we also dropped out the color, made it a black and why? And then we did a split tone in light room, which is just adding mapping a different color to the shadows in a different color, to the highlights in the program to create a creative color effect. Which, by the way, is a fabulous way to say, really subpart image that you can't correct in any other way. So that's a nice, nice thing. So that's also in light room. And again we've got that dark edge vignette going on another superpower of light room. That photo shop just cannot do anymore. Really at all is printing templates. So if you want to gang up a bunch of pictures on one page of print them level on page, kind of like those picture packages we used to get when we were in grade school and high school and all that you can do that very easy and light room. It's got a printing module, and it has a slew of really useful templates. So that's what we're looking at on the left there. So that's a handy thing for photographers. If you've got a business, you offer any kind of printing services for your clients at Super Handy, another superpower that light room has over Photoshopped. We used to be able to do this in bridge, but we can't do it anymore as a bridge CC, and that is to create Web galleries case. You can't do that photo shop anymore or bridge rather, but you can do it super easily in light rooms. That's just a quick website I put together in under five seconds, and you can enter all of your FTP information. So Light Room can also handle the uploading of the images publishing the Web pages and everything. So it's handling the enlargements. If this were real Web page, we could click on those enlargements and it would take us or the thumbnails rather, and it would take us to a page where we could see a larger version of the image, and it handles all that. So for printing and for Web galleries. Light room is fantastic. Okay, photo shop. Not so much for that stuff. Speaking of photo shop, I want to give you a few examples of why you might need to go into photo shop, because it's not really a question of which program do you want to purchase over the other one? We'll talk about those costs here in a second, but there are several things that you could do a light room that you may not need to go into photo shop. But the next few images here giving an idea of what you can do should you choose to go into Photoshopped So these things light room cannot do whatsoever. Okay, so what we've done here to this image is we have color corrected it. That's great light room to do that. But we have created a very nice high contrast black and white, and we have revealed using layer masks some of the color from the original image. So you can see on this photo of my favorite motorcycle racer, MotoGP world champion Valentino Rossi from Italian is the doctor, which is his nickname on his back. There is the only thing that's in color so that kind of thing. Definitely. Best to do it in Photoshop. Any kind of collages. Anytime you want to combine images, you must do that in photo shop. You cannot combine images at all in light room ever, period. So if you want to fade an image into another, like this example right here, which is a great product for photographers to add to their business because your client can't do this, most likely. So this is something else that I do believe that you can sail in your photography business. So we've got two photos here that are being gently faded together, so that is definitely a photo shop thing. As well as creating HDR shots. This is a great series of images at the top left of Karen Wilmore's BMW Mini Cooper, and she shot this and graciously allowed me to use the Siris of images to create an HDR high dynamic range image for the Photoshopped missing manual. So that is definitely best left to do in photo shop. As well as Panorama is, we've got a panorama at the bottom. Definitely want to do those stitch those together in photo shop, and Photoshopped has so many wonderful filters that you can use four special effects, and I've got a couple examples here. The motion blur that kind of the middle on the right hand side there. And then another thing in photo shot, along with the whole combining images theme is the ability to bring in vector artwork or illustrations that were created. An illustrator thought that was just hysterical to put that little flame on the end of that little pocket. Back and grown adults really do race those teeny tiny bikes like that. And if you've never seen it, do a Google search for pocket bikes is hysterical pocket by graces. So this kind of stuff is best left to do in Photoshopped. And if you're gonna add any kind of text whatsoever that has to be done in photo shops, a light room is not a text editor. Father Shop has a really powerful text editing engine in it. So if you want Teoh create any kind of designs like this was all created in photo shop, So we've got background texture going on. We've got a photo being shoved through letters. We've got a little stroke applied to the letters here We've got all kinds of other text and shapes, faded shapes going on. So this kind of stuff got to do that in but a shop. And by the way, if you've got a sport by, this really is a real website. If you want to get track time in a local track, that's the best way to arrange it. Sport backtrack time dot com Now let's talk a little bit about price before we jump into light room and foot A shot for our editing, I figured out a little deal calculator for you here just to give you an idea of the differences in prices with these programs. If you use the price break, is that three APS? If you use three APS or more creative I adobe, then it's cheaper if you just do the Creative Cloud subscription, which is 50 bucks a month. 2.5 APS is really where the price break is, but so if he used three so that could be a shop light room. And perhaps, if you really get into video editing as a photographer, then you might download premier, or you might download Muse to create a website so three APS do the whole enchilada If you only use photo shopping light room, you will save money if you subscribe to photo shop on Lee for $20 a month. Because that's a single APP subscription Bridge comes with that so $20 a month, plus the standalone version of light room. So while light room is in, the cloud is also available with a perpetual license, which means you own the dad gum software, at least until you need to upgrade it right. So it's $79 for that grade. $50 for the full version, so you'll save money that way if you're not going to use anymore abs. Another great idea is to use photo shop elements and Liar and Elements is an insanely powerful editor. I can make it do almost anything Photoshopped can do. In fact, we're gonna do two days on foot a shop elements for photographers in October, so keep your eyes peeled for that photo. Shop Elements is also available as a standalone program. It's $80 upgrade, or around $100 full version so you could purchase standalone elements and a standalone white room, and that probably would be. Your most affordable route to that elements is revved about every year, so just know that you'd be looking at about $80 investment every year. Light rooms, rib. I don't think it's a 12 month refs, like a little bit longer, but so you would have to pay. You know that money every year to go that route, but you absolutely can. So Elements is fabulous, so just giving you some ideas on what you can do there. So now let's pop into light room in photo shop. Shall we take a look at some of this goodness that we can create? So first, let's pop over into light room. Now, this is not going to be a full. How do I use light room class? Okay, there needles and gobs of wonderful lightning classes on Creativelive. One of my favorites is Jack Davis is like running a five course. Did you invite you to pick that one up? I also covered a lot of light room in my how to make money shooting Micro stock class that we did last month, and that's a fabulous one to pick up. We go through all kinds of presets and light room and time saving tips and tricks. So take a ticket that So here we are in light room. And like I said earlier, it's a fabulous database program. So you import your images, it creates a catalogue. Great. So let's take a peek at how easy it is to correct your images. So I'll pick one. Let's just go ahead and get that one right here. So I have activated an image in the library module, and now we're gonna click on the develop module to take us into where we can actually edit with all those sliders. So here's our image, albeit with a quite a bit of crappy color going on here. I'm gonna go ahead and turn off this viewing of this metadata. So this is another thing that light room can do that Photoshopped just cannot do. Once you open an image and that is, display your metadata right here on top of the photo it doesn't print. It's just a preview. So let's go ahead and turn that off view options, I believe, is what it is. We're gonna turn off the show early. There we go. Okay, so here we are We haven't image that desperately needs correcting. Yes. So we're in the develop module. We're gonna cruise over here to the right hand side of our light room around, and the very first thing we're gonna do is we're gonna turn on, if you will. The superpowers of this hissed a grandma right here. And the history, um, is simply a visual representation of the brightness levels that were captured in your image. So if we press the letter J, do you see how museum in here? Now we have these this little white outline around these two triangles at the top, left and right of our history, Ram, what we've done by pressing letter J. Issa, turn on our clipping warnings and clipping warnings let you know when you have edited the image to the point where you have lost all detail and either the shadows are the highlights. In other words, you're blacks have gotten so Dad gummed black that you can't see anything in them making them useless, right? Pretty much the same thing with your highlights. Okay, So, by turning on these clipping warnings, I wish there on by default. But once you turn them on they stay. Then you can tell when you're adjusting the image when you go too far, so that's a really handy thing. You can do the same thing in adobe camera raw. So let's just come down here and take a quick look at what we see in the basic panel of the develop module, which is the same thing as the basic panel in Adobe Camera Raw. And we haven't done anything that's specific to you, like 15 or the Shop Creative Club so we can come down here in. The first thing I do after turning on my clipping warnings is, I might tell the program what I really think white should be. So light Room says. Oh, I think I know what why, It looks like the color white, but it may not be accurate so you can grab missile eyedropper. Give it a click mouse over to your image, and you can click on the pixels that you want to be white, and when you do, that light room will reset all of the other colors. So as you click, you can see the color tint of the image change just a little bit And if at first you don't get a white that you like, you can just keep clicking around with that little eyedropper until you had a point that looks good to you. And let's say that we have done that here. Okay, so that's re setting the white balance, and that's typically the first thing you do. And then, with ease, Siris of sliders, you can go through and quickly adjust the exposure. Now, when I do that, there will be a point at which I start to blow out or over exposed my highlights. So since we turned on those clipping warnings, I can see immediately not only that, it's happened, but where exactly it's happened. So then you can use the rest of the ciders. Try to bring that back in line. Same thing with shadows. If you make an exposure change that darkens them too much, you can see the areas in which you have now forced those shadows toe pure black, meaning they don't have any detail on him anymore. So that's a really, really easy way to adjust your imminent. So basically adjust the sliders in the order in which they are listed for you that was handy, huh? Thank you, Dobie, for actually putting them in the order. You're supposed to use them so it just keep going down here and play with them until you get the image to look good to you. And keep an eye on these warnings. Now, if the either of these triangles turn a color, you can see how the shadow clipping warning triangle has turned blue. That means there is a little bit of clipping going on, and it happens to be going on in the Blue Channel so you can come back in and fix that. So coming here, make your exposure address mint. At little contrast, if you'd like. If you want to lighten or darken just the highlights of the image, grab the highlight slider. Drag it to their right to lighten the highlights, drag it to the left of dark in the highlights and see how it's not affecting the mid tones or the shadows. Just the highlights. Same thing with the shadow Slider, your shadows. We're still a little plugged up. You can drive the shadow slider to the right toe, lighten them or drag it to the left of dark in them again, keeping your eye on these clipping warnings up here. Now, if you do get some clipping, you forced shadows to pure black or you forced your highlights to pure white. These two sliders right here, cleverly named whites and blacks or how you fix them. So if you have highlights that are blown out and we'll just do that so you can see how it looks, you have highlights that are blown out. You can drag this white slider to the left to recover that lost detail. See how that warnings went away when I started dragging that slider to the left. So if you do need Teoh doing exposure adjustment that causes you to lose a little detail, that way he could bring it right back. It's just amazing how powerful light room is. Same thing with shadows. So let's go a little too far with the shadows, and we've got a plugged up shadows there. Then you would drag the blacks slider to the right to recover that lost detail and all the zoom in real quick here so you can see that the sliders themselves indicate which direction and what you should drag them, depending upon what you want to do. See how the left side of the slider is dark and the right side is light. Well, either I get to the left, is gonna dark, and you drag it to the right. It's gonna lighten, So that's helpful. And you gotta admit photo shop is not real helpful. Kind of expect you to know where everything is. But again, this kind of stuff and I'm showing you here can be done in adobe camera raw, which you can now open is a filter in Photoshopped CC, which is a really amazing thing. So even if you didn't shoot an image and raw, then you can still easily pop it open as a filter. Teoh edit damage. Okay, So listen, keep cruising down here. Clarity, vibrance and saturation. You can think of those as your your photo poppers because clarity is gonna add contrast in the mid tones. Really, really nice. Total clarity. Vibrance is gonna pump up the saturation of colors that are already highly saturated. You want to use that for any people pictures if you want to make the colors pop. But if you don't have people in your image, let's say you've got a nature shot, Then you can pump up the saturation just with the saturation slider. But vibrance tends to leave already highly saturated colors alone, and two springs up everything else. So super, super easy to do all of this in light room. Now, how can we appreciate how far we've come from the original image? Well, let's take a look at that. I've got a keyboard shortcut here for you. That is oh, so handy. So if you confined the P key on your keyboard P, as in Paul McCartney, then you go all the way over to the right, and that is the backslash. So if you press the backslash key, you're going to see a before and then after, which is a really nice thing for the shop does not have that. So unless you're editing with layers and you build in the ability to toggle the visibility of those layers off and on you, you've got no way to have it before and after preview like this. And the next thing I'm gonna show you a photo shop cannot do no matter what. And that is Teoh, split your screen. So what? We've done here is we've pressed the Y key and I split my screen and I can see a before and after right next to each other. So it's invaluable for evaluating your work because you could spend hours and hours and hours correcting a photo. It may not need it, or you may go too far. It's hard to tell when you're in the middle of that, so this kind of split screen before and after preview is super handy. So I invoked that by pressing the Y key and just press, Why again? To get right out of that? All right. Another thing that light room can do for you, which is really amazing, is you can create develop presets, which just means editing presets. So let's say you find that you're always bumping at the exposure, just a hair and you're always adding a little bit of clarity, right with this slider right here, that adds contrast to your midterms, and you're always adding a little bit of vibrance here and make your colors really nicely saturated. Well, you can have light room. Apply all of that stuff as soon as you import the darn photos, which is amazing timesaver. So to do that, all you would do is create your edits then, while you're in the develop module. So in other words, you would move the sliders, just the ones you wanted to save, really, as a preset. So you would adjust all those sliders and then while you're in the develop module, you're gonna trot up to the develop menu. Now, I will tell you that when I first started using light room, I think which was probably like room one, it really threw me that these menu items appeared the very tippy top of your screen change, depending upon which module you're in light room. So if you're in the library module and you go to try to create a developed preset, you're going to say, But Lisa, where's my development? You don't have that? My copy. Well, that's your tip that you're not in the right module. So see how those menus change. Just be aware that cause that really threw me at first. So here we are in the develop module. Now we can trot up to the development you and choose new preset. And when we do light room is gonna bring up a series of check boxes for every single edit that you can apply over there in that basic panel. So all you have to do is turn on the check boxes for the things that you want to apply on import. So obviously you can't have all of you. I mean, you could have all these checked boxes on, but each individual image is gonna need a little bit of special attention and care, right? Even if they're shot into the same lighting conditions and maybe a little bit different. So what you could do is just make a preset for the sliders that you find that you always change on every single photo. In that way, that much is done and you just have to go in and find tune here and there. So that's really, really handy. So all you do is a name that is a preset. Give it a name that's meaningful to you, and then you can access that preset in the import dialog box, which is really handy, that you can dio in camera raw, but you can't apply a preset through camera raw, so you could create your preset in camera raw and the interface is pretty similar to this, but you have to use bridge to import your images. You can't apply this preset on import Enbridge, but would you? Could do is select all those images and bridge once they imported. And then you can apply a preset that you've created in camera raw Enbridge. So there's a work around for photo shop, but it's not nearly as clean and elegant and fast and efficient as it is here in light room. Now let's talk just a little bit about rating and filtering. We'll go back. 01 more thing. Once you have made some edits to a single image, let's say you've got you know, however many other images in light room that you could apply those to that super easy to do. So let's say I fixed this image, and down here in my little photo been, I could click and then shift click to activate several images. And now we've got a sync button that appeared down here at the bottom left. So if you click that sync button light room is gonna go in and apply all of the changes that you apply to the first image and it's gonna sink it with all those other images. So it's gonna apply them in Mass to a whole slew of images. So that's a really cool thing. You can kind of do that Enbridge, but it's much more clunky. Take several more steps. Okay, so now let's go back into the library module. And I just wanted to show you what a typical kind of workflow might look like. So let's say that I imported. We'll start down here. I imported these images and I want to quickly go through and get rid of the crappy ones and save the good ones and all that. So what we're gonna do is so you do this on import. So we're gonna press F to go into full screen mode, and then we see all these images nice, large size and using the arrow keys on your keyboard. You can just go through those different images so very quickly you could go through all of them and you can apply a star rating system, and it's very easy. So let's say we really like this photo. This is gonna be one of the better ones of the group. We might give it four stars, and we do that simply by pressing the number of the amount of stars you want to add. So one for one start to for two stars, three for 34 for four, etcetera. What if I changed my mind? I don't want that to be a four star image. I press zero, and that takes off all of the ratings. So you can imagine. Let's go back to the start here. You can imagine we're going through here and that one's you know, let's say we don't like it very much, so we don't apply any rating to that one, and we go to the next 10 we like that one a lot. Let's go better for and we go to the next one. That one's okay. Not as good so quickly here. We could go through and apply ratings, and then once you've done that, you can go back in and have light room. Show you on Lee. The three and four stars, let's say of one collection of photos, which is really handy. You can also do that, Enbridge. The neat thing that you could do here in light room is you can reject a photo by pressing X, so let's just do that on this one. Let's say we don't like it. For whatever reason, we press X and at the bottom left of the screen, we see a little flag appear with little accident. Then let's press escape to pop out a full screen mode. We can go up to the photo menu and look at this. Delete rejected photos, So can you see how fast you could be? Import your photos, press F to pop into full screen mode. Quickly go through your photos with the arrow keys. Apply star rating systems. Keep one hand on the number numeric keys on your keyboard, another hand on the arrow keys, press X to reject. And then all of a sudden, bam, you have gone through your whole collection of that whole import. That's very, very handy. Okay, so now the next thing I want to show you, let us go back up here. I want to show you a few things that you can do in light room and how how far you can get with them, a light room and when you need to come in to photo shop. So we're going to start out with this image that I shot in Santa Rini, Greece, and it's a nice image is set for these Dad Gum power lines got in my image. Can you use light room to fix them? We could fix this one, but we can't fix that one over there on the left. So let's take a look at that. So here we are, in the develop module, and when you're in the develop module, you get a Siris of tools here in light room. So that's what these guys are right here. Here's your crop tool. Your spot removal tool, your red eye. Fix her upper your Grady and filter, etcetera, etcetera. So what we're gonna do is click Teoh, Activate the spot removal tool. Now, what I'm about to show you is specific to light room five. This is a new superpower of light run five, and that is the ability to click and drag with spot removal tool. Previously, you could only click, so it was great for getting rid things that around. But if the sucker wasn't round, you were at a look. You had to go right in the photo shop. So here we are. We've got the spots who'll activated again. We're in the develop module, and we can come over here to our offending power line, and I like using the bracket keys to change. Breast size will make you a little bit faster. So again, next to the PQ p for Paul McCartney. We can use our left bracket key to go down in breast size or are right bracket key to go up in brush size. So let's go down. You want to make the brush on Leah hair bigger than the thing you're trying to get rid of. So the next thing we're gonna do is mouse over to the offending bit and we're just going to click and drag and light ring gives you a nice little preview of the area that's gonna be affected with that white highlighting Do or you're not painting white on the image. And when you release your mouse button, that is when the fix is going to take place. So see it's gone so light Rincon do an amazing job of the leading items from your image. So long is there is a good swath of what I call free background space around the thing you want to get rid of. Because there were so much sky around that power line, it worked perfectly. Now if it didn't work perfectly and you wanted to, let's say, change the area in which light room was sampling from in order to fix that area. And here's a little keyboard shortcut free press the H key and you can see right here that light room is showing us the area we fix, which is this area on the right, and it's showing us where it snatched the pixels from. In order to fix it, you might want to move that around to another area that would make it look more realistic. So to do that, just press that h key to turn on your mask, and then you would grab that little pin of the Let's call it the source area where your pixels air coming from you would click and drag it anywhere so I could say, Hey, use this area over here to fix that power line instead of what you did. But it did a fine job, you know, automatically. But just so you know that you can change the area which light room is using for that fix. And if you decide to get rid of the fix altogether, just turn on that mass, click the pins and press the delete key. And I only get that cute little animation of the cloud. But that also demonstrates the nondestructive editing in light room. So very, very easy to do that kind of thing. So let's go ahead and get rid of that power line one more time. Leap there, you Caroline gone. Now let's come over here and see what we can get done with this power line. This was gonna be a lot more challenging, so let's go ahead and click and drag to draw across the area we want to fix. And now light rain is showing us the area in which it used. But you can see that we've got a problem area up here and there is a problem area down here, and no amount of changing that source around is gonna fix that area perfectly. So that's a great time to take this image in the photo shop because we have not a whole lot of free background area around here and we've got some hard edges to deal with and a horizon and all that kind of good stuff. But a shop is gonna do a better job of that power line. So how do we get to put a shot from here? Press commander Control E. Or you can go up under the photo menu and choose Edit and Dobie Photo shop so you can send images from one program to the other and they just work together so perfectly. Same thing with elements. You could just as easily send this image over toe Photoshopped elements and do the same thing. So how can we fix that nasty power line in but a shop? So I'm zooming in a little bit, my person, Commander Control Plus and I'm moving around within my image while I'm zoomed in by pressing and holding the space bar and wiggling my mouth around. So let's take a look at fixing this line. What we're gonna do to practice nondestructive editing and photo shop is to create a new layer onto which we're gonna do our power line zapping. So we're going to create a new layer by clicking the new layer icon at the bottom of the layers panel. But I'm gonna do one thing that is possibly worth the price of this entire week's worth of classes. This is a tip for you. And you're not gonna believe how handy this is. Notice how small the thumbnails are over here in the layers panel. They're darn near microscopy. I could barely see the darn thing if you want to make those thumbnails large enough to actually see with your eyes were going to open the layers panel fly out menu. This little guy right here talk right. And we're going to cruise down to the panel options option and you've got the ability to change thumbnail sizes. So we're gonna click the largest one and click OK, now we can see our That's not home moment for me right there. A lot of people on the Internet are also going Oh, how do you dio? Yeah, that's a good one, because you just can't see him. Otherwise, you can do that in the Channels panel and in the past pale as well. So now we can see our thumbnails. Let's go ahead and create a new empty layer onto which we're going to get rid of that power line. Now, we're gonna come over here to our tools panel, and we're going to grab these spot healing brush. Now. This change came along, I believe in CS five. So if you've got CS five, you can do when I'm about to do grab a spot healing brush, trot up to the options bar, and we're gonna turn on the content aware radio button that just determines the math that the spot hailing brush uses. So let's turn on content aware. The next thing you want to do is turn on sample all layers because that makes photo shot. Look through the empty layer that's currently active beneath that layer to the layer onto which the pixels actually live. Otherwise, if you don't turn that on and you try to use the spot healing brush on empty layer. But a shop will squawk it you with an error message and say, There's no pixels here and then you're like I'm a loser. I forgot to turn on save wall layers. So now when we come over here again, we're going to use our bracket keys to adjust our brush size and just make it a little bit bigger than the thing you're trying Teoh get rid of. And you don't have to do it in one brushstroke like I'm doing here. Okay? You could pay a little bit. Release your mouse button pain a little bit. Release your mouse button, etcetera. So I've got a little bit of a problem area down there on that brick. But as soon as I click it, I'm done. And now I am absolutely finished. So we used light room to do what it could and see. I still have a little bit of that hanging around so I could just get rid of that with a spot healing brush to you and photo shop. So that gives you an idea of the kinds of Let's call this retouching that you can realistically perform in light room vs Photo shop. So if you've got a little bitty thing you want to get rid of and it's surrounded by a whole bunch of, let's say free space light was great. If you've got a bigger thing that you need to get rid of and it's got a whole lot of important stuff around it, they need to be in photo shop. So now let's save this image. Okay? We're just gonna press, commander Control s to save it, and we're gonna close it, and we're going to go see what happens in that room. So let's come down here and find light room. If we go back into the library module, look what we've got now we've got to images. That's pretty slick. So we have we still have access to the original through the one we started editing a light room that we took out part of that power line. And then we're now seeing the edited Photoshopped document here in light room, and that is just incredible. You cannot do anything like that in photo shop and bridge. You'd have to duplicate the file yourself, Teoh be able to do that. So that's a really neat thing if you do a whole lot of editing like that, you know, switching between light room and photo shop and one to the other, you're going to get what we call stacks of images. If you don't want to see those in your library of you, all you have to do is click this little slider here and they just stack behind each other. So you see the most recently edited version, which, in our case, this is the one that came from Photoshopped. So that's a slick, slick, slick thing. So that's just a little bit about the spot removal tool. The next thing I want to show you is another superpower of light room and camera raw, and that is the ability to straighten things that ought to be straight that aren't straight, maybe in the photo. So fixing perspective problems. So I have a photo with a definitely a perspective problem here. So let's go ahead and click toe activated in the library module, and now it's quick develops when go over and edit it. This is a shot I got in Rome recently, the Trevi Fountain. And you know, when you're shooting the Trevi Fountain you got try hard not to get a 1,000,000 people in it, because there are a 1,000,000 people standing in front of that fountain. So I was at an odd angle. So what happened now is my building looks like it's leaning back, and I don't want that. I want to be nice and straight. It's also a little crooked, so we can easily fix that using the upright feature in light room. Now, this is a new feature in light room five. It also exists in camera raw eight. So the camera raw that you get when you install photo shop Sisi has the same future, and it's called upright, and it's really amazing for perspective problems. So here we are in the develop module. Now, we're gonna use our slider over here Scroll bar rather on the right hand side of the screen and we're going to come down, down, down, down, down, down, down, down, down, down to the lens correction section in light room in camera raw. This is a button. So you click the little lens correction button and you're going to see the same options I'm about to show you here. So click that Teoh, expand that flippy triangle and see all the options. And the first thing you want to do is turn on depending upon If you shot this in raw for matter, you shot it in Jay Peak format. You're gonna see fewer or more check boxes here, but you want to turn on all the check boxes that you see because the check boxes we're going to read enable profile corrections, which is just saying that light room is going out and downloading the lens profile for what it sees that you shot that image with. So it knows those any problems that are inherent to that specific lens it can kind of correct for them. So geometric distortions, chromatic aberration. All kinds of stuff like that can be fixed automatically by turning on these checked boxes. This is a J picks. We're not seeing all those other check boxes. But if you got more check boxes, turn them on. And all that does is it improves the math behind what we're about to do. Okay, so you want to give it all the power you can write. So now that we've turned on those options way are going to come over here that I go into the wrong panel, I don't think I went into the wrong panel. If x camera calibration distortion, it should be here. We are in lightning five union transform. Basic. There we are, basic. So within the lens correction pale area. And we've also got these little tabs and it changes what you see here So now we're on basic. Here we are. There's another little check box that we can turn on to improve the math. So, Linds corrections Basic turn on these guys. Now, this is the new stuff right here, this whole upright section. So I'm gonna zoom back out a little bit and basically you're gonna click the Ottoman. Wasn't that amazing Way, way, way, way, way past made. Really. Our in studio audience is gasping, so let's turn that off again. So what we did is we did an auto fix, So light room is going in and it's trying to make all the horrors on aligns perfectly horizontal is taking all the vertical eyes and trying to make them perfectly vertical. And it's trying to fix the perspective so upright, you know, it's putting our building up right a little bit, so auto usually works well. If you don't want to give light rain full control, you can turn that off. And if you only want Teoh, let's say straight in the horizontal lines. If you just gotta cricket image than just click level that's going straight in the horizontal lines. If you on Lee, I want to fix the vertical lines and your image that you're gonna click Vertical full does all of it. But it pretends to me the images don't look as natural as they do when you click the auto buttons. So full and auto are really the same thing. But full is much stronger to me, it doesn't look as natural, but use your own judgment with that. So I'm just gonna turn it off and click Auto. So super fast way to fix perspective. Problems in light Room five and camera Route eight, which you can only get with a subscription. Teoh Photo shop created club. So that's another great superpower. Okay, so now let's take a look at some creative color effects. So let's come over here to let's say, this image right here and we're gonna go to the develop module and I'm gonna reset. Click the reset button, so that's gonna get us back to the original image. San told you could always get back to it, no matter what you've done. No matter when it iss today, 10 years she will. Okay, so here's our image, and we're gonna come up here and let's play like the exposure is fine. But what I really want to show you is how to easily go Teoh black and white or any color effect. So we're gonna scroll down within the basic panel and you're gonna look for this h sl color black and white. So we're going to click black and white, and when you do foot, a light room drops out the color of your image. Since we have those clipping warnings turned on that we did earlier with the letter J we see right here they've got a little bit of clipping in the shadows so you could easily pop back up here to the blacks slider and simply drag it to the right toe. Lighten that so amazing that you can really see what's happening within your image here in light room. You could do that in camera raw as well. So that's black and white. You can also use these sliders right here to fine tune the contrast in the black and white. But here's the really cool thing. See this little bitty target looking hoo haw right here Bad is an on image adjustment button. So let us say that I cruised around with all these sliders and really, what's going on here? If you drive the slider to the right than that color, wherever it appears in, the image gets lighter. If you drag that slider to the left, that color, wherever it appears in your image, gets darker. But let's say I don't know what color her shorts are, and I really want those shores to be lighter or darker well, instead of trying to figure out what the heck colors air made out of. And guess in which slider to tweak. Grab that on image adjustment and cruise over to the area you want to affect and drag up toe. Lighten that color whoever it appears in your image or dragged down to dark in that color wherever it appears in your image. So that's a really neat thing that one you can do in photo shop using the black and white adjustment layer. But it's a little faster to do here in light room. Now, the next thing that's really super cool that you can do in both light room in camera raw that you cannot do and Photoshopped proper is split tones. This is a great way to save a subpar image say it's, let's say, one that you really can't get the color to look right to you on. So the way is a split toning channel is you're gonna pick a color for your highlights to be mapped to, and you're gonna pick a color for your shadows to be mapped. You it's gonna look like a color overlay. It's a really nice effect that I do believe is another product that you can offer in your photography businesses, as all also you can if you are a stock photographer and I wanted to submit this image say yes, I'd have to get a model release and a property released to say, You know, then I could submit the color version. I could Smith the black and white version, and I could submit any creative color treatment I want because the designers who were downloading stock images, who knows what kind of skills they have, right, So this gives you more images to submit in the stock room. And again, I highly recommend if you're interested in stock checking out the how to make money shooting micro stock class in the Creative Live catalogue. So here we are. Let's create a split tone real quick. And this is also in the Kamerad deep dive that we did cause this you can do in camera raw as well. So what we're gonna do is we're gonna hold down a modifier key. We're gonna hold down option on the Mac or halt on a PC, and we're gonna keep holding down at Modifier Key. And we're going to click and drag the hue slider for the highlights to a color that looks visually pleasing to us. So we're going to come over here to the Blue Room and I know it's the Blue Room because that slider is rainbow colored and I can tell what color I'm stopping over. So let's say but I like the looks of that. And then we're going to release the mouse button and release the modifier key. We're back to our original image. Now we're gonna grab the saturation slider, not holding down any modifier keys now, and we're just gonna drag it up enough toe where we like the way it looks. So why do we have to hold down option key? You're off on a PC. That's just to see the colors because otherwise, if the saturation is zilch and you're cruising around in that bar, ain't nothin Hatton which renders that slider Oh, about as useless as titties on a boar hog we might say in Texas. Uh oh, good times. Good times. Okay, so holding on Option key or Ault on a few, See, Let she see the color that you're about to apply gently Oh so gently and softly with saturation slider. So now we're gonna do the same thing on the shadows. Or so we're gonna press option on the Mac or Ault on the PC. And what really makes split tones work didn't even know a tiny little bit about color theory. You want to choose colors that are complementary to each other. So if we chose something that's in the blue round for highlights, we want blues compliment, which is orange, and you can buy color wheels on Amazon. Or you can do a Google search for complementary colors and you can figure those out. It's not that hard. There's just, you know, a few to memorize. But anyway, since we went with blues for the highlights were going to stop somewhere in the Orange Room for the shadows, and that's going to make it look real nice. So again, we're holding an option or all. And we're just gonna cruise over to the orange round, which is about right there. Release I modifier keys and now dry the saturation slider to the right until we get the look that we want. And that's our split time. Way easier to do here and in photo shop. But you can do that part in camera. Wrong Now, the one of the last things I want to show you in this panel right here is lens in the lens correction section noticing the effects Yes, in the effects panel right here. That soft, dark edge vignette that is oh so romantic and oh so fabulous for toning down a distracting background is in the effects panel right here. If you want a dark edge vignette, you drag the amount slider to the left. See how that's changing the emotional impact of this image. If you want a light edge, been yet, you drag it to the right, and if you drag it too far, program will tell you that you're blowing out highlights. But you don't care because you're just adding light out there. So who cares if there's no detail there? So that's how easy it is to add that dark edge in yet. Now you can do this and photoshopped through the lens correction filter. But here's what you can't do in photo. Shaw, look at these two ciders right here, roundness and feather. This lets you change the shape of the vignette itself. So watch what happens when I drag the slider to the right. See how the shape of the edge vignette is changing, and now, when I drag it to the left, it's changing. Still, you cannot do that in a photo shop you could do in camera up, not Photoshopped. So that gives you really precise control over exactly what that is. Vignette looks like another slider that you don't have in a photo shop is this feather slider. We're talking for edge of vignettes here, so you can change the feather amount of that vigna to make it darn near hard edge. Not real Sure why you don't do that, kid. If you drag it to the right, it just softens it up so that it's barely there. But you're I the viewers and I go straight to the action. I just got my yellow belt. I can't wait to get my wife. Well, that's gonna be fun. Okay, so that's a few of the super cool things that you can do in light room. So now let's pop over to photo shop. And again, you get all these files. Please don't sell them. I will find out. But you get all these images that I brought into light room in everything. So that's a neat, neat thing when you purchase these courses. So now if you're following along, he purchased the course. We're in folder number three. OK, so here's all those light room images that you can bring in and play with. And now we're gonna go into camera raw. So I'm just gonna double click a raw image, and the camera editor is gonna open. So here's your basic panel hears all those buttons. Here's your lens correction area that you can do the the upright feature that we talked about. Here it is in the manual tab, and you can also the edge of in getting it somewhere over here. Here it is under the effects panel, so we've got that post crop edge vignette ing with the same options that we just saw in lightweight. But again, that is not in a photo shop. It is in camera raw. Okay, so I've given you a few more images, and we're gonna have time to go through here to play with. But that's good. Okay, so now let's take a look at some of the cool things that you can do and foot shop that you cannot do in light room, which is partial color effects. So here's an image of an F one race, and it's a pain Malaysia, to be exact. And I'm gonna show you what are before image looks like. And this is another tip for you that might be worth the price of the whole workshop. And that is to quickly turn off a slew of layers or turn it back on. And you can do that by holding down the option key on a Mac or Altana PC, and you're gonna click the layer that you want to remain on. So if I want put a shop, turn off all this other junk, I just option or all click that one layer and now we're back to the original kind of crappy image. So how do we apply a, um, color effect? So we're gonna color, correct the image. We're gonna drop out the color, we're gonna add a color overlay, and we're gonna add that soft edge of in yet disapprove to you, uh, the differences between the two programs. So let's go ahead and start. So when you get these exercise files, do try not to save over these layered files because I worked hard to kind of explain what I'm doing in the layers and sells. So these files are meant for you to keep around for reference, to go back and kind of reverse engineer what I've done. So let's just say we want to color correct this image with levels. Okay, So if you wanted to color correct in Photoshopped proper, you gotta know how to use levels. I'm not gonna teach it to you today, or you'd have to know. How do you use curves? Certainly not gonna teach that to you today. Don't want you all running screaming out the door, but we are gonna go ahead and click the auto button to give ourselves a little bit of color correction. Now, what we're gonna do is we're going to add that dark edge vignette. Well, since we've got two layers going on in our file here going to turn that layer off since we've got two layers going on in our file here, we're gonna activate all the layers that your document is comprised of. Then we're gonna trot up to the filter menu, and we're gonna choose Convert for smart filters. Why are we going to do that? Well, we want photo shot. Put a protective wrapping around those layers and the wrapping is where the filter is gonna apply. So filter applies to the wrapping itself. Your images or your layers are completely safe. So now it's come back into the filter menu and choose lens correction. So this is how we add that soft edge of India in photo shop. So we've activated the layers, converted them for smart filters, and then we've opened the lens correction filter. That's already what five more clicks then we had in light room. Then we're gonna open the custom tab video and we're going to come down here to the vignette amount, slider and drag it all the way, the lift and that's it. But notice we don't have any of that roundness. We don't have around this slider, so I can't change the shape of our Vigna. We don't have that feather slider so we can't change the softness of our vignette. The only thing that we can do is change how wide the the thing is. So to do that you can grab the midpoint slider and drag it to the left and just makes it a little wider, so far less control over that particular thing in photo shop. Then we've got in light room, so let's go ahead and click. OK, now we've got her is been yet. Now let's take a look at creating a black and white in photos show. So we're gonna do that with an adjustment layer because we're trying to practice nondestructive editing. Where are images, say safe, safe and sound. So we're going to do this with an adjustment layer. So click the little half black, half white circle, the very bottom of your layers panels. Immense. You can see it. This guy right here, a very pixelated half black, half white circle. Go and give that a click, and they're gonna cruise up to the cleverly named black and white adjustment layer. But here we have those sliders, which we can use to adjust the contrast of the lightness or darkness of the individual colors where they're found in the image. And we've also got that same on image adjustment that we could use to click and come over here and say, Hey, I want that part of the image to be darker or lighter. So in light, roomy, dragged up and down and photo shop, you drag left right. That's how Dobie keeps us on our toes and to add a color tent not split tone but a color tint, which is just a color overlay it's see through. You're gonna click 10 and automatically Photo shop adds. The most popular color tend to date, which is brown. Graphic designers call it fancy shmancy sepia. This means brown. You're not stuck with brown. There you can single click that little color chip, and up pops the color picker. Move it out of the way. Then you can tell Photoshopped the range of colors you want to effect over here on the right Let's say I want my color tend to be in the blue room, so you click within this rainbow bar to set the range of colors. And then you would come over here and click within this larger square to tell Photoshopped exactly how light or hard, dark you want that color overlay to be Okay, so you can see several more flicks we're getting there. Seven more clicks. But now here is what light room candy. You'll notice this little white rectangle next to the layer we just created, which is where our black and white is coming from. And I could make my layers pain a little bit larger. Seek and see that layer name. This is a layer mask, and you can use it to hide the content of that layer. Will the content of this layers where are black and white and our color tents coming from Right. So if we use this mass to hide that, it's really like punching a hole through this layer so you can see some of the original layer, which is where original color lives or our full color Liz. So you can think of it like digital masking tape and, you know, because you would use masking tape to hide the baseboards in your house if you were to paint. So same thing in Photoshopped. The only difference between digital masking tape and real world masking tape is the color digital masking tapes black and are masking tape is what beige or blue. So if you grab any tool that can lay down black paint, let's say the brush tool. Then we can paint in here and wherever we paint, it's like cutting a hole through that layer. So whatever is underneath shows through that's where original color is. So I'm gonna press be to grab the regular old brush tool if my digital masking tape is black, that I need to set my foreground color. Cipto Black very bottom of the tools panel here. So I'm gonna press D to send my color chips to the default to black and white Dee and I compress the X key to flip flop my color ships. So you want black on top. Now we can come over here to the image Press command or control Plus to zoom in. These are left and right bracket keys to affect brush size anywhere. I paint the original color shows because we're just punching a hole through this layer. So we're seeing in that one little bitty spot in which we painted because this thumbnail is a miniature of the whole image. So wherever that black paint is that corresponding spot of the original or whatever is on that layer underneath is now showing through. So it may look like I'm painting read on, but I'm not because the reds already there. I'm just revealing it with a layer mask. And there's a little rhyme that's helpful when you're working with layer masks and you get one with every single adjustment layer that you create in photo shop, which is really handy. A little rhyme helps you remember what color to paint with win and masks and that is black conceals. White reveals every money black conceals fight reveals that will be in your head now for days. You're welcome. So here you can see that you know, we've changed the image quite a bit. So we corrected it. We added the vignette. We added a color tint, and then we used the adjustment layers mass to hide some of that color tint in black and white from the original photos. That last step is what you cannot do in light room that's specific to photo shop. So let's just do that real quickly again over here. So we're gonna grab another image. Click the half black, half white circles, bottom of your layers panel. Choose black and white at a color tint. If you'd like or not, we're going to say not this time. That mask over here is already active. We've got the brush tool active. We have black is our foreground color chip. Anywhere we paint, we're gonna be bringing the original color back through. And all we're doing folks is punching a hole through this layer. So you see what's on the layer underneath. And in that case, that's where the full color image lives. So before very long, you can create a really beautiful shot. And I think this is also another product that you can sell in your photography business. So do you take advantage of that? So we close up these images and will keep Cruz. And on another thing that you cannot do in light room is to change the color of an object so here. We've got a dude that obviously took a corner too hot in His little office role is here, and he has spilled himself. This is the original color, but in photo shop we can change the color of anything that has color. Changing something that was black to something else is far more difficult. But if you've got color and we do, it's super easy to change it. So let's say you had this photo shoot down your graphic design firm advertising firm. What having And the client says, I told you that needed to be red, not blue. Well rather than scheduled, the whole shoot again for who knows how much money all you can do or what you can do is come in here and change in phone shop. So what we're gonna do is adding new layer empty layer onto which we're gonna add the color that the things should have been to begin with. So we've got a new layer added, we're going to come down here to the foreground color chip at the bottom of your tools panel. In photo shop, you're going to give it a single click, not double click, single, click and you're going to use this rainbow bar to tell Photoshopped what range of colors you want to add. And then you're gonna come over here and click the color that we're gonna paint on the layer that's gonna effectively change that blue to red. So whatever color it needs to be, find that here like, Okay, now we're gonna come over here. Sorry I mentioned I'm just using the regular old brush tool, and we're just gonna pain. But the problem is, when I'm painting, see how it's completely covering up all the details of that chair. It's just like adding spray paint on top of it. Well, if you change the layers, blend modes which really control how color on one layer interacts or knocks out color on layers underneath. With this poppet mini right here set to normal by default, you want to give it a click, and this one you're gonna have to memorize. You're gonna come down to the word Hugh very near the bottom. And when you do that, you're gonna be able to now see through to the texture of that chair. Okay, so it just changes it toe where basically it's a war between a lot of war between colors, but you're telling photo shop a photo shop. I know what color that used to be. Now I want you to take the Hugh or the color of this layer and give it priority. Okay, so now the red is what we're seeing. So if you're doing this for real, of course she would zoom in and you'd be very, very precise. Especially if you're charging by the hour Extremely precise paint very slowly. No kidding. Now your next question is going to be. But, Lisa, how come those pants aren't changing? Because they don't have any color. They're gray. Got to have color to change color pants don't have any color, so I don't have to be as careful on my paint strokes. So now I'm using the space bar to cruise around within the image while I'm zoomed in, and we're gonna come over here and paint the helmet. Same thing. I'm not being real careful about painting over the black or the white because gotta have color change color. Here we go, and we're done. And now you become the office hero for your ad agency because they didn't have to redo the photo shoot, so that's a handy thing. And again, all we did was create a new empty layer. Grab the brush tool, set your foreground color chip to the color. You really wanted that thing to be and come over here and paint. Then you're gonna change the blend mode via this pop up menu at the top of the layers panel gonna go all the way down to Hugh. He was another fancy word for color. And as soon as you do that, then you can see through to the texture of that part of the image. So you cannot do that in light room. Another thing that you cannot do in light room along those same lines is add digital makeup. Okay, so we're gonna option are all click that bottom layer to toggle everything off. So here's our original. I'll zoom in six a little bit more. Here's our original. Here's what you can do in photo shop. So what we've done here is we've added new layers for each section of paint. We want to apply to this pretty lady's face. So we've got a a lipstick layer. We've got an upper lid layer. And then we've got that little bitty lewd edge a little bit of darker shadow at the top there. So that kind of thing you cannot do in light room can only do that in a shopping. If you will learn how to do this, then you can dissect the extras file. Or you can purchase the filters deep dive that we did last month as well. And that's a lot of fun. All right, Another thing that photo shop is way Hey, better at is removing backgrounds. Don't even try this in light room. You're not gonna get anywhere. So what I'm gonna do is open up all these images, I guess. One of the biggest things. Biggest ways you can remember when to do what in the program. Don't you love this composite? This fabulous in it? One of the biggest ways you could remember what not to do in one and the other is that light room has no ability to make selections, and it has no content aware technology and content where technology is just the programs ability to analyze the image and help you either remove something, move it or increase its size a light room hasn't none of that. So if you want to create composite like this where you have to remove a background in order to swap it for something more exciting, like erase way, then you need to be in photo shop for that. So let's just go ahead and create this one. This one is a lot of fun. I'm gonna kind of blow through these steps is I'm gonna use channels to knock out that white background. But this technique is covered in, I believe, the photo shop intensive Photoshopped CS five intensive class that we did a while back. That is applicable for no matter what version of photo shop you're using its full of practical techniques. So for this one, we're going to combine the images. So let's go ahead and select all or press commander control A. Then we're gonna copy that to our clipboard. You can easily do that by pressing Commander Control. See, just a straight copy, just like you do know where processor. Then we're gonna come over to the other image that's already open, and we're gonna paste just like you would know where Processor commander, control of E. Now we got to remove the white background out of these office dudes in this hysterical cracked me up when I saw this image. This one's from fa Tolia, which is a great stock him inside. So let's go ahead and use channels to get rid of that white background. We're gonna pop over here to the channels panel. This technique is also in my book. Let's go ahead and make those thumbnails big enough to see their radio. Now, what you want to do if you're trying to get rid of a background with channels and it works really well, if the backgrounds white, then you want to go through these channels and find the one where the thing you want to keep is the darkest. So I think to me, that's the Green Channel here. Where are dudes or the darkest? We're gonna come down here and drag it atop the new layer icon or New Channel icon rather at the bottom of the channels panel. And what we're gonna do is we're going to make these dudes solid black. We're gonna leave everything else solid white, And if we can get the image to that point where these guys were all black and this is all white. We can load that channel as a selection, and it will make a near perfect layer mask just like that. So how can we dark in these guys really quickly? Use a levels adjustment layer or just the levels adjustment? Rather. So you come up to the image menu, choose adjustments levels. I knew this guy out of the way, and when I'm going to do is take the shadow slider and drag it nearly all the way to the right and see how those guys are becoming solid black. If I can get them to be solid black, I've gotten near perfect mask. So that's about as far as I can go without messing up the edges that get a little funk ng if you drag that all the way to the right. So let's go ahead and click. OK, well, if my goal is to make the area that I want to select pure black and I still got some white portions going on, can I just paint it black? Of course you can. So we've got the brush tool active. We have black is our foreground color chip Now we're just gonna come over here in paint the areas of the thing we want to select paint them so they are solid black. And if we can get them solid black, we're almost done with the masking. So of course, you'd want to take a lot more time with this than I am. So let's say that's good. Now let's click this little circular dotted, button dotted circle down there at the bottom of the channels panel. Give that a click, and that loads that channel as a selection. Look how good that selection is. Pretty amazing, huh? You're like, what? But the only problem is Well, actually, this one did Did good. So sometimes, depending upon how you got your channels panel set up when you click that button, it may select just these guys. But what we really want our the marching ants going all the way around the image like they are here. So if you're doing this at home and when you click that little button and you only get the guys with marching ants like you don't have these going all the way around the outside, then what you need to do is to select in verse. It worked out fine on this one. But if you don't get that result at home, just know that you need to flip flop your selection. So now we've got a good selection. We're really done with that copied channel that we may just toe change those colors. So now we can come back up here in turn on the RGB Channel and then come back to our layers panel and I'm gonna show you a couple little tricks really quickly here when you're creating selections to help you be a little bit more precise with them. And that is to use the refined edge dialogue box. So we're gonna click any selection tool than matter which one any of them, because with a selection tool active and an active selection on your screen meaning marching ants, then you get this button right here. Refine edge, Give it a click and you get this nice little dialogue. This came along and see us for improved greatly. And CS five, no changes in CS six or C c. So we're gonna click the little view thumbnail here and we're gonna choose overlay actually on layers. So what I did need to flip off that selection elicits do that. See how the opposite of what I want to be selected. A selected Of course, I did this on purpose to show you exactly how to get out of this when this happens to you. Now we're gonna choose select in verse. There we go. That should do it. Okay, Now let's go back into the refinish dialogue. And this time, when we choose on layers, we actually see our new background, which is helpful. So the way use this dialogue is for this particular kind of technique. I would turn on Smart Radius because that just says, Hey, father shop, I want you to look at my edges and I want you to analyze them and see if there's a little bit more that needs to be included in the selection or a little bit that needs to be left out of this election. This radius slider tells Photoshopped how far away from your original selection you want it to look at or analyze. So see how I've got just a little bit of the original background still ordering. You can see it down here that little white halo as I dragged the radius slider to the right. Did you see it disappear? Okay, so all seem a little bit more Career's over. See that white halo? It's just leftover pixels from the white background. Turn on Smart radius dragged the radius slider to the right. Yeah, that's the magic Ever finding it. So once you get it, you know a better selection like that. Then you can say, Hey, Well, while I'm here and I've got a selection, why don't you just add a layer mask to that currently active layer So cheese layer mask from the output to pop up menu and click? OK, that was some Photoshopped superpowers right there. This So then you've got your totally awesome deeds cruising around your race track and another tiny little tip freaks and they were running out of time. Is that let's say you don't get your mask perfect with them. The refinish dialog box. You still see a few of those dad gum pixels from that Dad gum original background. Well, you can click to activate the mask after you've added it, trotted to the filter menu, come down to the other category and are thinking Where is she going With this one that used other and choose minimum. This is gonna shrink your mask. She's minimum that has been around in the program forever, Forever, Forever, forever. But what's new and Photoshopped Sisi is the ability to turn on this roundness preservation here. And who cares what that means? Because all that changed does gives you the ability to inter decimals. So if you have it set to squareness, which is what every other version of photo shop only had you could never inter decimal points in here, which most times to correct a mask. One pixel shrinkage was a little too much of it too much. But now, in CC, if we set this minute around this, see how now we've got decimals? So when you're using this to fine tune a mask now you can go down and be very, very precise with your mask shrinkage or expansion. So that's just another great tip for you for masking. So all this cannot be done in light room, and the last thing I want to show you very quickly is the content aware technology. So this is not the original image. We're not gonna have time to go through the steps. But when I come back in October, we're going to full day on content, aware and cloning full day Nothing but removing and moving things from your images to make him look realistic. So just to give you an idea of what you can do with this, I'll make layers paint a little bit smaller. Here's our original. Okay? Oh, yeah. So we completely took this guy out completely removed him. Let's say we had a little spat before the race. You're out of here, but you're not in my picture. So we took him out and all this turn on these individual layers that I've made for you. So we took that guy out, and this is also a lot of fun to sit there late at night with your favorite beverage and just turn it off. Really? Then watch this guy right here. Let's say that's you in the picture a little bit farther ahead in the race. Oh, yeah. And now we've got a little bit of a problem area right here, but we just keep using photo shops, content aware tools, the patch tool to get rid of that area, and then we had a little bit of a weirdness still going on here. So we use the clone stamp tool to fix that area. So content aware tools, plus the clone stamp tool. You can take anybody out. You can replace heads great things to do for divorces, breakup, family reunions. I highly recommend that he needs a therapist when you have Photoshopped, and by all means, if you just barely won that race, then you can skate yourself further in the image so that some of things that you can do with content aware and the clone stamp tool and last but not least and again, there's a slew files in here for you to play with all aflutter shops, special effects filters. We looked at the zooming filters earlier, but another thing that you cannot do in photo shop we cannot do in light room that you could do a photo shop is pushing pull pictures pixels around. So I mention that sport backtrack time site. That's where I got my track time from. So I've done a few track days on my motorcycle, and of course I look just like this. When I went out to race right? I was perfectly makeup in naked because that's how you're immersed. But using the liquefy filter and photoshopped, which you can use to literally push and pull pixels around to with an inch of their life, then you get a more accurate idea of what my eyes looked like when I went into Turn one and I was scared for my life. So those are other things that you I can do with Photoshopped. So that's all I have for you. I hope you now have a much better idea of which program to use when and what their inherent superpowers are there great to use together or Photoshopped elements and light room are, ah, wonderful pairing.