We're talking about 10 things or 10 tools that every beginning needs and push up it. And when I say that, I see people's eyes like delays over the like, um, beginners. I'm not a beginning, But you know what? Everybody's learning. And even if you don't consider yourself a beginning, I bet you this stuff in here that you were gonna learn that you don't know. And because, really, what is the beginnings? Thing is something that you already know and something that's advanced to something you don't know yet. Like, because once you know something, it seems easy. So anyway, we got 10 things were going to kind of go through that I feel are good, foundational things that everybody really needs to know in photo shop. And obviously, this is gonna be good for beginners because I'm going to make it where you can follow along. I'm not gonna skip over really important steps, but at the same time, a lot of advanced people don't know these things. And these are the building blocks that a lot of the othe...
r things that you do built on. And so the more you understand the fundamentals, the better. Everything else gets. And for me, one of the things I just love is I love the fundamentals. You can get away from it like basically, and Photoshopped. There's two types of adjustments. Is two parts to an image. Basically, you're editing only two things on an image. Someone new, see, most basic thing. See, I told you this something for everybody. There's only two things that you're editing. That's the color and the luminosity. So everything that describes the image everything that has to do with brightness, darkness, luminosity, luminant, whatever you want to call it has many different names. That is a luminosity, the black white part, the grayscale part. And if you look in photo shop, a lot of tools work on the luminous, and they only work on the limits. Then the other side of photo shop is the color or other side of an image, and the color is a very, very, very thin skin over the top of that image. You'd be surprised how thin and fragile it is. In fact, I'm gonna show you right now. Well, look at that. Photo disappeared. That was epic. I did that on purpose. Um, let me just grab an image here just just to show you. So let's open this image inside of Photoshopped. Now, this is not even one of the tips. But this is even even more fundamental thing to understand if I go under here and I'm just going to throw this into a lab color right now, what that does is it separates the color from the Luminant. So if we go here into the channels and don't worry, don't worry, guys. I'm not gonna be like, Oh, I thought it was just going to be doing, like, easy stuff. Way are We are, um but I just want to describe something. So here we go. This is the lightness. This is the luminous. This is the luminosity value or what describes an image. This is where all the sharpening happens. That's where dodging and burning happens. This is where we, you know, do a lot of the work. And if you look under the tools inside of here adjustments, you're going to see the certain things work on those, you know, levels, pervs, even though we can do colors. But brightness, contrast, different things like that. Then if I turn this often get in the A M B channel. Don't worry about how I'm doing this, but that's a color that there is. There's not a lot, you know. So when you were editing a photograph, you're working on a photo you're working most of the time on buffer those together. But you're working either. On the color of the limits is the only two parts there is to a digital image. So sometimes it's good to know what's going on like that. So then that way, if you want to do something like I want to brighten my image, I want a dark image. You can target the correct tool, and you can target the correct part of the photo because when you go to like, you know, target the wrong part of the photograph. You're trying to do something to brighten it or dark in it, and you're messing around the color. It looks horrible, and same thing is, sometimes you're trying to get a little more punching your color. You don't necessarily get the punch in the color. You can get that by changing the underlying luminosity. So, for example, red right, you make it dark red. It looks like blood. You make it light. Red is pink, same shade of red. So just that was just free. That was an extra little thing. So let's get started on their tips. Um, so we're going to start with the very first World, which is fun. Everybody loves this. So I'm starting with something that's kind of like more fun and sexy and, you know, well, they leave the heavy lifting toe later because people like to have dessert before the main meal. So that's what we're gonna do. This is a desert one textures, so we get a picture of a person. There's nothing that makes the picture look easy. Lee, beautifully like artistic like adding textures and is also nothing that's easier. It's the quickest way to go from photograph toe art. Um, and it's It's super easy. So anyway, grab these purchase from Adobe stuck you confined textures and stuff on there. I don't know if you guys familiar with it, but it's right here inside of photo shop. And if you go into inside your library, can literally search adobe stock from right there. If you wanted, you could type in text your and you can find a texture. These results coming live from adobe stock. There's textures. You know what? You can grab those and you can drag them into image right there. Their watermark. But they're free. You can use any of them for free. And if you like them, you can license them later. So any way you can try them, emphasize whatever. So these are ones that I did license, and I'm gonna take the snow. Let's make it look like a beautiful hippie girl is in the snow. I'm literally going by the foul names here. Um, so and so if we want to make it look like the snow, we just changes to something like, I don't know, maybe a screen blending mode. And it's like, you know that easy. And, you know, you can move it around, reposition it, have you want, like maybe you don't want to snowdrop right over her face. And that's how you gonna work If you can also add different textures together. These kind of textures always work well. Makes it look like someone spent hours and hours and hours crafting this incredibly artistic, you know, like you went to art school, put this in here through it and to multiply bent blend mode. And then you get that cool kind of organic thing. So we start with this very, very simple through a couple of textures on Boom. It looks like we spent a lot of time working on the image, and we're very experienced artist when in fact we just through those on there, you can do other things to you Can, you know, obviously change the opacity on certain ones. You can vary them a little bit, you know. So if you want to kind of dial in a little bit, you can do that. You can also drop on a layer mask just by choosing the layer you want. Click the add Lamott's, which is that one right there. Looks like it first get, and I kind of it's funny because I say it looks like first, but no one knows what a first get is. The brisket is said. Layer must first get is basically what we used to do. And I say week has actually got into the digital imaging industry just a little bit, you know, photo shop just sort of came out. I started using photo shopped in the first version, and I used to work doing design. We did paste ups and we used to do a strip film and all that kind of stuff and what you used to do, like you ever hear some night they airbrushed and Photoshopped like nobody airbrushed anything in the history of photo shop. But what we used to do is get an Exacto knife in a little piece of that. You know, the red stuff called Reuben with which is why layer masks or red, and you cut it out what you'd get, like, French curves. Or, you know, in this case of you know, if you wouldn't do a circle just taking Lawson around there and you wouldn't make a shape and then you put the shape over it and then you would get a ever, you know, and he was around the edges. And then when you take the first get off, it gives a nice, crispy edge, which is where that came from. Most of the tools and photo shop are actually tied to their counterparts. Um, you know, for the traditional, some you see dodging and burning and all that stuff it comes from the original tools. Same with the brisket for the mosque. Of course. We're now in a very different place. Eso You know, if you were to show a picture of a floppy disk now, you know, one of the kids would say, Oh, my God, You did a three d print of the save icon. You know, we're in a different world now. Okay, so that's working with, um, doing these textures. And as you can see, that fun, they're easy. And you know what? You can just that alone you can have a lot of fun with.