30 Days of Photoshop

Lesson 3 of 45

Overview of Days 16 - 30

 

30 Days of Photoshop

Lesson 3 of 45

Overview of Days 16 - 30

 

Lesson Info

Overview of Days 16 - 30

day sixteen is a little different and this is one of the days that doesn't have a pdf because one of the other things I think helps are learning is something to test our knowledge so I actually put together a little quiz so on day sixteen I would call it a pop quiz except I'm telling you right now there's a quiz so it's not entirely unexpected but it's basically test your knowledge and itjust bunch of multiple choice some true and false of the things we've talked about up until then so the first fifteen days it's a little quiz now what I do is I put together this little quiz but I go through each question you know here's all the possible answers that I give you a little bit of time to consider including some game show type music to count down your time to guess and then instead of just saying the answer is a and moving on we kind of go through and say well here's why I could eliminate this answer or this is and then kind of ultimately come to the correct answer after the quiz is done w...

hich is about half of that time then we kind of go through and say now let's review some of the key things we need we've talked about it when we're done fifteen days so far but within that there's key concepts that keep coming up like the whole nondestructive end up with what you want kind of thing and this is an example of what the quiz actually looks like it's based on this app that I have called the photos help quiz game so that's why I already had the interface already done but basically that's what the kind of thing that you would see in case anyone's curious in this case I don't have the answers light here but it's deep even though we haven't talked about yet but that's that's what the kind of thie quiz looks like and then exit once the quiz is over then I go through and review some key points was about our halfway point is after day fifteen so there's this little quiz and review then we pick up from there and say all right let's now say on day seventeen we've already in the past covered what layers are how to retouch and just our photographs let's get into some more specific topics of things that photoshopped khun do that might be a benefit to us in other ways beyond just photographic stuff I want to make the point that part of the structure of the goal of this thirty days is not this is not called thirty days of photo shopped for photographers it's called three days of photo shop so we'll talk about how to adjust photographs will also talk about things like using shapes and patterns and paths to do other stuff whether you're designing a banner for a website or a cover for a book or whatever it might be it's not just about photography so we'll talk about what shapes are and how to use them meaning the built in shapes that are in photo shop and then also for those people that do have other software if you're creative cloud member for example you have access to other software like adobe illustrator so just for those people to do a quick little talk on how you khun borrow stuff from elsewhere so instead of you drawing something yourself how and why you could use a shape from photo shop so for example maybe either you created or someone created for you your logo on e p s format we talk about how we can build that into photo shop is a custom shape that's always available so in addition to the ones that are built in that are available how you can make your own shape out of something that's important to you like a logo for example then we also talk about the world of patterns this is actually a lot more interesting than a lot of people realize and here's one of the challenges with photo shop I thought I think adobe many years ago decided in their great wisdom that we will provide you with examples of things like stiles and patterns and these built in presets unfortunately I'm not sure what their thought process was because some of the examples they provided or just really weird and not very practical so for example in photo shop right now if you went to anything that said use pattern I'll bet you unless you've already added this the first pattern that pops up is bubbles pattern and is like a whole bunch of different two different colors of blue bubbles really that's what you're going to make the default pattern and photoshopped so as a result our people go what would I use a pattern for bubbles not really sure so I think a lot of people kind of give up on patterns because the default one's air just odd what's even more odd is that in the pull down menu adobe has provided some patterns that actually really useful but they don't appear by default so your first impression is well here's my patterns ongoing use those so part of this discussion is why we even do it and then how we can create our own patterns so we can take some maybe texture or something and say I want to create a repeating pattern I can use as a background or something else how can we do that and a lot of people I find when they show this they show they make a pattern as I do to begin with out of like a circle well that's easy because it's a circle but what do you want to make a pattern out of a photograph of a brick wall the whole idea of a pattern as you don't want to see a tile where one pattern stops the next one starts so how can we do that so we go through the concept of how you can create your own repeating tiling pattern hopefully without making it obvious that you're creating a tiling pattern it's a challenge it's not easy but least go through the steps on how you do it so that it I hope opens up people's eyes as to why would I even want to use patterns because again the built in ones are just weird just really are and what's ironic and sad to me is that all the time adobes talking about in the next version of photo shop and they have these non disclosure meetings with people in the industry like myself and say here's our plans and so on always somewhere on the lists and we're gonna update all of our presets but unfortunately just keeps getting pushed further down the list so every verse four note still bubbles pattern okay it's still there and it's still the default one we'll also talk about the world of path now passes a really interesting part of photo shop because it's a little weird compared to everything else in photo shop it's normal you do something infomercial like apply a filter and you see the results right you apply filtering though that's what I've done when you create a path it's created with the intention of them doing something else other words you don't just create a path and stop because a path is a non printing thing that you could do something to sow knowing how to create an edit passes important later on and we'll talk about now that I know how to do that what can I do with it for example use it to put type inside an unusual shape or even show an example that's kind of interesting where you have ah photograph with drooping electrical wires in the class on retouching we talk about how to remove electrical wire which is great if it's straight what if it's got a little bend in it well this is an example where you can actually make a path and then apply the healing brush along that path so it takes you way it's much easier then if you did it by hand every time so in this day we basically just talk about what is a path how do you create an edit it and then mentioned that the intention is to uh know how to create them so you can use them in something else now one thing I just realized I keep saying we like is a whole bunch of us but I mean we talk about meaning I talk and other people interact later on okay uh another very important topic in photo shop in my mind is the world of making selections this basically means any time you look at on image you want to work on and the phrase part of I want to adjust part of this image I want a copy a portion of anytime you're not taking the whole thing you have to make a selection so we we're going to talk about concepts like howto I end up with a great selection and this is again my favorite expression end up with because I find a lot of people when they jump in to make a selection they pick one selection tool and try to use it if it kills them they just keep going and going and going and if it doesn't work they undo and they start again and instead to me it's much better to think of ending up with a really good selection that to me suggests right away using multiple selection tools and starting off with the automated tools for example the quick selection tool wonderful selection tools in the right circumstance magic one pretty good um magnetic lasso tool pretty good but start with an automatic one that gets you close don't expect it to be perfect because it hardly ever will be but one of the key topics to talk about is how to find tuna selection so you start with the basics election then you say now into add this bit and to take that bit away so you're still gonna end up with a great selection what you're doing it in a progression of get a basic selection on there and then make it look better we also will talk about um using things like quick mask and particularly using refined edge this is a fairly new function and photo shop so if you have an older version of photo shop or photoshopped elements this is one of examples where be slightly different because it's been around for a while but basically was c s six and cc that really refined refined edge to the point where it's a cz usable is today so it's a very common technique to say make a really good edge with your selection and then going to refine edge to make it even better but like a lot of things my approach and this is instead of going through and saying here's what every single button does in refined edge it's the same thing is talking about tools I don't use every single function and refine and because if you do it properly you need to use this part up here and this part down here and then you get a great edge so I don't try and cover every single thing I say if you do it that take this approach this is the result that you get now building on this because part of the point of making selections again is to identify the area you want to work on for things like copying onto another photograph to make a collage or adjusting a certain area but a big part of it is these days is compositing where you take a person on a plain background and put them on a new background to make it look like they're standing there that's become such a big part of what people do in photoshopped that that's the whole second day of making selections is doing compositing but ideally doing it quickly and easily because just like we talked about retouching I don't want to know if I was a photographer trying to offer new services to my clients to say hey if you're a senior and you wanna cool senior photo I can shoot you on this great background put you on anything else I don't want that to take four hours on all be able to do it in half an hour or less so I go through a sum approaches to compositing where you can do it quickly and easily and in particular again don't just I don't want to just say do these five steps but how is this going to be how we're going to have a better chance of success of certain things and an example of that is and I know I tend to use myself as an example because like anyone else I started trying things that came up with approaches I thought work well when I first started trying to do compositing I would have two windows open the new background and the photograph of the person and I would make my selection of the person probably zoom in much for than I should have and I'd start obsessing over every little hair and fly away piece of everything and make it spent a long time making it look perfect then I would drag them on new background and realize because of the colors in the new background I just wasted half of my time because I couldn't even see her hair on this new background and after doing that multiple times I suddenly thought why wouldn't I just drag that person on new background first and then every decision I make from then on is in the context of the new background so that's an example of a key to success in doing compositing is make your life simpler by moving the person onto the new background first that's always now step one to me is dragged them over then move on from there building on things we've learned earlier we learned in earlier lesson on adjusting how to use cameras smart objects to make ongoing adjustments well that's a big part of compositing to me is a just something so it's easier to see what you're doing may not be the final weigh you want for example you might have a photograph is deliberately taken kind of dramatic and dark but now you can't see and one of the examples I have I'll show you the second is ah guy dressed up as a soccer player and he has really dark hair well I took the photograph I deliberately wanted to be dramatic so now I have dark hair on a dark gray background and I can thinking if I can't see where his hair is how is my selection tool in photoshopped going to see that so instead I temporarily adjust in camera raw to make his hair look better now his face looks horrible because all over exposed I don't care about that all I'm worried about is that edge then I make my selection once the selection was good then I pull the adjustment back to the way I want and I can only do that because I'm making a temporary adjustment to the photograph either through camera raw or some other method will also talk about a big key to success in compositing is making it look believable in terms of tones and colors and shading and brightness and all those things and I show a couple of techniques that I came up with it saved me a lot of time which is things like adding and fake hair so you having a really hard time trying to make every hair show up said just take a paintbrush and photo shop and paint little hairs in it fools people's eyes into thinking that's a really good selection actually it's not it's a decent selection but I've put in fake hair that's the same color and looks appropriate but it helps sell the believability because whether people realize it or not if you see a photograph I know I personally do this if I have even a question of if it's a composite or not the first thing I look at is their hair now my suggestion is if everyone just like jim and I had no hair than life would be simpler compositing would take no time at all you have to worry about reflections but otherwise hair is no problem at all so here's the example that I mean I went out and shot this photograph and I deliberately did it try and simulate kind of a depth of field and then composited the soccer player on it and I deliberately wanted this dark dramatic kind of look but as you see during this lesson when I first opened the photograph up his face is all blown out because I want to make sure I could see where his hair was then I made my selection did refine is that all those selection techniques end up with a layer mask so building on the things we learned about with layer masking but then knowing that once I had him in the right spot now I could go back and re adjust the camera settings to the place that I want and the background is also a camera a raw smart object so I have the ability of editing it as well so this is another example of that do things in this non destructive manner so you have a much possibility as you can of changing both pieces of it I even talk in a couple of examples and this usually throws a curve at people because I think I find a lot of people are thinking in terms has the best way to say this they're thinking in terms of what they want to do not the way a photo shop works so what I mean by that as they look at a photograph of a person they say I need to put her over there that's the way most people I think think of a challenge is what they're trying to do my brain has got the point of thinking yeah but photoshopped thinks hair is a lot more challenging than arms because arms just have a nice definite edge hair doesn't so thinking like photoshopped maybe I should selected into pieces do the easy part in one piece and the hair in a different piece it still ends up looking like one person on a background but I've approached it from a photo shop standpoint as opposed to a task standpoint and I think that's a key way of thinking and I'd show an example this compositing class of exactly that where there's a girl with lots of hair and I did do it in two pieces select her body pop it on a layer do her hair now I can tweak those refine edge settings a lot better and I still end up with the look that I want but in way less time than it used to take me a lot of people tell me that they've heard this refined edge is supposed to work really well but they complain that doesn't work for them and I think the problem for most people is they're expecting too much of it to say well somehow I'd like you to find all these hard edges and hair blowing in the wind equally well and my thinking is hardly any tool will really do that so why not separated into two pieces hard definite edges and not so definite edges and as soon as I started doing that my composites now take less time and in my opinion look better than they did before so we spend the whole class on this because it is such a big aspect of what a lot of people like to do in photo shop okay then another switch of gears type is a whole part of working in photo shop now if you have experience with working with type and other programs some of this will be similar but it's talking about how we do various things including of course creating tight adding type in the different options the fact we can do both point type which is single line or paragraph type uh those the differences between those then I get into more specific editing of type one of my biggest beast with type and I wish on some level I wish someone had never introduced me to the thing called turning because once you start turning things you never look a typed the same way again and kern ing is the space between two letters so for example and it's funny because I used to live in ottawa canada and people used to always use the word ottawa's an example because it's oh t t a w a will in capital letters you've got an a and then a w and an a fella just doing y m c a there for a second but what happens is naturally the gap between the and the w looks too big because the every letter is spaced out the same so kernan means take that space and narrow it down so it looks better my problem is now every time I click on the type tool and you will see this and subsequent lessons where it doesn't really matter because I'm just adding type but I can't help but colonel because it drives me nuts now it's almost so bad my son went to graphic design school and we'll be driving somewhere on both go oh look at the colonel on that sign it's horrible were like driving off the road looking at like some big sign on the side of a store because they just stuck every letter equally spaced but to me it's things like turning and tracking and leading or things that make your type look better I don't want the type to be a distraction I want to look good especially if we're putting type maybe at the bottom of photograph is are the name of our me is the photographer I'd like that to not have people go comic sands really you know I want to pick a font and a style and make it look good so we talk about that even talk about things like later on of how you can put type inside ah custom shape so maybe you want to have type look like it's wrapping around the outside of an object fact I'll show that this afternoon after lunch of an example of how we can do that kind of thing quite easily with type there are other parts of type that I don't get a chance to talk about that we may I may decide to add is a bonus video if enough people are interested because at the last couple of virgins of photo shop now we have to build to make paragraph and character styles which is fairly new to the world of photo shop around in a lot of other graphic design programs for awhile but that's that's new to photo shop so because type is such a big part of a lot of projects even though it might be considered a minor part I think it's important understand what these things mean especially turning tracking leading is the stuff that just makes your type to me look better so it's not a distraction color well that could be a whole nother class in itself but this is really talking about not color management let me be very clear this is not some people say how do I make my photograph my screen looked the same as my printer and my responses will first of all good luck and secondly that's hard I mean there are you khun do color management and calibrate your monitor but all those things to me get you more predictability but ever say my monitor and my printer ever gonna look exactly the same is questionable so rather than getting into that topic this is mork color from a perspective of I want to add color into my document like paint with a color or add type in a certain color have a design that's a certain color how do we do that so we talk about the color picture which is one of the main ways where we choose color in various ways by percentages or visually whatever you want um also by the way let me take a step back there also a little bit on not a lot but if for some people that are preparing their files to print then all of a sudden we have to worry more about c m y k versus rgb colors because there's a bit of a difference so we talk a little bit about how you can see the difference and also what happens if you don't pay attention to that difference and that is that you'll have something on your screen that looks great nice and vibrant and when you send it off to the printer out there of the printing press that switch is that c m y k all of a sudden your colors to use a technical term go blair and you know what happened to my nice vibrant color well that's not a cm like a color so we'll talk about the color picker gives you that warning but also interesting trick to be able to make sure when you're in the color picker before you even go to choose a color you can set yourself up for success by saying don't allow me to choose colors that won't print that was a lot of double negatives but that's what it means on lee on ly show me the colors that will print properly and see m y k then we talk about other methods of using color but also not just picking color but managing our color for example there's a swatches panel in photo shop like a lot of things that comes with default colors where adobe says here you go here's some colors and unfortunately for example learned this many years ago when we did a lot more work with c m y k the first two or three colors in this watches panel that are built in the defaults watches and photoshopped don't print properly and see m y k because adobe just said here's a nice read here's a nice blue but they happen to be very vibrant colors that don't print properly and see m y k so once again just because the swatches aaron there by default doesn't make them good itjust means adobe said here you go here's some so we'll talk about how you can create your own swatches and also manage them so that you can figure out that you're getting just the swatches you want well even talk about sharing swatches between applications because there's an interesting part of adobe I think they've done a marvelous job with that where there's a file format called adobe swatch exchange where you could have for example someone created a corporate look in adobe illustrator you can export the swatches out of that file and load them into photo shop or vice versa or in design also touch on the fact that if you're acquitted cloud remember one of the cool little side aspects of creative cloud that's really interesting to me is if I post a photograph and save it up to my creative cloud when I click on it on the side it actually shows me here are the swatches that I can see approximation like if it's a photo shop photograph it just says if I average it out here's five colors that I see predominately in your file and then there's little button says download that as a swatch set which is kind of cool I also talk a little bit about something called cooler cooler is a really interesting concepts been around from adobe for a while it's a couple of things it's a community where people create and share color schemes so if your color challenge like a lot of us are kind of run out of steam kind of going I want to create something that has some nice look of colors but I don't know where to start then you can go to this website called cooler it's all free and you can say I want to look for and you can kind of browse through different color schemes one thing that adobes done recently which I think is fascinating because I love when technology comes together old school new school I have an app on my iphone called cooler which is also free and I could be in some cool place like the creative life headquarters and go look with my phone as I'm moving around it's picking colors and then I can go that one and then it up loads that and I can instantly use those in my other adobe applications so even though that's really not part of photo shop I threw that in there in this class because I just think that's really interesting that you have that option to say I like these colors I'm visually seeing what are those and get those into swatches number two though it's important we touched on that again a little bit because one of the concepts that often happens when people are creating preset because that's what when you save your own swatches or some of the things we talked about like tool presets and so on they are added by default on to what's already there and after a while you could get this big long list of just too many so a little bit in here and there's another session later on we talked just about presets but how to manage it so there's a potential way and it's the one that I suggest you might explore of how to make your swatches more manageable instead of having four hundred and trying to figure out which ones are which you could kind of say this is a set of swatches for client a this is a set of swatches for project b or whatever it might be and this is just kind of related we just talked about is that you can get color from many sources not just photoshopped but for example the eyedropper and photo shop a lot of people don't realize this but when the eyedropper is live you can drag into anything that's visible so in other words if you're working in your photo shop window and off to the side you can see a little bit of a website you can drag that I drop out of photo shop and actually sample the color from any document that you can see no matter what its source so it could be a web site it could be a power point anything if it's visible you khun sources you can also get like those things like cooler where you could say I want to just fine color schemes that other people have done it was a lot more to getting color into photoshopped in simply the color picker that's why I spent a day on it because there's so many options and I want people to be aware of all the choice is honestly on a day to day basis I probably used the color picker more than the other one because I'm not working with clients where they say it must be this particular color but I even talk about that because in the world of client and working for print law people use pantone colors so even talked about how does pantone relate to photo shop because it's not exactly what people think it is okay building on that then we talked about kind of stiff you have color now how do you get it on there so using the brush tool and all the brush options that are available so controlling the brush options when you click on the brush tool the paintbrushes many people called in technically it's called the brush tool you go through your little checklist and say ok I've pick my brush I've got this is my four round color for painting now how do I want that paint to be applied and part of it is just a simple thing like opacity but there's a whole separate panel that says would you like that brush tip to scatter and rotate and b bless see through and all these different options that air really quite remarkable of all things you can do so we go through and say here's just a typical brush but see what happens when I start playing with the settings and how they apply and I deliberately don't give you formulas like hey if he used these settings that's more here's what scattered us here's why you might want to consider using this thing called jitter and we sort of go through and say there's what these things do so then you can start to put into practice also talk about creating brushes this is one of the most fascinating parts to me about photo shop is that anything can be turned into a brush and by anything I mean well anything if you khun selected in photo shop you could make a brush out of it so for example if you take a photograph of a crack in the pavement you could select that and say defined brush and now you have a brush that has this weird texture in it because you picked it up from the photograph one of the times I was here when we do that that was in I remember now but it was the class I did that was called photoshopped creativity was a two day class and want things we did the other studio and actually had a smoke machine and took photographs of smoke and turn those into brushes so now I have this really cool brush that looks like smoke so we talk about that quite a bit including some of the key concepts of what do you have to consider when you're defining a brush how does photoshopped to find a brush therefore what results you're going to get now I show examples off some things work better than others for example if you just take your text tool and typed copy write me two thousand thirteen that's a easy brush to make because it's you can make it black and white but if you have for example a texture of a brick wall or an old map or something chances are it's going to look a little difference gonna act a little differently so it's important to know what those all do and perhaps most interesting of all I think it's once you've done that now that I've created a brush how can I use it in interesting ways so here's an example of the kind of thing will talk about where that's a couple of the brushes that I made out of smoke and I use it for two different things one of them is on the layer master you look around the microphone you can see that the smoke is actually masking the microphone but almost looks like the smoke is surrounding it and the other layer I played around with some blend modes and made the smoke kind of going through her and that was just frankly playing but I was able to do that for a couple of reasons one I had them on separate layers to it I had them set up with mass so I had the ability to adjust and three I was said now I've got to smoke brushes how can I use those in two different ways painting colored smoke and also painting on the mask with a smoke brush and both of those things to meet us open up a world of possibilities and as I mentioned in the class if you've got a few hours to waste any point just go into google and typed free photoshopped brushes and you'll find amazing raft of any possible brush including ones that frankly I'd look at it kind of go really blood spatter brush collection interesting I'm not sure when I would use that one but you can find just about anything most of them are free there are some that they pay a little bit but generally you confined free brushes you load him into photo shop and then do anything with them so that's an interesting part that can be both more productive but also really to me opens up creative possibilities because now and and I'll show you and I should mention this because I don't want anyone to think well I don't do this kind of work we're gonna show you how to make a brush out of your signature so I just want to sign your photographs and I just go click because now you've got a built in to photo shop is a brush for you to say I just need to add my signature so it's built in now as one of my preset so it becomes a one click thing instead of what I used to do is somewhere I have a file with my signature where did I save that under what name now it's just built into photo shop is a brush then so that was kind of the brushes is more on the eye would say mostly on the creative side but then we talk about automation and another one of my favorite topics because I like to try and do things as quickly as I can now I have a different take on automation than most people I think on we did again I did a two day classes on automation I start off that discussion the same way will now is that most people I think when they hear the word automation photoshopping merely think actions and actions is part of what we'll talk about but to me automation is anything that saves me time it gets me to my end result or closer to my end result more quickly so the phrase that I use in this class I used every time I talk about automation is anything that that I look at I go well compared to the all turned over doing it by hand this is faster so I find some people resist automation because ago well I can't do the whole thing I can't do like a dizzy or as I'd say eight is dead but I can't say that u s a busy um because they can do the whole thing they don't do it all in my mind if I could go h h that's still better than doing all that part manually so we'll talk about automation important perspective of what air the built in automated commands we can already use that we will file automate and there's some already there on we'll talk about that from a perspective of the difference between using automation and photoshopped versus starting in bridge you'll see me use bridge a lot because it's a very visual way toe work as someone that uses several products in in the now cloud formerly creative sweet bridges like my central place for photo shop illustrator in design and at the moment we can do nice automation right from within bridge so the difference is in many cases in photo shop when you go to automate something it says which folder would you liketo automate and every single image in that folder will have that automated command apply to it which is good some of the time but in my mind sometimes I don't want to automate every single image I only want certain one so that's when I go into bridge because I could go this one this one this one this one then run my automated command so we'll talk about both the difference between them and also in this first day I throw on what I called not so obvious automation so for example anything with the word content aware in it even though technically it's a retouching tool to me it's a form of automation because doing something much faster than the equivalent if if I had do it by hand it would take me way longer to sit there with a clone stamp tool for twenty minutes as opposed to two seconds with the patch tool for example with content aware turn on so in this first day on automation it includes a discussion off again this whole compared to the alternative doing things at least as much as I can automatically and I don't cover every single automated command because once you get the hang of well here's how you do it to me that's more important again is the overall concept of the approach I take and the fact that I can choose to just automate ah part of it now the reality is that automation does include actions so in the second day day twenty four on automation it's all about actions now as I mentioned this in the in the class so for those you that that do end up watching this whole thing once get data twenty four just pretend I didn't say this right now because it'll be funnier then but um I asked people all the time so here's the scenario let's say I this happens all the time I'm teaching to a big group of people anywhere from fifty two six hundred and it's interesting to me that statistically it's always the same no matter the size of the room and I always asked how the people here are using actions and usually it's less than five percent and even those people some of them are like then I say ok how when people have no idea what action is and what it does less than ten percent so that means there's a big chunk of people out there that are saying well I know what actions are but I don't use them and my worry is why not and I think when I started asking people there are several reasons why people don't use actions as much as they should first of all okay so one reason is they just I don't know what an action is okay fair enough you're not going to use it so that's but that's usually a small percentage then there's a percentage of people that say well I thought actions were only if I had like has you like eighty five steps to like hundreds of images and that's one form of action and we'll talk about others but then a very common reason that I started hearing more and more frequently from people is why they didn't use actions as they tried it once and had a bad action experience where something went horribly wrong and then you will never touch that again because it was really bad because on action could just aziza lee cause you great grief if it's not done properly but for some reason that scares a lot of people off because they go in with the wrong impression so in this session just like a law that I spend the first while talking about why we use actions what they can and can't do and don't get the perception that well I'm not gonna use an action unless I need to do it to hundreds of images to me on action is very useful if you think yourself that's the third time today I've done that exact same thing and the chances are I'll keep doing it to me that's a candid to say make that an action on action simply means record those operations and play them back way faster than I could do by hand so people have this thing misperceptions about action so I spend at least part of this day trying to dispel those those concerns that you don't have to do this and it can be only three steps and it doesn't have to be complicated but anything that saves you time even if it just today you might record in action user for the rest of day and then not use it again but then it saved away for future just in case equally importantly we talk about both recording the action which is often part of the challenge but also how to edit them because a lot of people haven't action and have this perception once it's created if I did something wrong I have to start all over again and that's not the case you can go in and say I need to reorder these steps and to take that step out completely or I need to edit the settings actions are very specific so if I record an action that says do this do this now apply this filter it will record the settings on that filter and again the perception is well now I can't change those but in fact you can in a couple different ways so I talked about how to change it on the fly as you're running an action or how to re record it so from now on you have new settings and both of those are very useful I also talking about something that usually throws a curve at people because I have a whole set of actions don't have one step in them people like why would you have an actually as one step because that one step otherwise would be like this image rotate arbitrary ten percent instead I have an action says rotate ten percent or ten degrees I should say so even though it's only one step it still would take me five klicks to get to that one operation so I show how you can create a siri's of one step actions and then threw on option in the actions panel you can actually change the display of your actions panels something called button mode now those actions all become one step clickable actions so instead of going what where was that again you go first to this now do this now to this now do this and that's a lot of people I think they're also their view of actions is some person out there is a well known photographer selling their action collection which is great because it means they've done the work for you but most of them are doing the same thing they're just recording a series of steps that they like um my worry and I mentioned this in the class is that there's lots of wonderful actions out there my worry is that some of them you run the action and it's called old fashioned retro look or something and you run it and at the end now your photograph looks like that but you have no settings to alter so I'd rather have an action that said make it retro but have it because there's this adjustment layer with thes settings and now I can build on that and edit it so even when I'm recording actions a lot of the time I'm suggesting my actions are still creating something that is not destructive and editable because I don't want every photographed and they look exactly the same if I do that's fine too and then we'll also talk about the other confusing part about actions when you do decide okay I've created this look and I want every single photograph or some of photographs in this folder toe look that way how you can do things called a batch action where you say run this action toe all of these images and give me some result and I'll talk in this class I talked about some of the um potential roadblocks I guess you'd say the things that people run into where they go how come this isn't working properly usually it's a little checkbox in fact if I remember correctly from this class even unintentionally demonstrate why you shouldn't check a particular check plucks because as I was going through in my batch action I went to click on a couple things and I clicked on the wrong one so then my action didn't work at all so I use that as a learning experience to say ah let's analyze why that didn't work because I clicked on there because I shouldn't have silly dave didn't go through his checklist to make sure he was doing everything correctly so even when I like I said before when I make a mistake which I'd like to say doesn't happen that often but that would be stretching the truth but when it does I tried to turn into here's why that happened let's figure it out because I know that happens to other people all the time where they like why isn't this working find that happens all the time when uh people uh I used to work in organization we had a help desk and they used to send us the most typical questions that they're people would ask so they would help us create tutorials and one of the five things was often people's questions of purpose is why point photoshopped let me I'm like well it's not really photoshopped not letting you hits you don't have some settings correct is not like four shows no no I'm not going to do that it's not letting you do it because there's some combination of settings that isn't quite correct so there's no such thing photoshopped doesn't have a brain that says I'm soon decide not to let that work today although I must say when I talk about the troubleshooting section the very end of this I do talk about there are some times where photoshopped just starts misbehaving and it's not you it's photo shopped there something the preferences have got corrupted to the point where you have to kind of reset them and start over again okay moving on day twenty five now throughout all the thirty days we talk about things like what our tool presets and then how to make brushes and how to make patterns this is kind of revisiting all of those things in one day because scattered throughout I talk about let's make a preset out of that let's make a preset of this but this is all about why we make presets including all the standard ones brushes swatches ingredients and also patterns tulle presets and styles those are the main presets and we talk about this from a perspective of two things when you go to a panel that's called for example styles or brushes the contents of that panel are all presets many of which have been provided for you and some maybe ones you've created how do you manage that so for example if you look in the patterns panel a little picker and you think I really don't think I'm gonna use the bubbles pattern how do I get rid of that how doe I just make the presets the way that I want and that's all about managing your presets and also um and by managing pre says I should say that also there's a big section on this thing called the preset manager because the precept managers what determines how that I determine what contents are in each panel but also howto I change the order how do I delete ones how do I save a backup one of the worst things happen to people is you going and define a whole bunch of really cool brushes and then photoshopped has some horrible crash and burn and they're all gone so one of the things we talk about in this session is how can I create a back up plan where I have my presets saved away somewhere and I can get them back also on that we talk about things like one of the great things about presets is they're very share a bowl so if you have colleagues or friends or co workers or you just go to a website and someone says here's a bunch of brushes howto why share them howto I import them and only export them howto I migrate them if I have an older version of photoshopped that I've already done things like uh presets and things like that how do I move them over also talking let me go back up one bull here where it says adjustment layer and other presets all these other ones like brushes swatches grade and center are one style of pre set and then other places have presents too like adjustment layers some filters in the latest couple of versions of photoshopped actions and work space is in a sense are treated like preset they're actually separate they're not controlled by the preset manager but if you go to this new fairly new command called import export or I think it's actually called export import anyway it shows you a list of everything confined including actions which are not technically a preset but it still shows up in the past used to be much harder to move actions from one version of photoshopped to another now when you upgrade you just hit this spot says migrate and it finds every version of photo shop on your machine and says would you like me to move all the stuff over for you so that's a whole lot easier than it used to be okay the next day we kind of take a sideways step a little bit because everything up until now has been what I would call every day photo shop when you're in photo shop every day you need to work with layers need to work with presets so all this has been very day to day kind of photo shop then we switch gears because one of my favorite it's new things in photoshopped his video because editing video theoretically has been around for shop for a while but realistically it's started photoshopped cs six because they totally revamped the way you edit video on ending video now on photo shop is awesome I don't want to go and learn premier pro or final cut pro or some cause I'm not a video editor but I want to have the ability to say I would like to at least experiment with video and create my own videos so in this class we talked about how it if you don't have video you can create video for example a slideshow so we talk about how you could take a siri's of single still images in photo shop and turned them into a video slide show complete with music what's really cool about this day is working with video and photo shop one things I think is so fantastic about it is it builds on functions you already know how to do in photo shop so the challenge for most people if they opened a video editing software the interface there just like what is all this but in photo shop it's still photoshopped you're still working with layers there's just a new panel across the bottom called timeline so now you're doing all the same photoshopped functions the approach you take is for example let's say you had a photograph in photo shop where you want to convert to black and white so use an adjustment layer and that would convert that photo black and white if I open a video clip in photoshopping want to make it black and white I added just layer so the concepts are exactly the same the differences things are moving so the cool part about as you apply what you already know how to do in photo shop but now you're doing it with the end result being movement so for example bringing in a siri's of still images and say but I don't want them just to be static I want this one to zoom and this one to pan those air just simple little things and photo shop where you say at the beginning of this start here at the end of it and there and it fills in the rest for you so it's really quite interesting to me now because of the nature of how much there isn't here this is just probably could be called the basics of video in photo shop because in one hour there's no way I could cover everything because there's a lot to do but at least we get started talking about things like creating slide shows from still images and the basics of video editing so if you bring in two video clips how do you trim them so they show the part you want that kind of thing so this is just getting started so that people who were interested get a feeling for what it does and then they'd be more likely to explore it a little further on um and I get said the neat part about this is creating video using techniques you already know how to do there's a few things and video that are unique because it is moving but overall I'm still looking at the layers panel and change in the order of layers and I'm still doing smart objects and smart filters but the differences to things that move so I want to show you an example here oh we'll see about a year ago are so adobe said we'd like you to teach a class at imaging yusa which is a big photography event and I was like sure and they like about video and I went okay and like in photo shop I'm like all right because I knew that photo shop video was now possible it honestly I've never really done it before so I thought well so I called on a model that I work with and her boyfriend now fiance to say can we go on just shoot some video as if it was like an engagement photo is kind of ironic because we did this and then they got engaged later which I thought was weird so without knowing what I was doing I took my dslr that captures video and we went to this really cool place and I captured a bunch of video and the couple things I learned the hard way is first of all my feeling was I have so much video toe work with until I started putting it on the time line all of sudden I was really short one of my friends in the world of video has his expression he said video adding is all about the leading the stuff you don't want so with video you need to capture way more than you think because I thought I had so much footage and I put the song on that I chose him and also tonight the song was this long in the video was like oh that's not good so I had to actually go into the song and make it shorter so and the only thing that I did different that's not standard as I borrowed a piece of equipment called a slider where you put the camera on it does this nice kind of panning motion because I think I discovered with video is if every video shot is just staying in the same place it kind of gets boring so having some movement of some kind so that's when you see the video that's the only thing in there is just me with this little slider thing on a tripod me going like this with my camera uh the other before I show you this the other tip I would say is it takes a while to edit video I mean to get the way you want um so if you decide to have music make sure it's a song you really like I'm going to plug my ears now because when I play this video I've heard this song a thousand times I really liked it when I first heard of I'm kind of getting a little bit but you do end up it is also possible to turn off the the sound if you want so let's play this little video clip here what hold man I love that you're home being I was wrong I love you joe hold them in the police way too oh ho ho man don't want you home eh this is wrong help me keep on waiting until the morning keep your arms around me let your hands you keep mi tio tio so that whole thing it was done in photo shop and that was my first one ever so not looking I'm like oh I should done that better but some of that was like anything the first time now I look I think I wish I had film this and I wish I had captured that but since I didn't that's what I had to work with but some of things you saw on there for example my favorite part is they're walking all of a sudden it turns into that slow motion all that was was in photo shop I saw here's this little clip about halfway through I cut it in half and said make this one take longer because I figured that might work and also it was like slow motion awesome so that's what's kind of neat about this is that everything else was layers for example there was one part there the very end where it kind of faded it out of focus if I've been had decided the time that was my final shot on the camera I would have changed the focus but I didn't so that was actually the gazi in blur filter over time so it looks like the camera's changing focused so that's what's kind of need to me about this video part is that it's based on things you already know how to do and then just it the added fact is that it's moving and you have the stack the only downside to me about doing this is that I wish I had a bigger monitor because as the timeline gets more video tracks it starts getting taller and your window that you're seeing the preview gets smaller and smaller but other than that I mean that's again for the on ly thing I guess that after a while if I hear love won't you hold me anymore I just like to kill myself because I've listened that thing something's finds it still kind of a neat song now that I haven't listened to it for a while but that's the only other thing about video editing as I might just turn off that sound for a while I was working on it but that was that's what in that class that's kind of showing you the basics of doing that video class maybe a video classic creative live possible I think there's already been one of those but anyway um so that's that's what that day is all about so so if I couldn't forget please andi it's a whole day video well the whole the whole one hour one hour is just here is where you need to know from both and and I did it and the perspective not everyone has video clips so let's first start with still images and turned into video but then also when you bring in video clips howto edit and trim and it's just really touching the surface to say this is to show you what's possible hopefully to peak people's interest to say this is pretty interesting let be explored further perfect do you feel like tackling if you're actually still all right so um laura sita would like to know if when you do retouching so we're going back to our retouching we're touching day are you going to be using any liquefy tool lt's yes in fact I do and one of the the interesting thing has happened in the progression of tools liquefies been around for a long time but in the past you had to be liquefied was one of those tools where if you open the whole photograph and liquefy it was painfully slow because if you try to like retouch something you take your brush tool and then pause and then watch it go now it's live it's so much faster they completely rebuilt and this is a thing that photo shop doesn't resolve it doesn't tell us is under the hood liquefies completely redone it looks the same to us as a user but now you take your brush no holy smokes is this ever fast so it's change the approach but I for example use liquefied to show not only the obvious or what I would think ofthese things like I need to this person has a piece of clothing sticking out so I'll push it in but also things like I wish that person was smiling a bit more so how can I make her look like she's got just her lips or just a little up and her cheeks go up is if she's smiling a bit so that's done with liquefy and I deliberately chose a photo that was challenging because it's a stock photo of ah girl with a headset with a microphone and our microphones like right here so if I went to liquefy her lips the microphone would go right so I had to pharaoh how could you do that well there is a function of liquefy that lets you free certain areas so even though I don't spend a huge amount of time it hopefully that one example go okay so I can freeze things I can do it on its own layer as a smart filter so if you're still fairly new to liquefy at least get you started with here's some key concepts toe know how to use it awesome thank you and sam cocks would like to know are you cover how to organize actions can't you make too many action so it's hard to find the one you want well a little bit I mean when I first started my actions I usually suggests that the first thing you khun do to make your life simpler is to create a set and in set is adobe for folder when you look at it it looks like a folder even the icon looks like a folder but it's called set so if you put things into sets then that's one of the organizational ways of working so I start off the discussion saying first make a set then put your action in that scent and hopefully people will extrapolate from that that then I could make other sets I don't know that I necessarily talking about moving them between sets but you certainly can do that and also talks about how actions are very share a ble but only if they're insects it's easier to export in action if it's in a set so that's from an organizational sample and we do talk about a little bit fantastic along those same lines are you gonna be talking about pausing and stopping and actions yes uh that's that's a key part there's two things that have that are obvious one of them is that where sometimes you're doing some operation where you have to pause to do something but also new in very recent photo shot by well depends here's where it gets tricky with creative cloud because c s six for a while you got on creative cloud it had this new function I know c c does you'd have to check and see if it was on your version of photo shop but now for the first time you've ability to record tools in the past you couldn't for example record the clone stamp tool so you'd have to pause recording clone and then continue now you have the option of doing that or recording and actually show an example of photos with sensor dust and how you could automate using the healing brush to get rid of sensor dust on a whole series of photos which is kind of cool okay all right so up until the last two things so video was one topic that was kind of outside of everyday photoshopped every other day up until now has been let's talk about layers let's talk about brushes day twenty eight is just a break from all those things and I'm just gonna pitch you with a whole bunch of my favorite tips and tricks and techniques which are just related to everything we've done so far so it's like here's the thing we didn't talk about before called layer cops and here is some tricks with using the type tool and here's a complete type inside a shape are on a path so things that are just kind of don't say they're random but there perhaps less obvious or what some people call hidden in quotations because it's not an obvious thing that you would just find by exploring so this is just a day filled with these kinds of my favorite little short cuts and things of that nature all of which generally speaking are aimed at being time savers although some of them also go mohr into the world of um in addition to that get your creative juices flowing to say oh if I could do that like if I could but text on a path maybe I could use it for this purpose so a lot of these air just kind of short little things to say hey if you work with multiple layers here's a function that can help you that we didn't talk about before and a few of them might kind of build on what's already been done it might even review them a little bit but this is again mostly just tips and tricks and techniques and shortcuts and all those kind of things then we have another quiz so since we're almost at the end we're going to do one other quiz samos before we go through and say here's some questions for you and it's another one of those tests in quotations of your knowledge I tried to make my questions not so challenging that you'd be like I can't figure this out and some of them are so obvious almost giving in fact I think in one case I do unintentional give you the answer to the next question because I didn't remember the order of questions but I'm not sure if I'm supposed to say this or not but I've actually been involved in creating questions for the adobe ace exam which is the certified expert so they're they're really strict about creating questions that aren't tricky and don't try to have multiple right answers so I kind of used that in my preparation of the exam just sort of exams the test the quiz just so it's still fun but it helps us review and again I explain each answer and I think at least once or twice I jump out of the exam and go to photo shop say this is what I mean so it's not just the answer is c it's like it see but here's why and again it also means I khun review some of the key techniques we've talked about up until now I didn't want people to feel like you every day you're getting hit with more and more stuff I'm relying on viewers to make the effort to say I'm going to try some of this stuff and you know do some of the assignments but also want to make sure that we're reviewing some stuff along the way so this is where the review comes in is the day sixteen where there's a quiz and some review and then day twenty nine so there's this kind of review and there's also because I had extra time I put in a couple of what I would call many projects to say if I just wanted to do this here's the steps that I go through and so years ago I had a really interesting experience I went to a photography works up when I was first starting to get better at using my camera and there were two instructors and one instructor was working away click click click doing all the stuff at the end he would say now back when I did that fourth shot of her when she was leaning that way I had it set to this and you could see everyone going and the other instructor said okay so right now I'm looking right in everything he did he was thinking out loud I thought that's a much better approach than trying to make people remember what you did so on these many projects I'm just head down some road in some case don't really have a plan to show you this is kind of the thought process that I'm using is as I'm well let's see if this works don't really like that let's try change your passing now so it's not like I pre prepared these and said look at how wonderful this looks in fact I usually tell people right up front if you go with the expectation of saying look at what a photo shop artist davis you'll be disappointed because I don't attempt to create amazing works of art I'm it's all for me about teaching the process to say this is how we get there so on these many projects it's me saying and now I'm thinking I want to see what happens if do I don't like that let's not undo looked and to show this is kind of the process I would suggest you go through is try this but all the way along it's still that same recurring theme of but because I said up non destructively I know I can go down this path and try things if I don't like it I can pull it back okay and then we go on wrap things up with day thirty to say okay what's next uh talk a little bit about troubleshooting because it occurred to me that a few times that I was showing something I ran into a bit of a problem always frankly because I forgot to check something but it occurred to me that those are things people run into where they also forget so in the very first couple of class we talked about this checklist concept here it's like revisiting that by saying you can also use that checklist ago why isn't this working and an approach to say if it's not working let me try to figure out why including a little tip that I'll give you right now if you're let's say your trying to use I don't know the brush tool and no matter what you do your painting and nothing is happening there's nothing is appearing and you're looking around going on the settings look good what's going on if you make a new document and use the same tool and it works that tells you it's not the tools it's something else like you're on the wrong layer or the layers hidden or the blend motiva layer is wrong because of a brand new documents almost like setting everything else to square one so that way it lets you try the tool if it works the way you expected too then it means something else is the problem if it doesn't work then that tells you it's got to be a tool setting or something else grater is a miss but that's one of the simplest ways I see people sit there for half a knauer going turning everything on and off the first thing I do is make a new document try it because at least narrows down where the problem exists so even though this is kind of a wrap up it's also introducing the concept of now you know how to do a bunch of these things let's make sure we set ourselves up if we run into a roadblock we can at least have some examples of way approaches to figure out what's going on and then a few more sample projects and I also give you some images to download to say here's a nice little project you can try to composite this guy into this background but here's a couple of their images to try and create something for fun and then also talk about strategies to continue learning and what I mean by that is well probably these way to describe it is teo tell another story because I like stories so back in the early is a photoshopped the first books that came out were just like books that revamped the instruction manual that came with photo shop so was different wording and then back in photoshopped two point five this brand new book came out called the photo shop wow book and was the first book that says here's really cool stuff you can do and actually remember seeing it at a trade show on going the wow book really that's kind of a pretentious name and I start looking through going wow esso like this is actually really good name he was actually written by and co written by jack davis was one of the people teach here a creative lie but it was the first book that said I'm not going to tell you how to use this tool here's how you make it look like an american flag painted on rocks it was the first book that did it interesting project base but what I found is that like a lot of really cool so I follow all the steps and I would say step ten now filled with black okay step eleven and at the end I would look at my image versus the book and say that's pretty close and I move on to the next project I realized after doing a bunch of these I was getting really good at following instructions because all I was doing this whatever the book said and I realized I'm not really getting that much further ahead not nothing wrong with the book but the way I was approaching it was I was simply following their instructions so then I started going back and saying well what happened why are they saying on step ten filled with black what happens if I filled with grey so I go fill with great undo filled with black undue filled with white undo and he said my dad always said that little light bulb will go oh so on a layer mask black does this so that's kind of what this is all about is saying now that we've got all this information how can I continue learning and it's bye trying tutorials the way they're written and then going back and saying now I've done that let me go off on some tangent and see what else happens when we talk about other kind of methods of experimenting and that whole setting your structure up in such a way that you could just continue learning new things and by that point you either ready to move on and do all sorts of things are you fall over and die because your brain is full with information and dave so some folks are asking a lot of hands on a lot of hands on stuff as we go yeah I mean basically that the structure like I said it's like if you ever watched a live class here on something like photo shop and we'll see this after lunch I'm sitting at a desk and I'm doing things in photo shop and you're seeing that but every so often I pause and I turned to the cameron say now the reason I'm saying this is because so it's not all screen capture it's like I'm here I have a nice audience it's I'm pretending I do I just it's a camera so it's a combination of lots of hands on of me doing things but also some of that I hate to use the word theory but by theory I mean concepts and infirm important information they need to know along the way right so everyone's a mixture like that awesome and can you tell us a little bit about finishing touches oh yeah where did that did I skip over that you know I think we have something maybe with our keynote way skipped over yeah thank you because I was gonna say that s o finishing touches problem is eh I actually wrote a book a long time ago called photoshopped finishing touches but the idea behind it is I have a photograph but overall I like but I want to be able to say how can I kind of finish it off by adding more to it so for example overlaying a texture or changing the making a cool border effect so every photograph isn't perfectly rectangular so their techniques that say I love this photograph but I want to do something more artistic with it so there's an example of a finishing touch to me it's I have a photograph I like but I want to make it look more unusual by having a border on it so this has a couple of things going on there's a layer mask I've painted on the mask but I've also added a filter to make it look more like canvas but it shouldn't surprise you by now to hear me say underlying it I still have the original photograph because I could just hide the other layers and end up with the original photograph so everything is very editable and very importantly reusable so if for example I love that effect so much I want to use it on other photographs I just have to go drag and drop tweak done I'm not going how did I do that again because I've got all the pieces of it so all the finishing touches are effects which adds something to your photograph but in this editable reusable manner so again it's not recipes it's not like reading a book and saying do these six steps it's like if you add a mask and fill it with black and then paint with white with a cool brush and I'll show you an example of this after lunch so we'll get more examples but that's kind of to me what finishing touches means is some and on effect border an edge or something of that nature or overlaying texture but in a way that gives me a chance to experiment and try things and also reuse it in other images awesome thank you very much wow that's we're covering a lot of you are a lot of stuff to do that is great so let me throw a few questions your way before we run off the lunch question from so cal canuck are we going to learning no only the different I mean I know we talked about tools but are we going to be covering developing a workflow at all well I don't like the term work flow because it involves work I always think it should be called like um easy flow because that sounds better than workflow but I mean so technically I don't say do these things in this order but built into everything I talk about because of the structure of layers and smart objects of smart filters it is a workflow from a standpoint of if you set up your structure this way you can reuse it and redo it when we talk about adjusting its a little bit of that because I talk about adjust globally first and then selectively after so there's it's kind of built in here and they're just not technically there's not a class called use this workflow and jim the other reason is I feel work closer a very personal thing over the years some so here's my work long yeah okay here's my workflow and I I find it's hard to say that someone hears my riffle you should do this too it's to me it's more here's an interesting set up functions and tools and approaches take now you build that in mold into your work clothes or easy flow

Class Description

Photoshop is an essential tool for all working professionals, no matter what industry. Join legendary Photoshop pro Dave Cross for an intensive 30-day series on everything you need to know about this unparalleled — and often overwhelming — program. Dave will teach one hour every day for 30 days, covering everything from setting goals to expert retouching strategies. Taught in bite-size chunks, this series will help you improve your skills, efficiency, and creative ability. At the end of this intensive series, you will understand basic techniques for every photo editing task, innovative hacks to improve your workflow, and which tools to use (and which ones you never have to learn). In addition, you learn how incorporating a non-destructive workflow will boost both your productivity and creativity. This is not just a passive, sit-back-and-watch class: you will be encouraged to actively take part by completing assignments and participating in live Q&A and feedback sessions. If you want to take your Photoshop skills to the next level, join Dave for 30 Days of Photoshop.


Software Used: Adobe Photoshop CC 14.1

Reviews

Melinda Wong
 

Very good teaching. I really liked how clear Dave was with everything, the order he taught the material, and I thought the stories were very helpful. I REALLY wanted to understand photoshop and extremely thankful for his wisdom and knowledge. Thank you so much! This is what was holding me back from getting my photography started! :) It just seemed so intimidating and now I have a greater understanding.