5 Tools that Improve Your Creativity in Photoshop

Lesson 1 of 1

5 Tools that Improve Your Creativity in Photoshop

 

5 Tools that Improve Your Creativity in Photoshop

Lesson 1 of 1

5 Tools that Improve Your Creativity in Photoshop

 

Lesson Info

5 Tools that Improve Your Creativity in Photoshop

Please we welcome back ms lindsay out okay so what I want to talk about are the tools that exist in photoshopped that I use most often for creativity which is like kind of what I talked about all day so if you have watched all day then some of the stuff is repeat uh not too much not any of the content of some of the fundamentals and then I'll take it a couple steps further so I'm not just talking about shooting for photo shop but like when I get into photo shop and I'm like I need to spruce up this image you know I need to do something more to it what kind of tools we have available to me to get more creative? One thing that I absolutely want to make clear is I while I consider myself an artist I cannot pay I cannot draw I don't have any of those abilities and so the tools that I'm trying to access don't require me to have that type of skill so sometimes they see these people when they're compositing and they're like drawing in combining these like that's not in my brain I'm trying to ...

access things that air maybe a little bit more intuitive to the skills that I have this photographer's hopefully that appeals to some of you out there and if you do have those skills and maybe you could take what I have to the next level and I, you know, go even further with it, so I want to talk about it's kind of the essential ones here, so the first one is masks and I just want to make sure that I go through masks real quick and explain it because absolutely all the rest of them that I do if you don't understand mask make no sense like you, you have to really understand masks to be able to do the other creative techniques I would say the most two most important on this list would be mess and blood mode, which is why we use them all day today mass and blend modes I mean, they open up the world for creativity if you don't like feel like you intimately understand both of those start there and then approach these next one so I'll start with those it's been brushes, so I never really wanted to play with brushes because I equated brushes with painting and I can't paint um and then recently I started experimenting and I realized I can fake being a painter there's some tools that I have, so I'll show you guys how to do that as well. In some ways that I've used brushes recently another one would be color adjustments, so basically toning your image is now a lot of people use presets and actions, but there's a lot of stuff built right into photoshopped that you can use and then there's a lot of things that you can do to take control and give a mood to your images and kind of kind of set the field that helps me get more creative on and then finally well enough with displacement maps if you see me dio some tutorials before I've talked about displacement maps I'm going to use a different example that should be pretty fun I typically when I demonstrate this to a close up of the face but we're going to do a full body where girl looks like she's wrapped into the fabric on a wall basically we're going to take a look at that all right? So let me just get started and go over masks not that I'm going to do anything insanely creative with it but I just need to make sure that everybody is in fact on the same page all right, so what I'm going to do is I am going to create a black and white letter if you go over to the adjustment layers which is the half moon cookie ok it's true, I'm gonna have to have one tonight there's a delicatessen across from my hotel that has one ok, so I'm going to go it's the black and white and so basically lair masks and what you have here adjustment layers adjustment layers are basically have described as a gel everything underneath that we'll have that effect apply it okay. Caveat here there's something called clipping the mask all right. So do you see this little downward arrow here? Ok in the past when you don't see that aerial arrow which looks like this okay you just see the mask the arrow is gone that means absolutely everything underneath that layer will have that effect so everything will be black and white now if you click aah where you see properties bottom left hand corner here will you see a mask with a narrow down when you click that it means that that gel that effect that layer mask well on ly be applied to whatever's directly below it so you can at least in the past I didn't realize you could do that so I was always like applying something and flattening it so that I could move things around so now you actually can look so you only want to add contrast to one layer and not everything above it you just need the bottom layer to have contrast you go ahead, you do and levels you do and curves and then you clip it to that level so that is what that little button does. It makes it so it only applies below so it's something I actually found out like less than maybe a year ago and it comes in handy ok, so when we look at a lair mask you see white and how I think of it as is whatever word you see here like black and white if this square is white that means that that fact is applied if it's black it means it's erased or concealed so it's it's really white is revealing what that looks like so if you watch for example you see in black and white here if I paint black at one hundred percent I'm basically erasing that black and white effect the key is here and the reason it's so important a it's tiny it doesn't take up a lot of size b is oh crap I didn't mean to do that I switched back to a white brush and I paint and it goes back it's nondestructive so no matter how many steps I am ahead I can always go back and fix it so that's great um you could also change the blend moods of these lame ass and you're mask don't just have to apply to adjustment for sure right now it's two adjustment layers of these air all adjustment layers here vibrant siew saturation black and white that these air all different effects you can apply to your photos and you can apply them tow one layer or all of them but masks and also be applied to a lair not just in adjustment layer like not just the changes so it's face say for example I've got a layer and I uh pain verdict, whatever. Okay, so I have this if you click on the rectangle with the circle in it, it adds a mask, so now I can do the same thing with painting white or black toe high to reveal that effect. Um, the reason again, you don't have to erase, you know, have to worry about going back it's an un destructive so let's say that I want, um, part of her face to be regular again, if I paint black on that mask, they could bring her face back, something that I wanted to make sure you understood aa lot of times I see people make mistakes because they'll do this and be like, what the heck is happening? You have to be selected on the mask, not the photo, and I've actually done that it's hard, because sometimes when you click up in auto select sit, so just make sure you're on the mask, otherwise it won't work all right, so fundamentally that's mess, and in the beginning of the day, I talked about mess. I use it all the time from my version of compositing, which is not compositing people in different backgrounds, but taking pictures of different flutes of fabric and putting that together for a single a single photograph or taking a subject and putting them into the frame twice and blending that so I did want to go ahead and show you that an action some just going to jump back to where we were earlier today on dh just do one that we haven't seen before so let's for example I'll take the composite here of rita that I photographed so make sure have the right files perfect okay all right so I photographed this and explain my lighting diagrams early today I'm using a long throw a k a tele zoom reflector so I'm on a tripod and I'm shooting and I first took this frame ok and so the idea is that rita here is playing both the male and female version of herself the masculine the dominant the aggressive and then also the sophisticated in the elegant woman so I photographed her here and then I wanted to photograph her so she looked like she was leaning on herself so actually just had one of the assistance stand in to get and roughly be the same height so she had someplace toe lean okay so what I need to do is they need toe line these up and start playing with masks so I am going to click using my move tool and drag photo on top of the other okay, so what I notice is somehow sure female self looks really small comparatively so I must have moved or maybe she went back a little bit further so it won't quite makes sense so I don't need to make her fit so what I do or what I would do in this instance is compare something that's constant so I'm going to go ahead and back off my capacity just so I can see the bottom layer it a little bit and something that's constant are the size of the lips like that something that I can easily compare so what I'm going to dio when is human when a line up her lips and I want to try to make that her head and body roughly the same size maybe they're don't like that looks good to me so I head okay um and I will go to one hundred percent capacity, okay, so now I'm going to shift this gonna back off the opacity a little bit and shift it so I can line up those hands with shoulders here something like that. Okay, so I'm gonna go back to one hundred percent capacity and I'm going to add a mask so mass is going to allow me to race, but not really a race, it won't be destructive, so we add that mask I'm gonna grab my black brush and I am going to start bringing her back into the picture here and I'm going to need to zoom in close just watch the edges here so I'll probably need a harder brush and the whole time, all I'm doing is painting black toe hide the stand in a model there and wherever I think I went too far appear no problem. I switched back to wait because you would be able to tell that I composited it right there, so I just need to be sharp. Another thing that you could do to move this process along as you could also go ahead and try using the quick selection tool to make a selection of either her body or the hands and then do it that way. S so of course I'd spend a little more time being more careful, and the only thing I'm seeing is like there's no way she's that skinny um she should be able to see her body through her arm, so I'm going to zoom in and this is when I would use that quick selection tool. I just kind of select that triangle in her arm and I would go back and paint wait to bring the body back there, so of course I would have to do a little bit more blending I would have to clean up here just a little bit, but you get the idea that very, very quickly using masks and I would have to clean up the edges, of course, but very quickly using masks I can composite my image it's more about being prepared than anything else, so I tried to use the same lens trying to use the same light, same focus point and then it's azizi is that so that's a way that I use masks as well and that would be a major source of creativity and we used it all day long, okay, so let's do something totally new that we haven't done before let's go ahead and play with brushes to close this out just ignore this file this way always we're going to use it but ignore it for now making people curious I don't still okay brushes um, so brush is the first way that I learned to play with brushes was actually from advanced retouching, and so I'm going to go ahead and open up this photograph not that this one and this definitely needs a lot of retouching this is an unretouched file, but what I learned when I was watching the retouching tutorial is that you can actually change the color of makeup in photo shop and also add fake eyelashes using a brush. So is the first time I was like, ok, well, I don't know how to paint, but I can probably add eyelashes especially if they're pre made for me you could handle that, so when create a new layer and I'm going to load a brush. So what you want to do is you want to go online, and there are thousands of free brushes. In fact, let me give you the websites that I recommend for brushes. If you guys wantto take a look at this real quick, the one that I would use most commonly is brush easy and brush king has some good ones aa lot of people make them on deviant art, and then also my photo brushes dot com the only thing I would tell you is just be aware, depending on what you download, different ones will say if you can use it for commercial use or if you need to credit them, most of them say, feel free to share just don't go ahead and sell them after the fact, so just check what it says most of more totally free, so when you go ahead and you download the brushes you want, you have to load them into photo shop and when you download it, it's typically downloaded as a dot zip file, which need to double, click and open up so an actual brush file is a dot. A br adobe brush file is what it means. So, um so I'm starting you off where I started off, and I'm going to go up in the top left hand corner here and if I click on the right hand corner of my little brush palate there's a gear you want to click on that gear because this is where you load your brushes, so you're going to load brushes and navigate to the fishes. All right, so I have eyelash brushes, and then I had this thing called eye shadow brushes we're gonna come back to that in a little bit, something about eyelashes, brushes, um, have loaded those brushes in. They won't show up at the top. You actually have to scroll down to the very, very bottom, and they show up here. So if you look what you get are giant brush lash files. S oh, it's a brush I want to make sure have a black brush or dark, dark dark brown if that's the color of their eyelashes and now I'm going to just the brush and put it roughly over the size of the eye one hundred percent of pass ity in a brand new layer and click once no, it is not perfect because it doesn't exact look at the shape of the eye. What have some solutions for that unit command? T tau? Activate your transform controls and then right click for warp so war is going to allow youto work that to fit the eye just right and it will fill out her eyelashes now, if you're doing a really, really close beauty shot you khun tell you could go ahead and maybe blended a little bit more on you could put more effort into it. I would say I wouldn't use this for a shot that's like super close up, but for a boudoir shots or three quarter length shot absolutely even even head and shoulders as long as it's not going to be say this close it's funny, I've seen professional advertisements that are blown up huge in the walls of like the subway using this eyelash brush and I'm like they it's clearly an eyelash brush. Andi get provided with two eyelashes, so in that packet of the left one and the right one and so it's put the left one on and create another brand new layer because I know I'm gonna have to work this separately. Perfect command t right click work and work this to fit the eye. So this was the first thing that made me think ok? That's, that's pretty good that's not too hard. I think I can handle brushes, so I decided to experiment a little bit more with them so before I move on from this and we'll be coming back to this photo of any questions bush's ease out the question was what what is it? It's what site did you get? Uh uh do you get brushes from brush? Easy is a good one. I remember the name of the other high lash brushes one is obsidian don yeah, obsidian like city and dark um they have free brush is on that site. Okay, so no, I'm thinking I can maybe I could do something a little bit more with a brush so let's take a look. All right, so I did um oops. So I shot an editorial or shot on image. Actually, this particular image was photographed at my beauty intensive. So I have workshops in new york I'm in my studio my studios in chelsea and twenty six and tenth and I usually have maybe three intensive ah year out there and it's limited to ten students and so what I try to do its portfolio intense is with the models that I would shoot my hair cells make up artist my wardrobe says and try to give that experience. So we had a lot of fun and this is one of the images we made at the beauty in ten seven sisters kind of the out of camera shot un retouched so I wanted I liked this image and I thought it was playful but I wanted to do something more with it wanted to try some brushes ok, so the next thing that I wanted to do is go ahead and download paint brushes um sponge brush is water color paint spatters things like that I wanted to try my hand being a traditional artist perhaps um so I'm going to need to download those and of course load them in so I'm going to go to my little gear and when you go to load brushes ok and let's go to painting and blood see this one looks like watercolor brushes that looks good that we have open on that one take a look all right when they load a couple more for myself and there are a lot ok and let me do one more, okay? So I get kind of a bunch all different rushes to work with. All right? So if I were just taking this brush and painting I don't I don't have that skill that doesn't exist for me. For those of you who do know how to paint, remember that that mixer brush that I said the mix of brush you could actually set to be like a paintbrush and maybe work with some of these brush tips and turn it into a painting if you have that skill, I'm actually an editorial this year where I teamed up with someone who can do that and so the credit on the editorial was lindsey adler uh digital effects by uh this uh this digital effects artist okay, so anyway let's see what I can do all right? So I decided to go ahead and make it look like this was painted on this on this campus, so I'm going to duplicate this layer and I'm going to create a new blank clear in between the two and I'm gonna make it white because the background is white, so if you want to follow exactly what I'm doing, what I would recommend is shooting the your original photo on a solid background and that solid background would be your middle their cakes is going to help you do the kind of painting effect or the next thing is I'm going to go ahead and add a layer mask, but I would add my lair mask black so it disappears and so now what I need to dio is wherever I paint white it will bring back that image, but I'm going to do so using painting brushes so it looks like I painted on that photo but I brought that floated a life with paintbrushes soto watch this inaction I'm going to select a white brush I'm gonna grab my brushes and let's pick and I was randomly pick one here, okay, so let's for example click here and see how starting to bring it back but looking like a painting and there's tons of different ones to choose from there's not really a right or wrong answer it's just gonna be what works for you but let's try try this one something else you should know about the brushes as I like this but I kind of wanted to trail off the other way it feels like it's going the wrong direction it's like the splatter should go down so you can do two things you can click up here we have control of your brush and change the direction of the brush there so for example they can change it one eighty that direction and now same thing with a white brush if I click here I could bring back some of her face and so what I did is I just kept selecting different of these brushes adjusting the sizes saying being recognized uh maybe some spatter brushes let's grab this one and rotate it so there isn't a formula by any means but I can actually make it look like I painted this back into existence and keep rotating my brush if I find one that I like and so on and so forth something like that what I ended up doing in the end is going ahead and adding a texture perhaps a canvas texture to make it look like it was actually painted and we talked about adding textures in our second tutorial today on blend votes so this is one way you could kind of become a painter and use painterly strokes to bring a photo life questions on this whatever you have the black background you would put a black layer between and then when you're painting we're bringing it out of a black back on her whatever color just two on a solid background could you go if you didn't have us all a bit like go and paint she's at background picked a solid background you know with a paint bucket and put in a background and then use that color is sure yeah I mean it's and we will be the need to use a solid background put this way it just much easier and much more natural if you're like me and need to start simple but I mean you could definitely and not have the background and you could basically now have the background short but later you know as the light comes through lately all right so let's take a look at another use of brushes all right so that was one example then I got a little bit more creative and I said ok, well let's let's try something different I decided for this photograph I want to make it look like it was torn out of a magazine so what making tourney edges torn paper I did painting let's let's make it look more tactile here so I'm going to do I'm going to duplicate this layer, and I'm gonna add a layer mask and just like before, if I wanted to look like it ripped in its weight in between, like a magazine, I need to add a blank white lair, some adding a layer that is wait in between. So now what I can go dio is let's, go online and find tourney edges torn paper, and there are tons of russia's for torn edges and some paper, I mean, like thousands so it's kind of figuring out what you like, so I'm going to go ahead and load those brushes as we've done before and torrent paper tourney edges, I want a load that and so I can pick whichever one works for me, and they just showed up down here and let's say so you can kind of see the shape that I want or that I have, and you can rotate it to fit the feel that you're going for. If you want to modify more properties of the brush off you go upto window brush, I can change a lot of things. I'm not only can I change the angle of it, I can flip it side to side up and down and there's a lot of other things over here that they could go into a lot of them would involve more tablet things with pressure sensitivity when you dragged the brush how and this would be this the scatter the spacing how far out when you drag it does it separate those brush strokes? Does it make a clean line or does it kind of dot them for example, there are snow brushes that you can download and so if you want tio example for example make it look like it's snowing they have a very high scatter rate so all you do is you drag your brush and it put snow everywhere at random intervals between the small snowflakes and the big snowflakes so these would be some of the controllers you coulda just over here. All right, so let me say dell on changed inglis a little bit. All right, so first what I want to do is they want to go ahead and I'm actually going toe I wanna fill this first and I'm going to paint that photo back into existence using white and a hundred percent of capacity over a little more if you want a whole lie okay, maybe something like that. So I get part of a thorn paper edge. Well, what's cool is I could make it look riel by adding a drop shadow because that I mean it would have a shadow underneath or some kind of death so if you come over here to effects and you click on drop shadow when I need to do is they need to change the angle in the distance I can actually see it so I can see a drop shadow there a little bit too much for me and a little too dark but maybe something like that okay all right and then the next thing that I want to do is I don't just want it to stop there I want to take a tear down the middle you have fallen okay, I can get so I'm like I want to add a tear down the middle we added a drop shadow everything looks good so far so I'm gonna go ahead and duplicate this layer and I wouldn't delete the mask and I'm thinking ok, well, maybe I'll add another another tear um what I'm going to do is it gonna add a mask that's black I think I had a back that's white and I'm going to try to add another terror in here working on the other side so basically what I did is I brought the photo back up with no terror in it and then I race another section basically to racing it's masking another section shaped like that terror so it would show the terror below and then a little bit of the whole photo to the right so it actually looks like it was torn and I can uh lineup however I want and I can go ahead and if I want to add a shattered too that I can change angle of that top shadow so that I can see it but I mean, I think that looks pretty good, but unfortunately I don't think it looks look, realism is tourney, but I wanted to look like it's actual paper so one of the things that we talked about today was blend mode so this is going to kind of segway me in I said masks we're one of the tools that make you more creative you know, the next one is brushes which were still on and then there's blend modes we talked a whole section about glenn mones I absolutely recommend watching if you don't know anything about blood modes but blend most what you had textures and textures could be a whole different range of things in this case I could have crumpled paper and I can make it look like a tauron magazine if you go online, you confined endless crumpled paper you can either buy it from stock photo agencies or somebody that said that it was ok to use it. So I have a couple of crumpled paper here and select either one open this up was gonna rotate it so it's the same configuration is the other one and I am going teo for this I'm going to do the command option shifty so that I can kind of control the crumple there I can do that or I can distract and drop it on either one is going to be fine. All right, so let me drag and drop this, okay? It's gonna put it on the top layer and you can see the bounding box so I can size it to fit just a little bit better made the crumples look a little smaller on the top I can go ahead and put in whatever numbers that I want so it constrains three original proportions. All right, so now this is where you change your blood, your blood money. So for this for adding textures, you could try a couple different things often multiply works pretty well, not looks okay or you could try soft late if you wanted to look a little bit more faded or he could back off of soft light and make it subtle really it's kind of to you which one you think looks best and the very last thing that I want to do is let's say I want this kind of it's ah overexposed crumpled look, I'm going to play with color so that was number four that I had on the list with color adjustments number three um I often at a color adjustment when I'm trying to be surreal or do something unusual if all the colors are normal throws me off like it needs to be like wacky if it's going to be wacky in my opinion. So I mentioned brooke several times today. Brooks, one of my best friends is a fine art photographer, brooke shaven um and she frequently just messes with the color ads, yellow tones and basically just trying to pull you away from reality because if it's really colors and real tones, it sounds believable to see the person floating or to see whatever surreal element it isthe. So what I'm going to do is I will introduce you to a tool that I mentioned a little bit earlier, but I wanted to touch back on um the tool is an adjustment layer and it's called selective color and selective color is what you would use if you wanted to split tone and photoshopped. So split toning is built right into the light room, which is great, and I use it all the time. The problem is when if I want to change my mind later, what I really want to d'oh is I want to be able to retouch first make my decision about the split tone later, but because it's built in the light room and I didn't know how to do it in photo shop, I would always split tone and then be like, oh, crap, I can't go back so this is where you would do it if you look over here in this put tone are at thea selective color is what it's called if you check up top where it says color and colors you have each of these different color channels or tones that you can adjust what they look like so split toning for example would be going into the blacks and making that have one tone and then going into the whites and giving that another hugh and I don't mean it doesn't have to be like completely but can be subtle eso something that I like to do for like a high fashion look isn't the blacks I like to make the blacks look more bluer science I don't know it just it just tends to be kind of a cool fashion look so I'm going to do opposite of yellow and opposite of yellow is is going to be blue but for my white I want to be a little warmer so maybe we'll pump up the yellows and the whites and so I could give myself kind of ah it's a real kind of blue tone I could do a lot of things from there in selective color I can also go in and if I wanted to make her skin tone a specific color if I wanted to change the color of her lips I mean I could go into the reds and change with the reds look like give them a little bit more of a magenta have all that control right there I think the last thing that I want to do this photo is just darken it down a little and then I'm I'm done and I'm happy with it that a little bit more contrast pump up that texture and I would say maybe something like that so that's how I would do maybe a thorn paper look using brushes that we talked about using blend modes and textures which we talked about and of course we're using masks which we talked about and selective color summer creek wants to know something this is all been fascinating obviously but is there a way to use the move tool on one of the lower layers to make it look like the image was tourney and moved to the side so the edges match yes I'm going to I'm going to say something dirty do you have my book because that's what I did in my book but wear on same page we're on the same page yeah you could you could do the same thing I mean you could also just you know drag her eyeball all the way down here whatever you want and there's actually general question tough toodle once know the order of operations and photo shop is there specific order to use specific certain tools so you don't wind up undoing all of your work? Is there an exact workflow or good question if you're using adjustment layers and their masks you're okay it's not a problem that give you don't ruin anything I think it's easier for me to visualize when I do the brushes first, but now if you're using investment layers and their mess, none of this is is destructive and none of it is difficult to undo so long as you keep to that you're totally fine any questions in the studio government like clean so I just I miss where you're going when you get the selective color halfmoon cookie have been cooking uh definitely learn mass selective colors the first one on the bottom and it's a new tool um I think it's cia six new when this probably when you duplicated what's the difference can't duplicate a layer and command jay um so command j also does it unless you have a selection, so command j like, if you if you have a selection and you duplicate a lair, it duplicates the whole thing versus if you don't have any selection and good man j it will just duplicate it, so you're fun it's the same thing, yeah just depends on if you have this election or not was the only thing that would change in it you could definitely do that and that's faster than looking and dragging it it's a little duplicate thing another question on the on the torrent page from gladys and you can you raise the edge of it curling it even right okay so you can curl it um I would have to have the right tools here but let me basically describe it what you would go and do is online you would find a curl their tourney edge then what you would do is you take this photo and you can either there's a couple of tools you could puppet warp it to bend it you could do displacing map but you would need to go even further than that and it would basically be what we just did what you have to warp it so it looks like events and you could do that like a five puppet work work something like that so and I'm positive there's tutorials out there that show you how to do it since I don't have the right tools right now all right, so um blend modes right? So I just showed you about, um adding a texture for people that didn't watch earlier blend modes fundamentally changed the way that pixels interact with each other. So when I went ahead and added that crumpled paper if I don't change a blend mode if I leave it on normal let me just uh drag and drop this real quick like and her for example okay if I just leave it on normal it's it's jake butt over here for the layers palate I have all these different blend modes that change how there's interact with each other, so I would watch that whole thing on blend most first but for example, for textures you're usually using multiply to add a texture which looks usually looks most realistic overlay which increases the contrast a little bit soft, light or hard light one of those would be typically what you're doing for textures, so blend modes change the way that layers interact with each other and there's so many different ways that's why I spent like an hour and a half on it um but I did want to show you something else about blend mode since that's one of the ways to be creative, so we went ahead with brushes in this photograph and we added fake eyelashes, but you can also add fake makeup it's actually really, really simple and if you know blend modes it's incredibly simple so one of the keys I would say and I've worked with us before toh adding fake makeup is to have the texture right in camera meaning if you want glossy lips, there are ways to fake classy lives but it's much easier to extras have the gloss haven't being neutral color and then you can change the color easily or if you want to add all different color eye makeup that's easy what makes you have the texture if you want a shimmering it needs to be shimmering makeup if you want it to be glitter used to be glitter, it just needs to be whatever that texture is it's much harder to fake the texture the color though super easy so I'm going to add a new blend lair a start, a new lair and change the blood votes on it so if you look right now, these are the two eyelashes, so I'm gonna add a brand new one under underneath it here and I'll just call this eyelash right? So you guys know eyelash left and we'll call this makeup one okay? So I'm looking here and she has a little bit of purple eye makeup on and I like it, but it's not enough needs to go further and so I'm going to grab a brush and I don't want paper I need a regular brush and I'm going to go over here um and select purple or pink or whatever whatever color you want and I'm going to paint this brush roughly where I wanted to appear and if you're looking, I assume you'll say that doesn't look real okay, I'm in no so if you go ahead and you just back off the opacity, the color is still just sitting on top it's not interacting with the layers below it so it doesn't look real so you have to change the blood but because that's what blend ones do it changes the way that it layers interact so watch the difference when I know switch my blend mode to let's just say soft light a huge difference it now looks like it's actually sitting on the eyes and I could back off capacity to make it look more realistic and I could blur it it's to filter blur gagosian blur and just soften it a little bit and like a simple is that and I could put makeup on I can add multiple colors that can add a highlights on the top I could do the same thing for putting on blush I could do the same thing for changing the color of her lips it's just a new layer changing the blend mode painting the color that I want on it so that's another step of creativity and photoshopped yeah those eyelashes with a brush then with that color have gone over the eyelashes too um yes so let me drag it ups the top layer and when I drag it up to the top claire, if you look really closely there is a difference like eight tones I'm a little bit but because they're solid black solid black doesn't hold color so it's more if like maybe at the edges where the the lashes maybe aren't solid black that you would notice it see if you can really see anything here I don't see a difference because they're solid black but if they weren't you definitely would yeah if we have time could you do a lips real quick? Yeah I mean for lips there's two things that I would do um first of all I would create a new lair um let's just say so we're going for green lips ok there's a reason I'm picking and crazy color again so we pick green lips no one of the things that I said before about blend modes is blend modes well the colors will affect it that color makes the difference so if I do what I said before and it changed the blend mode to say soft light it's like the green but then also kind of the pink underneath I can clean up whatever I want but tip or something that I do is after I blur it to soften it filter blurred gosh gambler that's so much maybe there and clean it up a little um a tip that that I usually that I use frequently is I'll go up tio image adjustments he saturation and now I can drag along the entire hugh and pick a color I want so I just matter what color I pick there but then aiken aiken pre visualize with oh yeah like that's great as bright purple and then they back off the perfect right there yeah, I mean, I kind of I kind of kind of see it if I want her lips to be um glossier it's not the lips select modify feather and I'm going to add a kiss on my eleven same number twice I'm gonna add curves and notice how it's clipped so this curve is not going to affect the whole picture it's just going to affect those lips that I had so I am going to go if you go to the preset and select strong contrast I wanted to pop it's if you're looking so far it's making even little glass here gonna pop up that is there like a super strong contrast is that as high as it goes we do another one something like that so I could keep kind of wearing it on um we talked about before blend modes for adding highlights and shadows I could create a brand new layer paint wait on the highlights change the blend mode to soft light we talked about this and I can give you know a bit more of a gloss so lips so I can kind of put shadows underneath highlights on the top change the color and so not that I think this is the makeup look of the season but um it's pretty easy to change makeup can you do this to like a black and white picture killer too like the lips yeah I mean that's how you would do ah uh like spot color what they used to do with that would it call it color toning when they said do the painting on the old black and white photos then that's what you would do nowadays hand tinting that that sounds good I think that's what's called I never did that okay. All right I'm gonna keep chugging along here doing good all right let's take a look I want to show you one more brush one just to like get your brain's going here all right um so a very popular um very probably russia's is an editorial that I shot recently um checkerboard lighting to highlights of two lights in the back of either side and so she has the highlights on her legs and then a beauty dish in the front and then one light on the back which is what gives her that ingredient there one really really popular brush but there's a million off is smoke there are so many millions of smoke brushes and you know something that you might think of is how to add smoke into your picture so it doesn't look like there's smoke sitting atop like how could you actually integrate it? So for something like this I could go ahead go to my brush tool load a new brush let's find my smoke brushes um smoke brush perfect right great a lthough way down I've got all these smoke brushes that just loaded I'm going to find one that's all fluffy let's see ok I found a good fluffy one all right so I've got my fluffy brush here I'm going to make it black increase the size and then maybe look make it look like you know the end of that fabric is smoke work it out it's the end of hair to make it look like smoke for example have another photograph of a she's a very famous model or name specially lopez um you know, I could take the same thing grab different smoke layers and maybe make it look like the bottom of her tulle skirt is made of smoke and I could vary the angles and very the opacity so as you can see, I mean brushes it's just kind of figuring out what you want when you need it on applying that but it's it's pretty simple there's a lot of cool techniques you can use with it. All right, so I like that I think that's cool. All right, so moving onwards here um color adjustments all right, color justice I think this is like sorely sorely underutilized um I showed you a couple things let me grab this photo okay, so it took this photo out in the desert and nelson nevada if you haven't been definitely go it's like a little playground for photographers and have all these there's like old planes and like old cars and it's off it's really cool and the people who run it are like awesomely crazy they keep giant rattlesnakes in the refrigerator yeah, I mean they're dead but eso looking at this photo and it's it's so so flat and like that is I'm trying to set this like, old fashioned romantic mood to it it's just not there so I've been open this up and I'm gonna introduce you to a brand new color adjustment tool of course you can by presets you can use actions but there are a couple things built right into photo shop cia sticks and newer in this case on what I mean using is something that these from the movies so if you've ever seen movies before they've been color grated that's what they call it color grading when they go ahead and they add the contrast and the color there actually shot incredibly flat the reason that they shoot them flat with little contrast or little color is because that means imposed they can control it just like I said I don't open up in light room with all the contrasts I can't go back, they shoot it flat and then they can add all the contrast they want all the color changes they want well since adobe added video capabilities into photo shop they also added color grading abilities, so from the movie world from the film world it's called color lookup tables so color lookup tables or basically formulas of how to apply contrast in color changes to set a mood of a photo and that is included right here in your judgment layers it's right there under channel mixer is called color look up when you click on color, look up just like presets and just like actions you can download and import and load a ton of other people's presets. In fact, online you confined the three hundred movie color lookup table preset. If you want that look or the fight club look, you could shoot something very flat and then it gives you that color look up that you can apply your photograph so when a select a few here so you can just see how it would work for exams well, it might give me that toning okay might not look great, but and if I change the blend mode and so it's giving me kind of a cool look or maybe I want to try smokey no smoke, he doesn't look and so you can flip through all these. There are tons of them and you never know which one looks good until you to use at least I don't, but I have a few favorites they also have one and in notice you'll you'll see that this is from the movies there's one and here that's called day for night it's in one of these they have horror movie blue oh, dave night from day so toning a photo and I mean this one it wouldn't particularly you gotta add, like, change the blend mode and, uh, it would have to be a darker photo anyway, but it's the same thing of how they would shoot movies during the daytime and then make them look like night. So definitely check lease out. There are a lot of them there. And like I said, you can't really know until you test them and you can also load your own. I know that one of my favorites is ah, sienna blue here love santa blue let's. See, it is normal. Okay, so that's one new one. Um I also showed you the selective, the selective color that we have here, okay? But one of the things I mentioned earlier was the importance of color and photographs. I mean, that's one of the the reasons that I think my work stands out is when I use color. I use color on purpose, so I'm gonna use a photo that probably many of you have seen if you follow my work if you follow me teaching interviews this a million times on my business card it's on my website talked with it a million times is this one? Um but controlling color doesn't have to be like during a funky effect it just means like taking control of the color. In fact, I can in like like, thirty second it's completely change the look of this photo I got a huge saturation go into the color channels and if I want all those flowers to be read well, um I just need to change every color channel toe look red. So if I grab yellows and make the hughes so it's red or red ish and I grew up greens and I make them look green, you want to make them look red and I grabbed the jensens and make it look read I mean, I could very quickly start moving towards a bright red, better flowers or whatever color I want them to. So I would just say, I mean, I've done this tutorial a million times you can see it lots of places, but just the whole point of, like taking control of your color that makes a really big difference I want to show you so this photo this is raw out of camera completely completely straight out of cameras is what it looks like and it split with one light the beauty dish high often slow left and I had my team fluffing the fabric all over the place and, uh, made for, uh, yeah, I have tohave I have tohave to assistance minimal money shoot because I always need a flu for um but this is what the photo ended up like. And I think that's why that's what I feel stands out about my work is that, like, get this photos fine. This photo is so much better has so much more impact because it's all about color and it's all about the blue and I took control of that so very quickly actually, a lot of that color I mean, a lot of that color is controlled right in camera raw. And so for example, um where the little squiggly line thing is it's the hughes attribution luminous and grace skill I can go ahead and into her skin tones. I loved that pale pale look and that was a question somebody asked me. Well, I don't think that the orange color of her skin is contributing anything, so I want to I want to make it pale so what I can do is like and pull out the reds and the yellows and her skin. The problem is, is it tends to look dead at that point like the gray skin so I need to lighten it up this is all in camera raw so all I did is I d saturated this tones but to lighten it up I can go into luminant pse and lighting up those tones so if you watch I mean that's on camera raw I mean, of course I'm sure there's some other changes that I would make maybe not that extreme but I want to give myself pale skin. Well, the same thing is, you know that thiel it's not rich enough for me and it's not the color that I want, so I have, for example, khun go into hugh and I concert playing around with the color of that fabric so maybe I wanted blue and that's a huge but you know what that blue is in saturated enough so maybe I pump up that saturation and I start getting closer to where I want that color to bay so that's, you know how far I've come so far makes a pretty drastic difference. I think I saw a question with a question you like videographers who use a low profile a low color profile for shooting video do you ever use allow kind of profile for your for your shooting? Great question so I do in video not in photos because I'm shooting ross it doesn't matter if I could just always bring it back to that um sometimes I know this is this is really bad to say but we're shooting really really really flat image it's hard to tell if it was in focus because you have no contrast to judge by and then have to zoom in and check and I'm shooting ross I would rather just look at the high contrast j peg and so let's let me know that I could fix it later so let's say that that is perfect for where I want to be and when I open up this image and I am going to create a new blank lair and I went to drug grab an eyedropper and sampled is blue someone like a really rich blue here and so now using a blank brush and a regular brush I mean a a blue brush and a regular brush I'm going to just paint around paint where there's not blue so clearly I need to work on my blend modes and there's a lot I mean you could also just kind of run through maybe try how color works oh wait it works extending that I'm moving this along so uh one the blend mode color I mentioned it and I haven't really used it this is one example if you just want the color to stick but it's not really affect thie tonal values you could do something like that so I'm able to make the background look blue and I could go ahead and paint that same color blue it's looking kind of green over her forehead here I could paint that same color blue or dark and it down. And of course I did spend more time on the image, but you can see how quickly um I was able to go from this original to something that has a lot more impact because it's about color. So I am going to go into the last one, but I'd be happy to take questions because it should not take me super long to d'oh question from mike marine, which I think is pretty much what you just answered, but his question was how to hyeon retek tres achieve that fashion look where the images have a slight blue or magenta tone? Yes, angeles so other sort of overall general things that you could dio yeah, so a couple ways that action was going a couple ways that I do the fashion fashion toning is I decreased vibrance and increase saturation that's just fashion joining in general more contrast but less color um and then that selective color I go ahead and add blue to the shadows and just a little bit of blue goes a long way off course it sort of was heavily blue, so you can't really tell but um I could do something like this and then make the blacks darker so that would be a way that I would tone a photo I went into selective color I went to blacks I made them blue and then darkened them so it gives a deep flew to the shadows on and that's I mean that's very fashion what they're certain brands that pretty much every ad they dio they have the dark blue in the shadows question for you adrian far from england says oh I guess you guys know and how far would you say is too far in post production and editing before fashion starts looking more like fine art or conceptual photography since we're talking about creativity here well um interesting you say that w magazine we're like the premiere magazine's doesn't hire fashion photographers a higher conceptual artists even though it's a fashion magazine and the on ly have fashion shoots so it I would say more it depends on what your target magazine is in your target client as some of them go way out there and literally if you shoot fashion they don't want to hire you if you have that title they want to hire artists which hey we photographers artists but they want find our artists thank you for your take on that definitely we have another another question before we go into that final one that came from k g q lindsay what type of image retouching would you say just to make a good retouching portfolio so say wanted tio take everything you've learned from lindsey other and go out and become a professional re toucher what should be in there? I mean, the first one for me is I definitely want to see hair because that's one of the like, I if I read outsource anything it's hair is the first thing I'd outsource because it takes so much time. So when I do outsource any time there's a heavy hair retouching it's outsourced, I don't has time to do that, so that would be something I'd hire somebody for, um, I would want to see something where you smooth out uneven tones in the skin. Andi, I would also I want to see something where it's just I mean night and day texture, they just completely changing the texture. So it's, really, the three main things for me might be helpful for them to have before and afters, asshole. Absolutely. Yeah, and there's a there's actually a bunch of weird place where press blog's plug ins that allow you to do the slider for before and after the mouse over. So it's not like you have to have a special website to do that or anything. Cool. So lindsay, just addressing that I've had a lot of rita cher's contact me about retouching and stuff like that. How do you go and find your re toucher is it's something easy? I mean do you say here go out and I want you to do this based on my work or I want you know here's a sample image go do it you know how much do you pay him to do that yeah so I have a sample image that has a before and after the show them the quality that I want and it's like a super intense one like one that's really really really good that I did it's actually the there was one of the photos of a girl with flowers on her face that skin like it's like perfect um and I will give them that image and see if they can get it to that point and then and generally they'll do one image free to prove to prove their point I mean I'm not trying to get anything for free already have that one retouched um and I would say my common rate is sixty dollars an image but it ranges drastically when its hair an intensive hair image they mean you'd be hard pressed to find someone to do it for under one hundred but I've also found people for to do things for a less expensive so um I would just say feel free to ask them to test it and show that it's to your standards so we're going to go on to this image that was just enticing everybody okay um we're creeping up I know I'm not sure which one um ok excellent all right, so I shot this very ugly looking image um actually shot this awhile ago and, uh I wanted to make it weird and funky so it's I wanted to have shadow and highlight and I actually what I did is it copied the right hand side of her body and I flipped it over the left no, I'm not really suggesting someone's way should look like that I'm going for funky here okay? So like, I don't think I'm making a judgment on beauty all right? So what we're going to do here is I have for flood up against the wall like that and I want to make it look like a texture wraps around her and the wall so this is something called this placement maps on I've done this before the one that I usually teach is a texture wrapped around the face and on the tongue on you can you can wrap it and shape it basically what a displacement map does it takes it allows you to take a look at a picture like this and it makes a map of the highlights and shadows of the photograph so it's saying at highlights highlights are probably closer to the light source so it tells it bend the texture outward and then it's see shadows and several shadows air probably further away so bend them away in the neutral or just flat so what you're able to do is make a map based on the highways and shadows of your photograph apply that to a texture so it bends the texture and then using blend moans one of our most important tools for creativity you put the two together and it will look like they're wrapped over one another by the way there there's kind of some more advanced ways to do this um so my fourth book came out in october uh the name of the book is created fifty two and I think the fifty second chapter of that is all about displacement map so if this is something that you need to be able to see in front of you to reference it's on amazon and barnes noble and stuff like that um so let me give you an example eh? So you're gonna pick something like this and I need to go ahead and make that map so what I'm going to dio is in a flat in the end judge and typically what you would do is you would go ahead and go over into your channels and you're trying to select a channel with the most contrast because you need a contrast e channel usually it's read in this case I think it kind of looks like it might be the blue that's that's contrast e just kind of depends um so what you're going to do is this becomes your base of your math you're contrast highlights and shadows so you pick and in the channels palate is right next the layers palette so you picked the one that you think is most contrast e and you select duplicate channel and when you duplicate channel you're going to have this channel open up as a completely new document it's just going to give you a new file because we're going to say this as our map so I'm going to go under destination to new and click ok so it looks funky but this is where it gave me something to keep in mind in order for the way that I'm doing this and following my steps is both the files the target and the texture need to be a bit they need to be the same bit depth and and I'm going to be doing a bit so I have them both a bit here we need to make sure that this map that I'm making and I just selected the channel with a lot of contrast they made I opened it up as a new document you need to make sure that it is great skill or it won't work you're going to make it a grayscale image and I want this to be even more contrast is so I'm going to go ahead and enhance that contrast and I can actually paint with what we did before with a soft light with highlights and shadows that kind of shape this I can add levels to give myself some more contrast because that's going to bend it out more of the highlights and in more at the shadows I could go ahead and trace this whole thing for example, tracing the shadow areas so there will be even darker changing that too soft light and you could work on this for a while so what? I'm going to d'oh as I'm going to flatten it because I can't have any layers and you do want to blurt out just a little bit it's just so that you don't pick up the texture too much if you're trying to bend it, not pick up every single detail so I'm going to filter blur gosh simpler all right so I don't need very much like you wanna check make sure there's no detail on her leotardo saying ok let's good and now I've got to say this image so next important step that it will not work if you don't follow this you have to say this as an eight bit grayscale psd flat psd no other combination will work, so I checked that it's a bit gray scale file save as and you want to save it someplace that you confined easily I'm going to save it on the desktop and call it a map all right so if I can reiterate that it took the original image I went over into channels and I tried to find whatever channel had the most contrast then I clicked them a little fly out menu on the right hand side and hit duplicate channel and when I did that I set the target for a new documents that would open up the file in a new document once I got there I increased the contrast I made sure it was a bit and grey scale I blurt it just a little bit and saved it as a psd where was easy to find yes do you convert the original image just a bit from sixteen bit to start with what does it all have to be in a bit but when you end up I do everything right away that does make everything a bit right off the bat so I can close this now so we're back to that original file okay, let me uh I have to click on rgb for and to go back to color and so I can go backto layers all right? So going to figure out what I want to be my texture and I'm going to grab this stock photo of flowers and I'm going to rotate it and I'm gonna drag and drop it onto the photo of this girl and I'm going to size it to fit um besides it to fit the photograph so now this is where one of the questions I was asked about do I change the blend mode now or later so if I go ahead and just change the blood blood, it will actually do a pretty cool effect it starts to look like it's wrapping around her even though I haven't done anything so I could try a lot of different effects dargan multiply multiply you know you concert to see that there it's interacting with her a little bit um and I would just kind of run down the gamut of it but uh I already know that I like multiply for this one, so I'm going to multiply all right? So what we're going to do now is add this displacement map in the displacement math is what takes that maps that you just gave it bends it out at the highlights and at the shadows so selected on my later I'm going to go up and go teo filter distort displace so that's where that exists filter distort, displace and when you open it up, what it's saying here is horizontal and vertical scale it's asking how far along the different accesses or the different axes it wants to shift so when you say bent out of the highlights and kind of curve in that the shadows, how how far do we shift? If you go too far, it'll start to blur the main texture I think you'll start to see it stretch the pixels and it becomes clear what you did so I usually can get away with them I feel I can get away with twenty and negative twenty I start with ten negative ten twenty negative twenty something like that I had a stretch to fit your p edge pixels and I'm gonna hit ok, so what it's asking me now if you look at the top it says choose a displacement math and I am going to choose what I called map so if I zoom in and I'll kind of show you before after okay all right? We've been really close to her, but here you see starts so wrap around based on the highlights and shadows especially appear starts to interact with her with her form so you could run a couple other times. But something else that I would consider doing is did you have a question enough? Okay, um a couple of things you consider doing is using our blood modes in our soft light layer to paint some highlights and shadows and to make her stand out markers right now I think she gets maybe a little bit lost so I could do that I could create a new layer on soft light grab await brush and I could kind of trees where there should be highlights on her body or how and light kind of get her to stand out, we'd on her leg and of course, this is stronger than I'll actually do it. But let me ah, back off my capacity and maybe just blurred a little bit. So making a highlight stand out just a little bit in your screen looks quite different from mine. All right? Make her stand out a little bit and I could do the same thing with the shadows on the country's into here, and it was kind of tracing the shadow areas to make pop out more. I can change that too soft light back it way off and to try to just give her a little more contour. Okay, so the last part of this is you can take this further so that texture and that that displacement map on lee took it so far in this instance and the other example that I usually use for displacement maps, it works right away, and then I don't need to do anything else, so I thought I would do one that requires a little bit more work this time, so I'm looking at it and it it definitely could use some help to emphasize, so for so I'm gonna back off the just a little bit, maybe like right here. And I'm actually going to turn her black and white because I don't I don't want her caller showing through some was gonna de saturate so you're starting to see that a little bit so what I need to do is I'm going to use either puppet work, work or liquefy in order to start bending it out more at the areas where she's sticking out and then pulling it in more in the shadow areas so I'm going to do is to duplicate that and go to filter liquefy so if you do that right away it just brings up the flowers and you can't see what's going on so that's why? And the bottom right you need to click show background backdrop and so it'll let you see what what's below that photo so I could go ahead and you can do this a couple different ways I mean, honestly, I just try a couple of different things to see what works best, but I might, for example, used the squeeze and work on blow tools I don't usually use these anywhere else but the via what they called the pucker tool parker troll squeezes things in blow toe expands things out so if I use a blow tool onesie and I'm just clicking along her legs to kind of just floated out of it and if it's not going far enough, I can go ahead and increase the brush density, and right now, you don't see much happening because I have the background showing, but it is blowing it out and let's put up their here, see if I have a drag it you guys concede a little bit more, and so I would just kind of trace her form there's something like that, and then I would go through the same thing with parker and then just kind of a long edges puckered along edges, and they don't get to see that change a little more drastically, and I would work on that for a while, so I'm ok and to see that difference, and so I would keep doing that, and I would take steps to dark in the shadows around her body, and if you look real close, it actually does look like a trapping around her right there, you see that? How it looks like it wraps around her curve, so I'm using the bloat tool in the parker tool, too bloated out where she's actually in the photograph and then pull it in, allowing the edges where it would begin to wrap around her. And if I wanted to stand out even more, I could add more contrast, more highlights and shadows and let me see what looks like an your screen maybe something through years looked like maybe something a bit like like that so actually look like it's wrapping around her body. So let me to show you the before after so we started off with her there, and then we can actually wrap a texture around her. I've seen this used tons of times, even though it seems like an extremely obscure things. Let me give you an idea of what it can be used for. First of all, you could use it for adding fake tattoos or body art. This is what you would do to wrap it around the textures of the body of the shape of the body. I saw it used in there's, a daniel craig movie about haunted house that he moved into our I forget the name of it is, um and the advertising poster for that was two girls holding hands, the wallpaper behind them wrapped around their dresses and they're holding hands so their dresses blended in, but then their body and their arms were separated from the background. I also saw it used in diesel campaigns s o diesel, the clothing brand did an entire campaign. It was like diesel stand out from the crowd. And so everybody else that was in the scene was camouflaged, but hold back all the backgrounds, all the cars, all the buildings. Anybody that was wearing diesel on diesel was standing out, so there, I mean, there are tons of different ways to use it and that's why? I kind of wanted to end on this final tool because it's, using a lot of what we talked about it using textures and blend modes, and we're using adjustment, layers and layers massed in order to get this effect and and opens up like endless opportunities for creativity. So with that, I'm happy to take any final questions. S o question about emily rose, mechanical and o j best. I know the eight bitten sixteen bit aren't familiar concepts to everybody out there, so maybe if you could just the question was I know, she said she's working and eight bit for the displacement map, but came at me diamond sixteen bit, and then it would give us why a bit and not sixteen, maybe you could even throw in there. What those me okay, so eight bit in sixteen, but in the most, like the simplest way, I can get it without being a nerd is basically a bit has les kuller and total information that sixteen, sixteen, but just has so much more information, and the reason that I usually use sixteen bit is for an image with a lot of color, or maybe a lot of grady in the same color because when you're in a bit if you ever shot a picture like a ton of red on it goes from like dark red rate or light red radiating out too dark or there are blue skies even and you start to see that banding that's because there wasn't enough color information there and that's what you get within a bit flowers sixteen bit that blue sky will be, you know, the continuous radiant throughout there's just a ton more information but it's also a significantly larger file you don't get sixteen bit if you're only shooting j peg, you're not having a cz much information's going to be, you know, enabled file in that case you want to shoot like sixteen bit raw if you can you know, if it works out for you? Um honestly, I've only ever done this in a bit and I don't know if it does sixteen bit when I tried it in sixteen but I couldn't get to work it doesn't mean that it doesn't it totally could work, but I know for sure that they have to be the same the same bit that's otherwise that doesn't work because of the basically the channels that it's making it needs to line them up so it might work thank you first of all and going back to the first segment, I think it was well, thank you for showing us the light to the camera position because you know, we don't see that and that helped a lot thanks you're welcome my pleasure I am I'm an open book if anybody has questions I'm always happy to answer and that's just this is another like this semi preachy thing but I think that for teachers or photographers that teach if you're not an open book you shouldn't teach you know the point is to share your secrets and give everything and so, um I certainly hope that if I give you the exact same lighting, diagrams and everything that I did, you're not going to come away with the same photo were different photographer so I never feel threatened by that so I'm you know I'm open book if anyone has questions, I'm always happy to help just as it was really interesting to a whole new realm that I debated on touching on it decided not to is three d and photo shop you would be surprised it's relatively intuitive if you understand like studio lighting and you can create incredible things like it's it's pretty impressive um I've never had any formal training with them but in like the you know, the one time I tried it you know, so in other words you can make things that don't exist exist so you could do anything I have one question I don't know if you're gonna be able to answer this why is your book game fifty two instead of fifty five sixty six forty four twenty two nice yeah well just a quick story about the book I've talked about this before but I am I was in england and I had a meeting with a magazine editor one year and I had been shooting professionally for a while and I'd moved england to do fashion photography he looked at my work and he basically told me that it all stocked and I need to start again I've been shooting for like six or seven years and he didn't say it was because it was bad even he said it's locked but no I didn't say it was bad, he said it was I didn't send out from the crowd of blended in with everyone else and if you're trying to get jobs in magazines and advertising and your work looks like everyone else's, you'll be forgotten he basically said the second you leave this room I'm going to forget you so then you're meeting was basically pointless so the reason I wrote the book was because I kind of got frantic and then I spent that next year once a week I did a personal shoot to try to build my books it was my my fifty two week on by still do I dio probably four shoots a month that don't pay me a dime but that are intended to build my book and I think a lot of photographers especially they're trying to make money they get stuck in the money making part which don't get me wrong that's completely necessary but if you're not building your portfolio towards the type of work you want to be hired for, you kind of get lost so that was my inspiration for that book question again you all have been a magnificent studio audience so thank you for all of your questions and everybody out there as well lindsay adler that day went by too fast very fast way always always always love having you can't quite alive and the chat rooms could not have been going more wild asses they always do when you are here so I just wanted to read off just a a tiny bit of a conversation that was going on in the chat rooms, jerry said this class is the bomb what a great instructor I love her and then kurt be agreed jerry me too but when I really loved that jerry's, kirby said was amazing I feel invincible and unlimited watching this so cool okay and that's really the goal, right? Definitely I mean my main goal is that honestly, I'm not this is gonna sound weird I'm really not that skilled in photoshopped as faras like painting and drawing and, like, I just know how to use certain tools that they don't have to have anything beyond that. You kind of have your feeling as an artist, kind of what aesthetic you're going for. But then they're really easy tools that you can accomplish a lot. And, yeah, I threw in one or two really difficult ones. But majority of what I do is just really simple, basic tools that help me achieve what I want visually.

Class Description

In this information-packed session, fashion photographer Lindsay Adler will dive into her top five favorite tools for improving creativity in Photoshop. She will cover her go-to favorites like blend modes, color adjustment tools, brushes, and more!


Software Used: Adobe Photoshop CC 14.2

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