this class is one of my favorite ones because some of the other ones who do it's it's almost more like a step by step, you know, follow these steps and get this result. This class is nothing to make me happier than if all everyone who watched this had the same starting photos. And it was something completely different because they approached in a different way. And that's really what this class is about. As you have a photograph that you like, we just feel like you want to something more to it. So you wanna add some texture, like a photograph you taken, or something else that you want to blend in in some ways that go beyond just simply changing the blend mode because you could do that. But frankly, that's OK, But I wanna talk. Take it much deeper of different ways. You can do it so we'll talk about where you can get textures from, including making your own and everything that photograph the fact that obviously they're stock photos. There's actually some things built into photo shop whi...
ch Mayor may not be aware of, and then once we have those different methods for blending them together in some way. Not so uses an overlay but getting texture into your photo F one way or another, with one of my main goals always being to still do it a nondestructive way So you could look at it through three months or now and go and maybe one tweet that a bit. One always happen, but most the time it will, with a couple of exceptions. We want to do things in a way where we can get to this really cool result with these textures, but then still be able to adjust it and keep working on it. So off it's going to use layers and masks and all these other non destructive methods of getting our texture in. So the first they want talk about is. So where do we get textures? On The great part is, textures are everywhere and I've without even thinking about it. Now if I'm walking down the street, I see texture. I just, you know, look at things that years ago I would have ignored or said, Wow, that look at that building. It's all rusty down like, Ooh, look at that building. It's all rusty because that just, you know, offers so many interesting possibilities. So as an example and get out of this, here's a stock photo that I came across because I thought it was a good example to me as a photograph. That's okay, but I look at it and say, If I was walking by that place, I'd be there for two hours taking photographs of all those different things in there because there's rust and there's wood and their sticks on top of wood. I mean, all of those things. That's just a gold mine. So I've changed my approach now, things that I would have driven by in the past cause I was thinking of it as a landscape photo. Not that interesting, but something like that, I swear that I would be there for a long time, looking close ups and further away and different angles and just building up a folder full of textures. I also I prefer, even though it takes more room whenever I'm taking photos and you know you have the option, obviously, of taking photos and camera raw or JPEG. One school thought would be well, they're just textures, so J Peg is fine. But as we'll talk about in this class, I like to take advantage of something called camera raw, smart objects. And it can do that in a much more efficient and better way if you're using raw files. So that means that not only your photo can be edited, but even how the texture. Once it's applied to the photo, you consume to edit it to get different effects. So even though it takes up more room on your camera card, Oh, well, you know, I mean, again, camera cars air bigger and cheaper and they ever were. So I have no problem with grabbing a whole bunch of raw files from a situation like this. And, um, just some of them may sit in a folder and never be used. The downside for me is my texture. Folders are getting bigger. So now when I have an idea, it might take me a while to browse through them and pick the right one. But I'd rather have that problem. I guess I'll use this one again, you know. So that's one idea. The other thought about texture, which is really interesting, is it can be can save photographs that otherwise you wouldn't want to use like I'm all about having my photograph. Be nice and sharp and look at that photograph into me. The focus. Little soft. But because I'm using the texture, I don't care. So once I realized that I start experimenting and now I've taken photographs right deliberately arm out of focus because I think that might add something to the texture. So in a case like this, I might take again five different photographs from this almost the same spot, focusing on a different part or get a little closer or deliberately going in manual mode and making sure that my auto focus was a little off because that's gonna change the net result in a way that's different than simply applying a blur after the fact. I might still do that, too, but this really occurred to me because years ago I was at my son's college, and while I was waiting for him to do something, he said, You might want to look at this art department. I walked on the corner and there was this area where they do work with copper and metal, and it was just I was like, Oh, It was just like rusted, coppery metal everywhere. And as I was doing, I was using on older lens I had, and as every time I go toe look down, the lens would slip a little bit and I had three or four photos that I was like, Oh, that's all blurry And then about a year was like, Woohoo! That's all blurry. That's pretty cool. So I realized that's actually a technique to use.