10 Adobe® Photoshop® Things


10 Adobe® Photoshop® Things


Lesson Info

Approximately 10 Adobe® Photoshop® Things You May Not Know About

First thing first of all, what I do with photo shop as I break it up into production and creativity because photo shop is this behemoth you know I mean you can do so many different things with it and it can be really overwhelming. So I looked at photos shot from two different standpoints two different perspectives kind of ah production monster that I could use to help me do all these different automated tasks on dh then on the other side the thing that is the kind of the more fun part of photo shop is the creative spot. You know where I can go in and apply treatments to my images and really kind of have really kind of more fun. I personally though this is kind of kind of nerd me out a little bit appreciate the production part of it because I love it when my computer does my work for me um I love to be able to set things up and create systems so that when I want to get away from the computer because I really like to do that throughout the day aiken my computer can be working so the main...

way that I do that with photo shop his actions on lots of people talk about actions lots of people sell actions, you can get a actions all over for free on the internet. I like to use actions too work for me not to just apply treatments to my images so the first one that I'm going to talk about is one that we've used for a very long time it's pre touching our pre touching action now again, let me give a disclaimer that you can do a lot of this stuff in light room too, but I'm going to focus more on on photos show one of my favorite plug ins for photo shop is called portraiture from imagine gnomic somebody may have mentioned it some other time during the week but it's from a maja gnomic it's called portraiture it is awesome we use it to pre touched all of our images in other words, when our clients come in, we don't spend lots of time retouching all the images before they see them because wow, that would stink you know we like toe wrote rolling through inaction, rolling through some things and night in color, correct and white balance and but basically a bunch of automated systems that were not sitting there and doing a bunch of things manually. So what we did was we created an action that will pre touch all of our images so I'm going to run it on one but just imagine there were seventy or fifty years or however many you show your client so this girl you can see this is this image is right out of the camera she has some blemishes there and in order to show this to the client, the very first thing I would do is going to my let's see proof actions and I would just do a little resize because again I don't show my client's full size images because it chugs everything down so everything's knocked down to about nineteen twenty by ten eighty to fit in to fit in that resolution and then I'll pick one of my proof actions this one actually has a vignette and I'll play and what it actually does is also throws a vignette on there just the color a little bit softens things a little bit and re touches their face it's not perfect but you can see that I have a big difference between this looking at her face in particular and that notice her eyes are still sharp it doesn't affect the eyes or teeth or still sharp her hair is decent again this isn't perfect but the difference is dramatic and I pushed the button so if I have seventy images and I want to go to lunch, which I like to do sometimes twice I will have a bunch images ready I'll run the batch and I'll go to lunch in combat and they're already for the client to see and they're already for the sales you know, for the sales room on but makes it really does make a big difference and if the client doesn't want to order this, I spent virtually no time on it, you know, to go through fifty images and do all that retouching and then your client orders two or three images sometimes, you know, I spent three hours, you know, on these other forty seven images, and now they're just going to sit on my hard drive for the next fifty years. So anyway, that's that's, my big soapbox talk on actions and really trying to automate systems as much as you can, here's another example of gallery rap actions were making gallery wraps all the time and gather, perhaps can be confusing because you have an extra engine after next two inches that you have to somehow create on the sides. Some people can make it a solid color that works. I like to give myself different options, and so what I did was I created an action to kind of do that for us, and what I'm going to do now is play it for you. I'm going to make this image twenty by thirty on, and I'll go into my gallery rap stretcher actions, so I have four of them and I had to create, too. Each one for an inch and a half and one for two and a half inch and what that actually does is add two inches or add three inches because of half in traps around the back but I like to have it automated rather than having to go through and do that manually so all those picket two and a half inch gallery rap structure, action and press play it first tells me to tea crop my image to my desire crop which I already did so it stopped there and then go ahead and press play and what it does is it makes it for me give me a wider canvas and then I have four rap options at the end on you can see that I can I can't have it flipped I can have it flipped and blurred it can just be blurred or it could just be a standard and it tells me here in this stop I like to use stops to kind of tell me what's going on through my actions so you can see if I pull these guides in pull the guys in like this that everything within the guide is the actual image and everything here on the edges is just going to wrap around but the point is I didn't have to do that manually I have the option to vignette built and if I want to make the sides even darker here's my main image and then here are the different options around the sides that I can turn on or off there's nothing. So if you want to put a black background back there are white one or some sort of treatment feel free flor she things that people like to do but the point is I have this set up and I had to do is push a button that sets it all up for me big time saver because I find anything that you do any redundant process that you do and photoshopped create an action for it um I will further that cause here oh, droplets I have droplets in here I don't know if I'm going to get to droplets will come back to droplets if I have the time but droplets are pointers and I don't know if it's been talked about yet on photoshopped weak but drop players are pointers that you can grab I'm gonna do it he's gonna do it I'm gonna talk about it I'm just going to do it okay, thank you. So let's say that I want to have easy, quick access to my proof action okay? And I really will happen. I like that color proof action with the vigna I can go into my actions palate I can highlight the color proof action and this is how you create a droplet gonna file automate and it says create droplet now you get this dialogue box that comes up that allows you to save it wherever you want to save it I'm just gonna call it called proof okay? And I want to put it on my desktop I put droplets on my desktop you can put them wherever you want to put him but it kind of defeats the purpose if you have to go look for droplets or the eu's droplets like droplets that really quick quick and easy access to somebody's gonna call it color proof place it on my desktop hit save there as long as I have it highlighted here when I went to file automate and create drop it's going to come up automatically by default in this dialog box so here's, my action set there's the action itself color proof with bin. Yet my destination I'm gonna leave is none. I'm just gonna hit ok? And now if I go to my desktop, you will see that I have this color proof action droplets. So any time, any time I drop anything on there, even if it's a folder of three hundred images it's going to run that action on those images, so again that just makes the process even quicker you know you don't have to actually open things out for going to photo shop and run a batch this is a pointer to a batch or just tune any action that you can run on a single image it's pretty slick highly recommended if you're into setting up systems and automating your work foot okay to go further than that we also use templates as much as we possibly can and I like to use templates that air extremely customizable ajay peg, for instance, is not a template, so if you had somebody come up to me complain a long time that they bought a bunch templates and they were j pegs and I said you didn't buy a bunch of templates for about a month images that are flat you can't use these templates so templates have layers there customizable their editable and we set him up that way, but from a production standpoint we're going to kind of go off what people normally think of his templates and think about templates more from a production standpoint I have these eyelashes these eyelashes are in fact template that I can use instead of drawing eyelashes because for a lot of our clients especially if they order a big image we give it give them a signature finishing it has a certain finishing it has certain texture on dh there's extra I enhancement there's this extra stuff and we make more money that way but instead of drawing lashes by hand, which I absolutely hated to do, we decided we made to make our little lashes template so it's on its own little layer I just drag it and drop it and I could just do a quick free transform and drag it here I'll zoom in so that we can all see what's going on and drag it right over her. I like that and just size it right? It only takes you know, twenty or thirty seconds you know and it's on its own layer so I'm going to just capacity if it's a little too strong and if I want it on the other I just do a quick commander control j t copy that layer and then go to free trains for transforming, flipping horizontal and then just transforming again for this I not so the point is again to do this over and over and over manually is not fun but it's really easy to do when you have a temper like that and for and again you can I can look at it really closely think oh that's really strong that doesn't look real it looks pretty real on the image it really does and it's it's just a lot better than drawing it by hand drop the opacity a little bit and then all of a sudden you have lashes so it's a redundant process that I was doing over and over and over again by hand this stage me a ridiculous amount of time and I have a I have a a look that's what am I looking for it consistent and you're so good to have a consistent look throughout my images now I don't because I'm really good at drawing lashes on this I over here but on this high it doesn't curl as well you know what I'm holding the pencil so everybody die on this side of their lashes were always screwed up now they're they're the same ok so let's go to all right so the next part is action template combos so these are actions that were with templates s oh this is like really taking it up to the next level you know like let's say ok we were we sell a bunch of let's see here's the seven opening you know these are all on one canvas here's an eight opening you know just a bunch of different images although one canvas a great way to bump up your price um and not have to worry about selling a bunch of different products just all in one product you have a couple of these on display in your studio you'll sell these like crazy this is also a good way to be able to teach cell show and cell wall groupings so someone could see this and be like yeah I love that I want every one of those separately and on big gallery wraps on my wall. Either way, it's a really good way to sell your work and make a profit. What you're going to hear me talk about a lot that seems to be a theme of mine, so we're making these nine openings, which you're just nine squares, you know, on a big thirty by thirty or whatever. So, again, I was thinking over doing this over and over, and I really like putting together these things for the clients on spec, because if they come in and it's already done, there are a lot more likely to purchase it when it's of their child, or when it's of them, rather than just seeing stuff from other people all over your walls. But if you have something of them and it's ready and they see it it's, almost like I got, I gotta buy that. I can't just leave that I have to have to purchase that, you know, and that's them that's my child, so but to make it on spec can be a big pain in the butt, you know? It could take a long time. We don't want to do that. So we made an action template combo so I can open that first image, which was my nine opening template is just a thirty, thirty black square it's all it is um and then I opened nine square images they have to be square in order for it to work right? And then I just play the action which is right here and I have one with a vignette and one without a vignette I'll play the one with the vignette and what it does is it takes all of those nine images and it creates a nine opening for me and it gives it a stroke and it gives it a drop shadow so there's a there's a finished look to it andi even takes one image and puts it on the back and diffuses it and drops the opacity a little bit. The guides are on there, so if I if I think to myself well, I really want to put actually these all look really good where they're at, but I can move him, you know, let's say I want to put this one down here and it'll snap right to that guy and I could move this one up here real quick if I need to or if my client wants michel from around I can but the point is it's done and I did it in like four seconds, you know, actually my computer did it for me and for seconds and now I have a really cool product that aiken cell on spec and if you're if you're showing it this way to your client and they say, well, you know, I really like to see that in black and white or brown toe that's easy to do too if you know this simple shift option command and e shift option command and e merges everything that's visible and puts it all into one later on the top that's a really cool little trick you don't know that shift option command or shift all control for you pc users probably like three of you out there right? You you're one of the three two of the three air here two of the three pc users that are watching this and here three they're all here now I'm all of a sudden feeling like I'm in the minority using a mac ok anyway you are too all right now that's I apologize I officially feel bad that I made that comment anyway then we'll just talk that we'll talk pc language shipped shift all control and he we'll give you everything that you have visible on one later on the top. So now I have this whole thing on one layer so if I want to throw a little let's just throw a little color adjustment in there you know I could just be saturated real fast, you know or make it brown town writing about the thirty range you know so I can show my client really fast what it looks like a couple different options because a lot of times these nine openings if they're in color and you have lots of colors it can hurt your face to look at it so I like to make it you know, one tone across the that's just a really quick and easy way to do it now that it's on its own later I can still show him the color really fast too so the point is quick we like to do things fast you know I don't like to spend a lot of time behind my computer even though I you know, computers or how I make a living I like to do things outside of spending time behind my computer and so we try to automate as much as we possibly can and actions our amazing way actions and templates for both separately an amazing way to do that and photo shop and you put them together and it's like you know oreos and reasons peanut butter cups you just it's just a perfect combination you know I referenced food a lot too because I have an eating problem and ideal love food okay? So here's here's the next thing that we're that we're making a ton of these for every session we're actually making artist suggestions now this artist suggestion for us is an eight and a half by eleven sheet of paper you can fold in half and it's like a little pamphlet on this is basically just a way for us to communicate with the client. They come in, they're overwhelmed, they don't know what what's going on, they see, like, seventy or eighty images. Where do I even start? And one of the first questions is always what do you think? You know what? What? What's your well, here's, what I think this is what I think you should do this is what I think you should purchase this what I think you should do with your imagery, it's a great way to just communicate without having to get into it with a client, and they have it twist they like, they like having things that they can hold and flip through and look at, well, these were taken us, like, forty five minutes to make, you know, because we're going through, and we're creating the artist suggestion that were dragging and dropping all the images and re sizing, well, two redundant process, so I'm online thought template, and then I thought, well, I don't want to have so we did that first made the template, but there were still dragging everything in, and then I thought, well, that's redundant process to action let's put him together, so now we have this which you can see it is four different layer groupings. I have the front, the back and then the insides so just fold in half and I'll go through that after I play this and then we have we need twelve images, so I just pulled up and I just opened twelve images after I opened a template and then I had my action. This computer runs so fast, you guys, this is a new this is a new mac pro is sixteen gigs of ram and it just flies it's a fastest computer ever had I used to have, like, when I give this class, I used to have, like, spots where I'd have to stall when things were like opening and I don't have to cut all that out now. So you're missing a lot of my program and that's it now I'm gonna open this action up so you can watch it play and this is the other thing this action play super fast on this computer used to actually you could see it like see it go through but this is how big this is. Okay, so then I just push play it goes through, it fits all the images down, and then it selects each one separately, and then it moves them all over and then re sizes everyone see, I ran out of time, resize everyone into the parameters and puts it right where it needs to go and then there's a stop at the end that reminds you to change the name of the family on the front because that is awkward. If you give somebody we learned that the hard way I have to have to build a stop in on the action to remind us to change name in them. So everything's editable on the template, right? I have four different groups. I have a cover I have an artistic ideas on the back. So here's my cover all in one group there's my artistic ideas on the back and artistic ideas this whatever you wanted to be. Maybe it's an edge, maybe it's a border maybe it's the color treatment maybe it's I don't know what it is, it's, whatever you guys do and your studios or your business, then all embedded in the same fire here's, the inside the favorite one here on the left. This is what we typically recommend for a wall portrait. Okay, and all that's in the text below and then on the right, these air the other nine that I would purchase right to do whatever you want to do with, you know, but given plenty of options, you know, um and it's just again, it's just a great way to communicate that's a big that's a big deal in the sales session is that you need to communicate and to do it efficiently but again instead of forty five minutes this takes three minutes or two minutes or however long it takes and we were doing three hundred sessions in a year of a saving is forty two minutes times three hundred I don't know the math, but it's a lot of time, you know that's just money in my pocket rather than doing it myself for paying somebody else to do it. Oh, what? I always ok, what I want to talk about here as far as building actions go, this might you might not care about this if you're not going to be building actions like this. But the reason that I showed all this stuff is really so that you can understand there's the action so that you can understand that this can be done right? I mean, it's it took me about ten hours to make this one right sat down one day when I was sick and I made it, um which might be right to ten hours, but the point is this can be done in photo shop if it's a redundant process and you're doing something over and over and over again just think to yourself templates and think actions and if you could merge the two and build something like this that saves you ridiculous amounts of time and has reaped you big benefits in the salesroom why not do it? I can guarantee you that ten hours that I spent has paid itself back many, many, many times over because you know your sales averages go up when you're using a technique like this hey, you know this I think you should get a wall port oh well portrait why wasn't even thinking wall portrait so I was thinking like a bunch of eight by ten's no you want to sell wall portrait's in case you don't know that already you want to sell wall portrait that's where your mark of this s o and this is a great way to do it because they can see that ok well portrait which one should I get? Well I think you should get that well maybe this one to you know and then then all the sudden you to selling all kinds of stuff but it all comes down to the fact that you had this that you could communicate with andi and you made it really quickly so what I wanted to say was some people catch this and some people ask how do you get the images to interact with each other within the action like I try to build actions were on selecting images and it doesn't work, and you're right, it doesn't unless you do something in particular, and this is what took me forever to figure out in order to within an action when you record in action, you're recording on your selecting different files, open files, the only way to do it that a work in an action after the fact is if you select the files by going toe window and selecting them down here. Ok, so when youre recording your action, you select the different files that are open through window, and all the files are there open down here. If you do it up here, it will work every time but on lee for those images, because photoshopped either recognizes it as select document number negative, too, which is through window or select document talk for zero twenty three if you actually select the image itself, so that's there's the distinction and that's that that is the big difference. So if you're trying to build stuff like this, whether it was this action or the nine opening action, or maybe you have your own special product that you want to use an action and a template for select your images by going to window and in here that's the way to do it, okay, let's, get out of that. I love the fact that they added apply to all when you want to close images and photoshopped so you don't have to do everyone individually okay I enhancement I was going to go over our enhancement real fast um let's see I'll use this little fella this is a fairly new isn't it stud he just knows that he's he's like four years old and he's working it I just saw this the other day so I thought I'd throw this in and there's a couple different ways to do I enhancement you can make a new layer and kind of paint white overlay layer you guys all know how to do that or you can go in sometimes I like to do it this way and you screen screen mode and multiply mode in your brushes those air brush modes are also layer modes but if you use screen road in a white brush you're going to get light I'm gonna pay I'm going to paint it around ten percent but I can just paint here on the other side maybe enhanced that catch light a little bit but what I've noticed about what why I brought this up in particular is this is in shadow over here so kind of his eyes kind of shadowed out and I didn't get to see what is I really looks like so what I would also do on in this case in particular is using my clone stamp and go right over his people here and bring his eye and over here tio that's a little strong so let's do it at about thirty percent because I don't want it to be stronger than this I but I do want something to be there so because it's in shadow now I have something over there now okay what I also like to do for eyes this fellow must have had a late night last night because he's got some bags under his eyes just knock that down with thirty percent cloning thirty percent just you know lightly don't want to get rid of it you know don't ever over retouch man that's that's another thing that I like to tell people don't overdo it don't overdo the catch lights to make him look like laser beams you know don't overdo it we like to highlight I want to look natural I don't want people to look at their image and be like what is going on with my eyes or what are those air the biggest lashes I've ever you know whether you're adding lashes or re touching the eyes of retouching the face of don't don't make people look like they're made out of plastic or rubber fake and on top of that it seems you a lot of time you don't have to take that much time doing it you know three minutes three minutes from start to finish after they've ordered the image each they order the image three four minutes done this this image would be done in two minutes probably you know if they if they ordered this one and if it's taking longer than that that's okay but know that it doesn't have to you know no that that that should be what you strive for a couple minutes on something like this and that includes I enhancement and color correct everything should be included in that not in light room and photoshopped I'm talking about the stuff in photo shop uh let's go too glass clear ok so this is something that I always show because it does a couple things it really really helps out with the issue of glass claire which can be it's always a problem after the fact you can't do anything when you're wearing glasses and you're wearing your when we're all wearing glasses in here for you blessed with good eyes but so we don't know what it's like to have a glass clear problems and from it from my wife is the photographer I don't photograph I don't even know how to do it give me a camera I just push buttons I have no idea what's going on she tried to explain it to me last night and I said just stop I still understand the I s o aperture all that stuff and that's probably out me a little bit but what that's that's the truth anyway for glass claire, what I do know is that glass there is a huge problem to fix when you need to fix it, but if you prepare for it, it could be no big deal at all. Now there's all kinds of different ways to do it. Some people, those have have had people, papuans is out of the glasses don't do that that's ridiculous. Just having take the glasses off. So this is the image that we want to work with, and this would typically be the image that I would get on the post side as an editor should be like, oh, I just fixed that glass clear. Well, it's really easy for her to say it was really tough for me to do. I could work on this image for forty five minutes, and she looked worse than she did when I started. But as long as you get this image from the camera room, just take your little lasso tool loosely, grab the eyes, do a control, see, come and see if your mac control v come in the if your mac. So I'm just copying that selection from one to the next, and I'm gonna rolling around on their own about lining up for I think it needs to go this is a cool trick when you're trying to line things up go to your layer modes and go to difference and you can kind of line it up that way see underneath it works pretty cool and then I'm going to do a transform and I'm gonna take my access point and put it right over the eye there and then I can rotate on that I rather than in the center ok, I'm going to line that up it's just tilted a little bit, so I did in the camera room and say, just take your glasses off it's real easy I just did it it's like that taking classes off make sure you get those shots if you change your lighting scenario, make sure you get another shot without the glasses if they're smiling, make sure you get an image with them smiling because your eyes look a lot different when you're smiling than they do when you're serious on that could be a problem to smiling eyes don't work on the serious face and then I'm going to get go back to normal and I'm gonna hold down option and click my layer mask okay, so I'm getting a hide all layer mask it's black black hides quite reveals so the reason I show this because later masks or so darn powerful and photo shop you can do so much with him and if you don't understand their masks, learn about them as much as you can the concept could be a little tricky at first, but once you get it it opens up a whole new realm of possibilities and photo shop. You can think it in your mind you could do it and photoshopped using layer masks, eh? So this is a black leather mask again just on that top image it's everything hidden in that top image, which is just that little selection that I made and I'm going to use a white brush. I'll change my mode from screen back to normal at one hundred percent and now using a white brush, aiken reveal whatever I want selectively on that portion of the image, which is just her eyes. And as long as I prepare for in the camera room, I can be ready for in post and have a problem like this totally fixed in a matter of seconds as opposed to having to slave over that image for forty five minutes to an hour and then the person looks like an alien and you have to scrap all your work and you really frustrated and it's all waste so layer masks glass claire preparing for things in the camera room shooting for things in the camera is really, really slick when vicki was doing that and she would give me images of glass claire I finally made the rule that okay, next time you give me glass clear without having an image to fix it you have to fix it yourself and that solved the problem she sat down once and tried to fix it and she couldn't do it so I'm gonna talk about making a signature brush so we're going to do is open up a new file I'm gonna make it twenty five hundred by twenty five hundred pixels and I think that's still the max for brushes that could be wrong about that so here's my canvas twenty, five hundred twenty five hundred here's the other thing if you're looking for brushes online and someone's like selling brushes or you're going to get him for free or whatever but are however get brushes or even if your mates if you're making them yourself let's say that because that's what we're doing make him big make him twenty, five hundred twenty five hundred pixels you know if you see a brush or if you buy a brush and it's like thirty eight pixels that thing's junk and unless you're going to stay at thirty eight pixels but if you want to make it any bigger it's going pixley it's gonna look like crap what we're going to do now though is make signature brush and what I mean by that is just sign my name and or put a logo in here I think that's what kara talked about but for me in a sign my name on this new layer and now I have that as a signature brush if I just go to edit and define brush preset and it's that's two thousand pixels that's plenty big I'll be able to make that smaller like pop that in the corner of a of an image or use it however I want to use it it's a stamp it's a stamp of my of my signature which is pretty slick and I could just call that sig brush hit ok and then it's there it is pretty cool you could do this with anything obviously any shape or anything you want to but I have found that it's really helpful to do it with your signature so you have your signature digitized you can use it however you want to use it on when you go into sorry you go into a pier in your brushes it's just been appended to the end here now you can save that separately you can save it with the rest of those brushes so that it's already there the point is make sure you save it because of photoshopped crashes air turning your computer or something happens it won't be there when you open it back up that's the other thing with actions in particular if you build an action like this if you spend the time building an action like this make sure you put it in his own set make sure you go up into the action palate and hit save actions because if something happens to the program which it rarely does but if it does and you did all of that it will be gone when you come back in unless it is safe so any time you do and this is like one o one common sense type stuff but I forget to do it all the time and then I'm like why didn't I say that I just lost all that so remember to save okay eleven twenty let's move onto overlays now overlays are pretty basic you know this isn't this isn't anything really new or real big but for me it's a big deal I've got to get rid of that brush that's gonna be distracting for me it's a big deal because our clients still don't know half the time that we don't have a concrete wall in our studio because what we can do obviously they know when they come there but some people come and they're like oh, I want that photo that you guys have on that really cool marble wall that really cool concrete wall what's because that we do this we drag this picture of concrete onto an image and so I have that on its own layer on top for my image and I can go in and click overlay and I get this really cool effect of course I want to take that off of the subject so I just this is a layer mask again I'm using a black brush on I'm using a white brush I mean, I'm sorry he's in a black pressure on a white layer masks I'm using I'm hiding selectively on my layer mask I'm going to bring back whatever I want to bring back pretty simple, pretty basic but there's other stuff about this that you may or may not know okay, first of all, I wouldn't recommend such a strong I mean that's really strong and I'm taking off the chair too that's really strong so I'll drop this down, okay it's a little bit more so all right it's just a cool little treatment back there. The point is I want to be able to do this on spec again so you can throw you can throw together a couple of things like this and throw him into the images that you're selling to your clients to have them ready for when they come in just a little too. This is what I would put maybe in the artistic ideas section of my of my artist suggestion so again it only takes me ten seconds to do it right that should be the whole point, but the other stuff about that about overlays that are really cool is that I like to extract things out of the overlay so like here's an example, this is a really cool, overly it's a metal door I love it it's got scratches all over the place and makes for really cool effect but what I really like about this overlay in particular is just this section just this edge and so what I would like to do is extract that independently from the rest of the overlay and you can do that by going to select color range okay? And you can see down here that you have this dialogue box open now I can control this the fuzziness they call it fuzziness and I don't know why somebody else someone the other instructors here probably knows why it's called fuzziness and maybe I should know why, but I don't you know ari it's called fuzziness I love the fact that it's called fuzziness, but I don't know what why it's called fuzziness so you just the fuzziness by screwing up and down and you can see in that pretty down there that more of it or less of its being selective it's kind of like a tolerance, you know when you're using the magic wand, so I don't know why they didn't call it tolerance so fuzziness I'm gonna put about right there because that's that's like what I want from this hit ok? And I get this really intricate selection if you try to go through and do that manually, we're taking forever you probably do a very good job. So now that I have that all selected, I'm going to extract it by just pushing commander control j and it puts that on its own separate layer. Okay, so now all of that really cool detail and all that grungy effect is on its own separate layer if it's not strong enough to sit commander again, copy it again and then hit command and control e and murdered into itself now it's even stronger. Okay, pull that over onto an image like this and I couldn't drown defy this image, you know, on dso that's what I would really like to do with something like this is pull things out and then used them his treatments on my imagery. So if I change that toe overlay it's a little less obtrusive in poland a pole layer mask on there again and use a black brush and knock it off of him so it looks like it's behind him and then maybe I'll use a grady int and then come down because right here I have this there's a there's a line here you can't really see it, but it is there and I wantto or ease this in to the background, so I'll use a radiant that's foreground a transparent, which is the second one if you click up here it defaults to foreground background you do not want that you went for going too transparent so I'm gonna go from black to nothing as I fly this crate viant I'm going to come down like that and not to give me an easy transition from that in the back I won't have that definitive line from the from the overlay that I brought in you can I guess if I go to my history you can see it better right here see that so I just use degrading to get rid of that line it's not definitive anymore and remember you know, just just trying to really understand what the concepts of this of this are you like using radiance and layer masks is really, really cool and I'll show what else that we do with that here pretty quick but you can use a great and a layer mask and get great let's get great results but make sure that you're going for ground to transparent that's that that's kind of the kicker foreground a transparent ok linear radiant in a layer mask on and this is again to recap extracting different pieces out of overlays or other images that you can use for effect so know what I would do now as I get rid of this background there and I would say this as a transparency okay, so saving is a psd don't say that the j peg because once again, it's not a template anymore. If you save it as a j peg, this would get flattened on white, so save it as a psd or png files for that, transparency is retained and all they call it. I don't know edge three year over many that you have and save it in a folder and you can just over time you accumulate thes and you have a really cool library of really neat things that you can apply. Your image is for treatments and whatnot. Um, okay, so yeah, here's like here's here's. Another one that we have and you can. I just took this from something else. But this is a really great border than I grabbed from song. I think from a window still in a warehouse and it just took it out and I use this as an edge, and then you can flip it and use it on the top and then flip it again and use it on the sides and created a border all the way around real quick, real easy, real effective. All right, next let's go into well extracting elements. I'm going to kind of use that and go further. And another way to extract as I was talking about earlier is with the magic wine, so this was a leopard wallpaper there was in an elevator one time and every time I'm with vick and we're out and she's got a camera, I'm always telling her, take a picture of that when used in his background take picture about him, he's that is overly on dh we walked into this elevator and there's all these flowers were kind of in boston in this leather like take a picture of that. So we got this, and now I can use this to grab the's for various designs that I want to make a scene. That's, that's a mistake that I just did there, I opened it up using my magic wand, and I'm a museum in that'll be easier. I'm just going to grab this flower right here so using my magic wand tool to select, I'm gonna just start selecting things and here's my tolerance that I referred to earlier, they could have called this fuzziness. They called it tolerance. It defaults to thirty two, which generally works pretty good for my purposes. That just that just tells you, like the tolerance that the amount of color that you're really going to be selecting. So thirty two is usually what I keep it at. Sometimes I have to knock it down to ten if it's a little sensitive holding downshift. I'm just going to start adding to this election, ok? I want to just really grab this flower out of here. We're kind of like that too. And if you do what I did earlier and accidentally click off and you select more distant command z controls he that's my best friend it's a quick undo to go back one step in your history s o I'm gonna grab that flower again. That's selected did it manually this time rather than with color range. And I'm gonna put that far on its own little layer. I kind of feel like bob ross right now. Pretty little flower and its own little layer meaning what a man he was! He was awesome who grew up with bob roth, but I'm gonna get rid of my get rid of unconstrained my crop. I'm going crop this now. So now that I have this this little flower on its own later transparency, I could use this. This is now part of my library of design, and I got it for free on its in its high res and I and use it over and over and I can manipulate it and transform maybe this is maybe this just became my logo from my studio or for some really cools set of prints that I'm going to do I open this image um and then grabbed my logo my new little go now and bring it in see its high raises plenty big I'll drop this down and this many place it in the corner like this and then throw overlay later mode on it so it's unobtrusive but that just shows people that that's mine all right, so take the concept and run with it I don't know what you're going to come up with, but the point is you can do it really quickly and easily okay make your own logo's make your own cool stuff so we're in the creative part by the way, I kind of slipped into that without talking about it all the son were in the creative part I'm just keeping ruling I'm going to run on time and we could just talk about movies or something for a little bit uh masks okay temperance clinton templates clipping math so this is the templates part over here was more practical use of templates this is it is a practical use, but I want people to know about clipping masks because they're so very helpful including mask is really just a placeholder for an image, ok? And you can make your own I just made this one with the brush on dh you'll see what it does is I'm going to be able to clip an image to this clipping mask musically mass to do this oh I was in the state dropped by getting drop it over okay so here my images on top of that mask and I'm just going to go to layer create clipping mask and that's going to clip that image within the bounds within the parameters established by that black box okay with that cool edge on it all right so again this concept comes in very very handy when you're using templates album templates card templates stuff that you've already done that you want to reuse that use wanna drag and drop created clipping mask you know swap out images really really fast when you put it in their head commander control t then hit commander control zero if your oscar canvas and automatically show you it'll it'll it'll pull back and show you where you're how bigger images and you can pull in from the corners using shift or shift an option okay to maintain your aspect ratio if you don't do that you will mess it up so hold shift or whole downshift an option or halt you're using a pc and bring it in from the corner and now you can see that it's it's just bound by the parameters of that mask really really slick now to take that that's just kind of the basics of what a clipping mass is to take that and run with it here's a gift certificate okay that is focused more on children for our studio back home andi let's say, well, I wantto create a senior gift certificate of that. I'll take a senior image and throw it in there, everything is in layers so I can I can edit everything still save everything in layers every time and you can see that I created this template with a clip that I can just drag the image down below that I can drag the new image down below the other image which has already clipped in there and then hide the old image. And now my new image his clipped inside of there. So I swapped it out really quickly and really easily without having to go in and change things around. And you know, again, if I wantto adjusted hit commander control t and I can hold down my shift their option keys and bring it in, you know, to make it make it fit just right underneath that tag but the point is that was quick and easy, man, you know, if I want to adjust anything everything's on its own layer, I gonna just all the text I can change the colors I can do whatever I want to change the color really fast just select whatever you want to change going to your effects there's a color overlay and your layers palate and then I go to color down here so I can see through it cause there's polka dots on that otherwise you can't really see through it very well so I changed my blending mode of color and then usually take one from the image so I can customize that really really quickly to go along with with the image was purple before now it's green to go with her dress so another advantage to using templates quick easy effective so let's say that you have back home you have some cards or things that you designed that you haven't set up with clipping masks per se like that other one wass but you still have an image is always its own its own separate later or even if it isn't let's say that it isn't let's say that it's merge into that background like that well what I could do is select the image okay as best as I can cut it paste it put it back in there or it goes and now all of a sudden I can use that image as a cliff if you really want to be serious about it you can select it fill it with black if you want to call that you're clipping masks ok I'll make it even bigger so it's behind the background now bringing new image in here and bring it in and swap it out clip it to that the keyboard shortcut for that is all controlled g or option command g and you get the clip, you can also drag it, I think hold down all option and drag it between the layers and slaps down there again like seventy different ways to do the same thing, and we'll get taught different ways from different people. I do it just whatever way. S o but stuff that you already have tournament of templates, man, if this was all flat, I'd go in and knock these circles out with my marquee tool and knock that out like I just did with the square marquis tour rectangular mikey tool and turn that into a template, even if it was flat. If your text was flattened, you kind of screwed there, but don't find your tax man, don't do it, okay, keep inevitable. All right, let's, move on to more. Ah, creative way to use layer masks to sell products because really, for us in our studio, we need to sell product that is profitable so that we can put money into the banks, that we can pay our bills, that we can keep doing what we love to do. So it all starts with selling product that people want to purchase, and one of the products that people love from our studio are eclectic ce we call them it's just four by tens, right? Just quick four by ten composites israel it all really all it is s o we have these four by ten frames that we get, you could do fired by tens. That ratio works out just fine too. But the point is we want to be able to build these quickly. So what I try to get vicki to do is shoot for them. So I kind of have it in your mind that you want to do this when you're shooting, and the best way to shoot for is to shoot with what I call book ends like sides, because I can use this image here. In other words, this image doesn't have anything that I can use as an edge or aside it's just him by himself in the middle. This image does have a sign I can use this chair. This image has aside, I can use him and his mama's aren't. So what I'm trying to say is I want what I want to do is create an eclectic or four by ten five by ten composite of this really quickly and easily again are inspect for the client so that when they come in, they see it it's already done, they buy it, you know, we can get two hundred bucks for something like this in a frame. And we sell one about every time about about every session we sell into collective when we have it done, but you want to make it in like, two, three minutes or five minutes you don't want to spend an hour on one of these because then when they don't buy it, you wasted an hour and if they do buy it, you still wasted a lot of time because it doesn't even take an hour so let's create a layer here from the background this is going to be my middle one time I already know I'm kind of kind of lay it out like this, right? So this is going to be more mental image I'm just going to go in I'm gonna crop unconstrained just like that. Here we go, knock that down about there, okay? So I applied that crop they're going to go in and change my image size two I wanna change. First of all, I want my resolution to be three hundred because I'm gonna print this. Okay, then I want my height to be four and I don't care if my witness because I know I'm gonna lock my height and force will be four inches tall by ten at some point, but I'll show you what I did so there's my mental image over to do the same thing to these two images on the side this crop in real quick unconstrained in other words, the size and the resolution isn't being changes just being cut it's not being re sampled to anything that makes any sense s o I have that image now and I've got to go in I'm going to do the same thing change the resolutions three hundred and change the height to four so that it matches this one, so when I drag and drop this in it's going to be exactly the same size it's going to fit right in there do the same thing to this guy again I'm doing this on spec clients coming in a little bit and I want to have this I don't have this ready for him to hopefully be able to have a nice little add on to the sale again go into image image size make sure I'm in a three hundred and my height is for I can drag and drop him there like that. Now I have three layers that I'm going to create a four by ten out of, but I don't have a four by ten I have a four by whatever, so I'll go into my canvas size and make sure that my with instead of four point eight two three is ten now I have a canvas to work with slam this image over here to the side slammed this image over here to this side and now I kind of kind of concede where I'm going with this, okay, move this guy in the back a little bit photo shop also added it's really cool thing where you can see where the edge of that images I don't know if you guys can see it, but I'm going to put about right there, which is really slick when you're making composites now I'm going to take this image here on the left at a layer mask and then knock out what I don't want what I don't want is this here and I have a nice little edge on that chair that I can't go up to. Now, you can kind of see what I was talking about when I talk about shooting for bookends because I can make this composite really fast by knocking out what I don't want up to that edge of the chair now here's the thing you can be a strict and, you know, tight as you want on that, he didn't go in and you can see how there's still there's some fuzziness in there. I'm also using a soft age broad, but there's some fuzziness in here and I can go in and I can knock that out and I can change back and and really make this is finished as I want, but this is on spec man, so I don't care I want to look decent I don't want to look like jump, but I don't want to spend twenty minutes on this I don't want to spend ten minutes on this so and when you're not teaching a class you could do this really, really fast so on this other side I'm going to do the same thing I'll use a soft edge brush and I'll go in with a black brush and just knocked that out too, okay oh looks like we have a problem that's easily fixed I'll show you what I mean, but I'm not going to get too strict I'm just going to use him has the edge oh, and here's where I talk about my way come tablet he is remembered because I'm doing this really easily and with minimal effort because I'm using away calm tablet this isn't sponsored by weak on or anything, but I'm telling you you're not using awake on tablet or using week on tablet you are not this's an old into us three ok, I like the into its line for sure you can use this antique if you want to and you have lots of money I would like to have a cindy I really can't afford it's antique right now but and into us I think is essential you talk about how much and into his costs for holy cow I did a calculation one time on how much money using awake on tablets saves me at my studio and for every way come tablet that we used just for not having to define a source manually on my keyboard when I'm using the hell brush, which is now that you have a spot, you know, you have to do that anymore with the spot brushed back way back in two thousand five, we're having to define our source it save me one thousand seven hundred thirty two dollars, give or take for every way come tablet that I had just in the amount of time that was saving me that I wouldn't have to manually, even though it only took a second or two every time I had to find a source with the option key. I do it now with this, but you know, those seconds add up in the minutes and those minutes add up in two hours, and it was that day that everybody in our studio how to use a wake on tablet and they hated me for ten weeks or for two weeks, you know, to get used to it because I got rid of their mice. We're not gonna use a mouse anymore, you're going away, come tablet, and they hated me for two weeks, and after that I absolutely loved me, and now everybody uses the way come tablet that's my plug for way come even though it's not official, everybody should get you should. Really, everyone should really use away calm, tablet and it's a lot easier on your hand and your wrist carpal tunnel doesn't happen. I've never had carpal tunnel because I don't use a mouse sorry, going off on a tangent. All right, here we go. So that's basic, right? And again, if they purchased this, I say that in editable layers with my layer mass intact so I can go back and tighten it up a little bit. And even to say that to your client. You know, I just threw this together for you to see what you think. I really like these three images. They really have a nice symbiotic relationship to me, and I think it's a really good idea if you purchased this for your wall, whatever you want to say in the salesroom and, you know they're going to be like let's make child, I have to have that they're crying from the slide show everything else you just showed him. So we have a problem here, though, and there's a couple different ways to fix this, as there always are. I'm going to use this technique to fix this here in the back, and I'm just going to select my back or that part of that image and then use commanding control t and stretch it over that also shows me that I need to clean that up a little bit on around the moment's arm which I could do really fast with the black brush and knock that out okay so you want it to be you just wanted to be somewhat presentable I'm not going dipping your arm but you get an idea right? They come in and then they're going to be a lot more likely to purchase that when they see their own child in it they say that a lot but it really is to just try it just try design a couple things on spec and run a few experiments through your sales through your sales sessions and see they'll start purchasing a man that start buying stuff it'll be great okay that's what book ends there's also a wage you know that we make composites again with that technique I was talking about earlier using radiance with layer masks I talk about later mass a lot because they're just awesome you know I really think that layer mass are the most powerful tool in the program s o here I'm going to do this again just real fast I'm going to change this starting at three hundred going for high this is going to be my middle image I don't have book ends here really I could use her but I'm not going I don't want to cut off the top of her head so I'll just crop this down to that this is going to be the one on the right but this time we're going to use radiance in our layer mask I'm gonna make my height for here and obviously if you want to make a composite that's you know a twenty by forty make your height twenty instead of four um she probably threw that in there make my height for here resolutions three hundred that's important but the resolution is the same I'll make this background editable change this canvas size to ten and now I can have a symbiotic relationship with these images work well together they're all shot on the same background I'll bring her over like this bring this next one over like this ok I'm just going to hide that for now and just use this one throw a layer mask on their radiant again foreground a transparent that's the second one so I have a reveal all their mass coming to use a black brush I'm going to go from something to nothing here with my grady in't like this you can see that now she's starting to show up there in the back but really my goal is to make that background kind of merge right and so I'm using a linear radiant right now and I'm kind of adding to it but at some point you can use a radio I think that zit radio radio grady got it right yes and so this is a circle it's not a line it's a circle so I'm just using its is goingto they're just going to be a diameter to determined by the radius that I make with my brush got it okay, I'm gonna do the same thing over here but she's got some still in her hair there see, I'm cleaning that up a little bit same thing over here that okay on hide that and throw a layer mask on there, go back to my linear radiant and come in like this and so really quickly I'm making something that works then I can again on spec sell to my client I guarantee you I guarantee you that the mom comes in for this and purchases this at the end after I've sold my wall portrait's after I've sold my eight by ten or smaller gift prince actually looked at folios and albums and everything else she sees this she sees the example of it already framed on the desk right next to her in the salesroom she's going to make this purchase you just sold another two hundred dollars out on maybe she buys one for grandma that's an extra add on maybe she buys one for dad for his desk it work there's another one just keeps adding up profitability gotta have it collects selective color I'm not going to do that is to basic we're going to go into painting the light this is a little bit more fun and this is really all about moved right so this image is finding of itself but you know she could be in any stairway and that's not very exciting let's say she's in a scary stairway you know it's let's say that her life is in danger right now. Well, we can't tell by looking at this, but if you've been yet this and there's several different ways to do that let's just let's just use the radiant because that's what we have selected right now to make a new layer and I like to put my vignettes on their own separate layer when possible so that you can have control over them. That's what that's, what layers do give you control after the fact? Especially thirty percent millennial radiant going from foreground a transparent I'm going to pull in from the corners and already it's getting scarier? I mean already I don't want to be on that staircase at night, I can tell you right now, all right? And that was quick and easy all right, so that's one way to do it too then yet another way to do it we'll make another new layer and goto overlay and on that overlay layer I'm going to use a black brush or a white brush to paint light or shadow okay, this there's this gives you more of a custom option with a linear grading you kind of have to come in with that line or ah radio draining you coming with that circle you have a diameter a limited diameter with this you just paint light wherever you want paint paint shadow wherever you want to paint and it's not destructive because it's on its own separately you're not hurting pixels of the original image ok, so I can go in here we'll know sorry let's go to ten percent okay that's too light let's try twenty percent we're going to make it scarier than that and I can dip in like that and come up, I'm open around this I want this all dark down here so you can't really even see what she's standing on all right and then up here she doesn't look very scared but it's a scary place, okay if I want to hit acts and maybe lighten her up a little bit. Okay, drama is what I'm doing that I'm just added drama to this image a lot more dramatic than what it was before and when and doing it this way you can get really, really selective with your shadows and kind of make kind of paint that light on that on the wall back there behind her. Okay, maybe make her darker down here. Ok, again lighten this up over here. All right, so all of a sudden I went from that two that really fast it's not destructive, which is great. So, drama, you know, excitement, you're adding to your images just by painting some light in here I want to do that. I would make that even darker. It makes a big difference. Ok, so a new layer blank layer overlay white and black really slick little technique. Okay, now, let's, go to tell you what the big thing that all the kids are doing nowadays seems like to me. We don't know a lot of things that I don't understand, but one of the things that's really big in the design world I've seen are is this chevron pattern you're all familiar with what I'm talking about. Chevron it's everywhere and now, next week it'll be gone. But for this next week, next week could be something else. But for this next week, if you want to make your own chevron pattern photo shop also has a really cool little grid feature that you couldn't throw up their command apostrophe r command quotes, command quotes, controlled quotes pulls the great up or you can do it manually as well so what I want to do that, though now is make my own chevron pattern, so I'm gonna I just pulled this open is a five by seven because that's like the size of a lot of backgrounds I could make for cards and you can use that for albums. You want to make a bigger, make it bigger ten by ten or whatever. Three hundred cause I'm gonna print this again. Okay, make a new layer and on the grid using your rectangular marquis tool this's set up this grid set up to have a quarter quarter inch squares. Okay on, I'm going to go in and I'm going to fill in three of them with black and then fill in three more on this side and making kind of ah l that the best way to describe that kind of an upside down hell and then filled it in with black and then I'm gonna rotate it holding down shift if you rotate when you hold down shift that does it in section that's not smooth. It gives you like a clock that you can go around and have a nearly perfect so now I'm going to move that in and it'll snap let's get it to snap to something like that and then command j will copy you can all see where this is going all right, so I can do it once and then commander control e to merge down command j again to copy this is how you make patterns you know you made one piece of the design and then copy it, merge it, copy it again and it gets easier because of math gets easier every time and I can bring this over and now I have my first and here's the other thing if advising me no privacy all kind of mistakes that I mean it's not exactly perfect on there so zooming don't do what I just did zoom in and actually look at what you're doing but you get the idea so I have my first my first line their copy again bring it down, you can merge it copy again bring it down and all of a sudden I can see that I have a chevron pattern emerging now the chevron pattern is on its own layer, of course, right? And which gives me all kinds of options to change the color I can throw a texture on there which I'm going to do on his own letter like this I want to go to color mode or color overlay and change it could make it any color I want to make it you guys whenever I want to be you okay? I think meant is a big color nowadays isn't it isn't meant a big one you know what I do? This is going to this will be a little bit emasculating, but I can do it I go online right now on february or march of every year and check out the new spring colors top ten spring colors man, if you're into design that's the way to do it and so when I said when I acted so I didn't know if it was a big color this year I was I was lying because because I know it's a big color this for this spring because I checked about a month ago so this collar right now is a big deal and there's a pan, a specific pantone that you can go I don't I'm probably way off, but this is this is giving a good idea, but I didn't really quickly by this adding a quick color overly effect to that and now that I have that on its own separate layer, I could do whatever I want let's try throwing a texture on there, ok? Let's open that concrete texture and I haven't tried this yet. I just threw it in there last night so this might not work very well let's just see what it looks like because there's another one in here that I actually typically used for this um if I make that a texture, I don't like it it's okay I really like using pages from old books I've never done that ok go library check out a bunch of books x bringing home photograph interesting parts of the book all right and if you break any copyright laws that is on you my disclaimer is that I have nothing to do with you breaking copyright laws so don't come after me because you don't know what this book is I don't know what this book is all I know that I really like to use the page as a texture so I bring this paging and it even has a natural it's like then yet it on the sides perfect it's old it's great it's authentic bring it in drag and drop it rotated with commander control team all right open that up so it fills the whole thing and then soft light how about that trying to sell a fight on their it's subtle but do you see there is something there which is what I want I don't want this major texture running through there so that you can see it but I want something subtle all right and so it changes it just a little bit over there probably is a little bit more yeah it also changes the color too much got to keep that in mind when you're when you're working with these things um but for sure I'm going to throw a little bit of a texture on there and then I can still go in and paint light with my overlay okay and dark and the hedge is maybe a little bit so what I'm doing is I could be making a background for an album I could be making a background for a car that could be grad cards a really big right now coming up right for those of you that shoot seniors photograph seniors making some grad cards do I have one? Well here's an example of what you know this is like a finished example of there's a chevron pattern up there there's a bunch of polka dots down there that we did the same way you know you just throw a bunch of polka dots and then copy him and move him over until you have a bunch of program cuts on on the card but this is what the chevron pattern is going to look like when you're finished but you know you could do this syrian thing do I have I thought I had a senior idea gotcha. Gotcha. Okay, bring this in and just make a quick card you know, obviously I'm going to change the color of the chevron because this girl is not hip to the colors this spring at all but that's okay? Because I can just open my color overlay because to say we're using this as a template I open my color overlay go in and pick the color from the image and all of a sudden it starts to work maybe a darker blue it's too dark like that yeah ok and let's say I want to like make hot spots in the background you know so I got this here I didn't put this image wherever I want to put it maybe I put a stroke on it you know when the wrong winner maybe I put a stroke on it probably just a white strokers where I would put on it um by going into well I have no idea what I did when I did something when you go back in my history there we go there we go let's put a stroke on that again just a layer effect just a white stroke on the inside my store I always put my strokes on the inside I don't know if that sounds bad but that's what I do on dh then color overly let's change that color again and I really just wanted to show you guys this just so that you can see that it could be done you know relatively quickly and unless you're messing things up because you're nervous in class move this around okay there we go so I'm getting there basically another five minutes and this and this could be ready this could be a grad card that's ready again on spec you could do stuff like this really fast inspect especially if you already have a folder with a bunch of different chevron backgrounds and or a bunch of damask background damask same thing I have won the mask, a little design here that I had somebody make forming in illustrator, which is another thing to keep in mind if you're going to make, like, a really intricate little pattern like this, I have, like something can have, like some high school kid, you know, that's, the other thing in high school kids to do stuff for you all the time because they know a lot of stuff right now and there's like clashes that are teaching high school kids all about photo shop. So I have, like, do internships? Internships are huge in our studio get interns to come in, they work for free, you don't have to pay him, but getting turns in there, not college interns because they feel a little bit entitled. High school interns work great because they're afraid of you. They work for free and you can get him in there to do all kinds of cool stuff. It's great for their resume that they they can't wait to go work for a photographer. You have to pay him anything I buy on lunch, everyone so what? But you bring him in and you say, hey, make this cool little damask pattern forming an illustrator because I'm not very good illustrator, but they are so they make me this. And as soon as I have this, especially if it's any pf renee, I file I could make it as big as I want. And it's going to put this on a billboard if I want to from the file of the file. But I bring it in here like this. Let's do the same thing that we just did really quick like to make it the mask pattern across the whole back because I know damascus for, say, two thousand twelve but they were big for a while and this is how you could make it really quick pattern even snaps and photoshopped. So I'm gonna do that have emerged all those layers. And then once again, using math, I can go up and snap that. Bring that down like that. Copy it again. Bring it over. Shift it up and in between. Where do I like it may be right there works for me. Okay. And then again, after a couple more of these, I have a really cool the mass pattern all the way across the back. Throw a texture in there and take it through a page from a book in there and give it a little texture over the top of it or in behind it. And all of a sudden, I have another background that I can use for albums or cards or whatever. Once again, save it layer so that you have that control in the future. Save it as a phd file s so that you know, months down the road. When you find out that the masses are no longer in, you can change the pattern a little bit so that it could be a little more in with the times. The clipping masks. Your example, was a brushed mask with uneven sides. Normally, I like to have black backgrounds occasionally, and I can do that if I used a strong rectangle that I can throw background behind it. You know, mass like that. How would you dead just went white. How would you possibly get them to go black? All right, explain again. Okay, on that thing, you drop your photo into it, okay? Okay. Looks great. Looks awesome. Yes, I want the exterior of the the words white. Now, can we make it black, absolutely, because that whites based on the background, okay? Cnn's phil black is phil black ok excellent or any color that you choose mint made green seven million colors that are available on to us but there's only ten we care about true time that's good for this spring meant is one of them um when your batch processing for camps you were talking about not necessary we're making sure you don't overdo things what's a what's a good rule of thumb that you might use there isn't one your photo that's the problem is that there isn't a rule of thumb that's why so many people overdo it because when I'm saying people are overdoing it it's one hundred percent based on my opinion you might have a completely different opinion so when I say don't overdo it I'm saying don't overdo it according to me and really I'm kind of being lied about this but it's kind of a serious deal you know because a lot of people will go out there and try to act like there's a rule of thumb for stuff like being a professional photographer in the first place and there isn't you know they're just isn't so I think if you like it and it looks good for the most part stylistically it's who you are for me if I look at an image using catch lights because I see it all the time and they look seriously like the persons in x men and they're going to laser being me I think to myself that's too much catch lights are a little strong somebody else might come along and think and that person has beautiful eyes, so there is no rule of thumb now there's rule of thirds and there's like all kinds of compositional things and there's all kinds of like rules of photography and rembrandt lighting and whatever else I don't mean to say that there are no rules in photography, I'm not an anarchist like that, but is there some subjectivity is really important in this industry? And I think sometimes it gets lost by people that are looking for something that isn't there that makes sense. Yeah, but if you're using something like a droplet to just go ahead and do a really quick retouched on a large batch of friday's, well, you may be, you know, because that those actions were kind of kind of apply across the board. Yes, I got what you're saying and that's actually something that I missed that I was supposed to go over that I forgot to in portraiture in particular there are different levels of retouching that you can apply to the image, and so I would typically have three different drop it's kind of a low, medium or heavy because for different people it's going to change for different lighting scenarios, it's going to change and for different tastes it's going to change on dso I would want the option with my droplets in particular or even if I'm using it in light room three different presets that is going to that air going to apply that that plug and in particular to different levels you know and you'll know you you can run one and be like that's a little strong I'm gonna knock that down to the lower to the lower level does that make more sense yeah that's also thank you yeah I might have gone off on a tangent there that you had no intention of asking about I apologize great question from me photo can you give some tips on taking pics of backgrounds to use on your own exactly like how big she just saved that file how big? Yeah, his biggest can't full frame is bigas you can save it and it's actually something else I usually talk about so I would love to have a picture of that wall right there all that would that door those doors that's cool I would stand back and try to get his full frame as I can of that door fill it out as many as much data as you can put into that image and then are you using that full image when you drop it into well the point is you have the option of using wonderful image that's the beauty of it and always keep perspective in mind too you know if the doors here I'm gonna I wanna photograph it straight on you khun manipulates things and photoshopped in why photo shops great you can do all this stuff in it but half the time like why do it on camera line yourself up photographs full frame straight on so that everything is copasetic so you have to do much to it in post I like your style all right a question from kohli what is the best most efficient way to extract part of an image to create a brush when the tones are very close just adjusting intolerance that's that's the whole point of tolerance s o we could even look at something like this where the tones are closer in here let's take ok so let's say every one of this the really cool actually that the picture of concrete that I have that I use is that that's it the bottom of the stairwell in our city building background from so if I go here and bring that up hope it's okay that I'm doing this to answer the question there is ok so a lot of these tones are very similar so you conceive my tolerance defaults two thirty two if I change that if I just jacked that we have two one fifty and going you can see it's selected the whole thing that's not very helpful so if I go down to one hundred and trying to make a selection it's still selects way too much, so if I go down back to thirty two where it defaults, you can see that now I'm getting now I'm knocking that in and getting a lower tolerance lower amount of colors I can't even knock it down lower and go to ten, which is what I do sometimes and I can go in and now I'm just getting little bits and pieces like maybe what she's talking about? I hold downshift I can get just little bits and pieces of this rather than grabbing so much at the same time so that's controlled by tolerance with your magic wand and fuzziness with color range okay at the beginning of the class you talked about droplets so three the free mind I would like to know what's the benefit of droplets versus batch processing job just points to a batch just it's just one quicker stuff especially if you place it on your desk top again you can put him wherever you want, but I know people that have, like a whole folder of droplets that's, you know, weigh in their computer somewhere and they have to spend have you know, twenty or thirty seconds, which doesn't seem like a lot of time, but to me twenty or thirty seconds for redundant process is a lot man you want to knock it down to a second and if I put it on my desktop it's right there a droplet points to a batch or or can you can you can run a batch by just selecting several images and dropping on a drop a batch is just running an action on a bunch of images so you can do that by opening a mall and going toe file automate batch where you can have a droplet take all of those images throw it on the droplet good lunch I love your focus on efficiency is here for our businesses yes exactly so eternal for one two six nine wants to know how much extra time is spent once a client has bon image is anything ever completely redone considering that the actions won't always get it perfect completely redone sure yeah I can't I can't say no to that you know every once in a while if if the client especially if the client has a special request oh I don't like that I didn't like this or or you use this image in here and much rather have this image or sometimes you put together an eclectic and they come in and there's three images and they don't like any of those three images but but they want the eclectic because they saw how well I do want one of those but I want you know these three images well then of course you have to redo the whole thing the point is yeah, sometimes sure you have to you have to redo the whole thing, and after you have to do parts of it and sometimes it takes longer than ever. But for me, the importance of doing it on spec is that they see it to begin with. They even know that it's a possibility. They don't know. They don't know what they can do at the time when they come in. Right? So generally, what percentage would you say of that? Pre work is done when you go back. A high percentage. Okay. All right. Good answer. Here is hard to knock it it's hard to narrow it down to having quite a number. Of course. Higher than if you don't do it when you put it that way. Good answer. Question from tea and photo man, have a number of brushes that I regularly used. I have a lots of brushes that I use occasionally is their way to reorder the brushes. To put the most used brushes together. All my russia's air numbered. You could just create your own sets of brushes by going and control all in one, and then go in and delete what you don't want and then say that as one, and then thrown on him, because for me, I don't know what I want half the time until I see it all it's like to get them all in a pool and then take out what I don't want to say that as brush, preset or say that isthe, brush that one, and then do it again. Say that its first set, too brush, set three, and then you have your various brush sets. When you go in to your brushes, that'll pull down right here, and they'll be in here that you can just grab one, two, three, whatever you whatever you want. Yes, I think the answer is, yes, you can do that. Take some time if you have a lot of russians.

Class Description

Been using Adobe® Photoshop® for years? Think you know everything that it can do? Jed Taufer would beg to differ! Jed will present approximately 10 things you can do with Adobe® Photoshop® that you may not already know about.

Software Used: Adobe Photoshop CS6