CreativeLive NYC

Lesson 6 of 9

Julieanne Kost: Photoshop CS6 for Photographers

 

CreativeLive NYC

Lesson 6 of 9

Julieanne Kost: Photoshop CS6 for Photographers

 

Lesson Info

Julieanne Kost: Photoshop CS6 for Photographers

These are just some of my images that I'm showing you right now, but I think actually more important than that I'm just going to escape out of here and actually quit out of light room, which kills me because I'm a huge light room user but we're going to focus today since it is a photo shop talk and I know that we still have more photographer is using the bridge and adobe camera ron and photoshopped workflow I'm going to stick with that today so I'm in photoshopped right now it's funny how the toolbox just changing the position of my tools kind of freaks everybody out but you know, I think, well, how many of you guys are in photo shops here? Six excellent all right? And you spend, like, a lot of time in it half your damn it, I would say ok, so I know this sounds silly, but for me, like, if I'm over here my layers panel and I'm like, oh, I need a tool it's like a a way over to the other side of the screen, right? So why rightly get takes? All this mouse movement takes a ton of time and I...

will say I usually use a tablet, but um don't check your tablet in here checked luggage so it just didn't really make it, which I'm pretty amazed that because they're pretty durable but they're not t s a durable evidently all right so we're going to take a look at all the new features in photo shop c s six as you notice when I first comes up it looks a lot like light room if you've seen like because it has this dark interface right? So if I want to change that we could go into our preferences and I'm really bad with keyboard shortcuts so well really good with keyboard georgians I guess but I'm bad when I demo because I should show you where everything is so we should go here under photo shop and I should just come down to preferences of course if you're on windows where are they under the edit menu, right? All right, so let's just start with general preferences there's something really important here that's new I know this and I'm thinking I can't believe I'm starting with like preferences like could I start with a more boring thing than preferences? But I don't think a lot of you decide like oh it's wednesday afternoon I think I'll spend an hour in the preferences and photoshopped no, no one ever looks in here and so we have all these options that I'm afraid people aren't aware about where so let's just look at a few of them all right? The first one I'm gonna look at is this one appear this image interpellation we have a new option in photo ops six so it's for by cubic automatic which means you don't have to think about it anymore if you're re sizing an image up we use the right math to do that the best way we can and if you're re sizing an image down we'll change the algorithm of the math in order to incorporate the fact that you're throwing away data so you don't have to sit here and pay attention to should I use by cubic smoother irst uday used by cubic sharper anymore just send it to my cubic automatic now this is my general preference I can always change this because you know when you go to image size you always get the option there too this just sets the default in image size to be by cubic automatic it also sets the depot when you free transform things to be their spy cubic automatic one other thing in here but we have to read this about five times before I understood what it meant this little very round brush hardness based on hud vertical movement what does that mean? Yeah exactly right and then so then I tried to pretend like I'm an engineer and put commas and different areas like oh maybe I'm varying the round brush hardness based on hud vertical movement and I go I got it what does that mean? Well I'll leave a check right now we'll click ok I'll just make a new file command in and it could be any signs but let's go to the default click ok and you guys probably know whoops you probably know you'll notice how many times I say whoops see I make just as many mistakes and photoshopped as you do is just that I can undo faster that's the only difference right so let's zoom in here and I'm gonna grab my brush so here is my paintbrush right and it's really really big right now which is why it's really really really big so let's just pick a different brush or will come here for a moment it's kind of funky that it's so so big all right so this is what your brush typically looks like right you've got the round circle and most people sit there and go I want a bigger brush so they know the shortcut is the right bracket key and they said they're gonna go right bracket right bracket right bracket right blanket right blanket and it grows a little bit each time right or they do the same with the left bracket to make it smaller but you can actually use control option and drag left and right on the window side I think that's the shift plus the right mouse click and then drag left to right and you can change you can see that I'm changing the diameter of the brush and this is much much quicker this also works in liquefy, which is nice because we have increased the size of the russian liquefied like fifteen thousand pixels all right, so that's left to right does the diameter up and down does the hardness of the brush but you see ncs six we've got this little pop up this hud this heads up display there's a third option there for opacity? Well, we can't tell you like, oh, if you go in and exactly a forty five degree angle, you can change now that's too difficult. So what we did is we came up with that preference that said, if we uncheck this instead of varying the round brush hardness based on the hud vertical movement, we're gonna change the what click ok, we're going to change the opacity, all right? So if you're not working with a tablet but you're working with a brush instead and I say you're not working with a tablet because tablets are, of course, pressure sensitive that's one of the benefits you can now change not only the diameter of your brush but also the opacity of your brush just using that keyboard shortcuts. All right, so now I'm gonna bring up those preferences again, which is command k or control k if you're on windows to bring those up and it takes you to the general preferences where we just were but I want to go to interface because if you don't care for the darker version in c s six, you can change it here, you can actually have a go even darker, or you can have it go lighter or back up to the light is value, which was where it was in c s five two other really important things here for me personally, I actually really like the way that when you open up multiple documents and photos, they come up tab, but some people really don't like that. So if you just don't like that, you can turn it off right here, but you, you don't just turn off the open documents is tabs you have to turn that off, and probably you also want to turn off the enable floating document window knocking, because what that does is if you have two windows open, that aren't tab, and you dragged one on top of the other bill tab unless you turn this off, so turn this often, and if you don't like tabs at all, turning both off all right, I'm gonna leave them both on because I like the tabs, and I'll show you a short in a minute how to set up a custom keyboard shortcuts so that you can go back and forth. Really fast between seeing all your documents tile and then just returning to a single document. Yes. If this isn't too much trouble, if you can differentiate for those of us who are still up to see us five or cs for when you're saying this is possible, okay that's c a six or not, just on the times when it's specifically see us uniquely. Yeah. That's. A great question. Thank question is, you know, can I can I make sure that I make it known when something cs five and c six. So this is cs five. This is cs six. Okay? And the same here. The keyboard shortcut that I was using to enable the brush sizing that is not new. That was in c s five. But the ability to change the opacity of c s six and the by cubic automatic is also c s six. All right, if we go back to interface when you do transform in c s six like a free transform your scaling something and re sizing it, then you want tio. Well, I like the fact that when I transform now, I get a little hut a little heads up display right there that tells me exactly the signs that I'm transforming, too. If you want to reposition it, this is the preference to do that or you can say never show it but I think it's really helpful so I'm gonna keep it up and I'll just keep it in the top right for now and when I free transformed something in a minute you guys will see that heads up display okay? We'll just do one more preference and that is file handling because these three preferences air great these two are new the saving background on the automatically save recovery information but here's what I don't want to have happen people look at this and they go oh saving background great photo shop saving in the background I'll just work along and I'll just close it at the end and photo shops been saving it no, no, no, no, no, no that's not what it means at all. You are there's going to be the yelling if that happens and I don't like the yelling, you still have to save your file. This just means that when you hit save, you can do other things so used to be in c s five when you hit save a little progress bar comes up like they did d and you can't really do anything else and voter shop the whole time you've got a two gig image want won't you can't do anything but now in cia six if you check this on you can hit save and then continue painting or transform something or continue working and photoshopped but you still have to save your files if you crash you know power goes out whatever happens in photoshopped this will help recover the image that you are currently working on so if it does crash photoshopped basically is writing a temporary file every x number of minutes that you set up here and then as soon as you crash when you reopen that document photo shop will open both versions and say hey there's a newer version which one do you prefer ok so those were those two options and then one option that's in c s five that I'll just point out is this save as two original folder a lot of people don't know this exists so there's basically for the majority of people there's two different ways to save let's say all of your originals are in your client folder you know this is the smiths folder you open that document you make changes to it and you do it save as you probably either want to save it back to the original holder or you might have a retouched folder and you want to save to that folder ok so this allows you to change your preference to save always to the original folder where it came back from this is just the default location that we'll take you too you can always navigate from there but as a starting point do you want to start where the photo came from or do you want to start where you last saved your last image so if you're always started in one place and saving to another location this is the way you want to have it set up so that you can continue saving you re touch one photo it goes into retouch folder you retouch the second photo it goes into retouched holder all right, so those air just little things that can really help speed up your work flow all right I'm gonna hit ok there and let's go ahead and go over to bridge for a minute I don't know if you know those that keyboard shortcut on the mac that's just command tab so command tab just takes you through your open documents so that you could go back and forth really quickly right now enbridge let's just scroll in the top here and let's take a look at this image so this image hopefully when I double click on it it is a d n g file so because it's a dmg files I know that it's going to come up and adobe camera wrong right? So it dmg files is a raw file like a cannon c r w r nikon any f it's just that the mg file format is a it's an open file format, so adobe has published the format, so any software company can read or write a d n g file, we promise we'll never charge for it. Anything so it's not proprietary, which is what is concerning for me with all of the other digital camera raw file formats, but that's a whole nother story that would take the rest the hour. We don't want to talk about that for an hour, so let's, talk about what's new in camera wrong the first thing you'll probably notice, obviously, this image it's a little bit under exposed because I wanted to maintain the highlights here, and we can see this is my history ram in the upper right here, so I'm not clipping any of my highlights, so that's good, but we have a bunch of new options here in our basic panel, and I think people will really like this. I think there are a lot easier to use because basically every slider start zero now, and if you move it to the left it's going to get darker and if you move it to the right it's going to get lighter, so it didn't used to be that way, it's funny how sometimes you make changes, and then you're like, wow! Why don't you let me do it like this to begin with, right? But we didn't, so the exposure, in contrast, highlight shadows whites and blacks? This is the main area that you would make your adjustments to your images. It really doesn't matter which order you go in it's, which ever order you feel comfortable, for example, the product manager that I worked with, he always changes his default exposure first, like he always comes in here and says, no, I want to make sure I get an overall exposure and then he'll go, it looks a little brighter over there and then he'll go and he will change like his whites and blacks and shadows highlights in contrast me personally, I don't start with exposure, I usually start with my whites and blacks. I want to define the tonal range of my image. I want to make sure that there's detail in the blacks that I'm not clipping them and we can tell if the blacks are clipped or which we'll call that shadow clipping here, and we can tell if our whites or clipped by either toggle and our position in our cursor on top of these two icons or we can use the keyboard shortcuts you can see the little to tip comes up, it says you you for, like, underexposed, maybe and over over exposed so if I go in here and I pulled down the blacks, you can start saying, see all that blue overlay that tells me, although that is clip so as long as I don't see any blue in here than I know that my blacks are not clipped, but there's not a lot of information in the shadow area, so I'm just going to raise that up and I'll do it a little bit extreme here, but you can see the difference there to there, how I'm pulling in information in the shadows, which is a good thing, because if I had sent my exposure, like if I had given this more exposure than I would have lost information in the clowns, right? So even though it's, you might think, oh, you shouldn't have under exposed it, you sometimes you don't really have a choice, right? If you want a detail in the clouds, then yes, you're shadows are going to go a little bit darker in an image like this so that's why you can use the shadow slider to pull them up with that, said what's, happening with my shadows when I make them lighter, all that area that was really dark has a lot more noise than my mid tones of my highlights, so it's not something you know if you can avoid it you don't want to do it, but sometimes you can't always avoid it. We'll talk about hdr in a minute where you're actually bracketing your shots, taking multiple exposures of the same scene, and I'll show you how to put those together and camera iran now in photo ops. Yes, six can actually work with those thirty two bit hdr images and soak in light room. And this technology is the same technology that is in light room. So whatever I'm showing you here is also true in light room. Just the sliders look a little bit different, ok? So if I wanted to go and bring down my highlights a little bit more, I can and you can see how it changes that cloud area there. It also changes my history, ram it's getting a little bit short there so I might want to bring my whites up a little bit just to push just the very brightest values and just build up a little bit more contrast in the the cloud area. I can also use our clarity. Slider so the clarity, slider, that's this one right down here. Have you guys heard of that? Like probably it's been referred to as the mid tone contrast slider? The reason that people say that is because when you add it, we certainly are adding contrast, but we're biasing it in two ways, so we bias it in that it's affecting your mid tones more than your shadows in your highlights and it's looking for edges. I don't know if you guys ever did sharpening in the darkroom if you've ever made, like a contrast mask or anything but the way that sharp named works on the computer and it worked in the darkroom to is you would actually make a mask along an edge of an image or along an edge of anything and where the edge was, you'd make one side of the edge, dark or any other side of the edge lighter, and when you do that, it tricks your eye into thinking that your image is sharper. So it's it's kind of a trick, I mean, but it worked. So this contrast are this clarity slider adds the the contrast in those mid tone areas, if the exact same thing that on sharp mask does in photo shop or any sharp name like when you output this and you add shock me and that's what we're doing behind the scene, okay? There's also vibrance and saturation, I think it's saturated enough, I'm like a well what I'm wearing is definitely like it's saturated as I ever get, so to see this green is just like crazy I know I am it's such a digression from black but then I don't know there's something about coming to new york then all of a sudden I was like, well, everyone wears black here I don't want to wear black here, you know? So so the vibrant slider in this case I just can't do it because look, I mean, that is the color of that mosque it's crazy crazy green there is something to be said teoh it's a little bright in here, so I'm not really sure that what we're seeing here is truly accurate I wish I had a studio like this kind of work in a little dark cave at home so that no other light influences what I see on screen so all right, so at this point I would probably open the image if that's what we were doing but I'm actually going to hit cancel I'm gonna go back to bridge and we're going to go ahead and take a look at these three images right now and then we'll come back to the horse in a little bit so if I go teo open these in camera rock I used the keyboard shortcut command are or control are that will force the the image to open and camera wrong if you have jpeg files that till you get your jpeg files to open up in camera rod to so obviously this is underexposed we have kind of a correct exposure for our mid tones here, and we have a correct exposure for our shadow areas here, and you can see the red where the highlights are all blown out, and here we don't have that many blues or that many shadow areas that are completely clipped, but the reason I want to show you these three is because I can actually take the properly exposed areas from each one of these images. Well, I can't do it, but photoshopped can do it all right? Trust me, I can't do the math, but what I would do, what I would make sure of is that I would select all of those images before I go over into photo shop, and I would just come over here into the lens correction area, and I would make sure that these two options air checked on the first one's, the remove chromatic aberration and the second one is the profile I would enable lens profile correction. So what are these two things? Dio the profile when I checked this photoshopped goes out or adobe camera raw goes out and checks to see if for the lens and the camera that I was using, is there a profile that will correct the lens distortion? Now this isn't going to correct, like if you took your camera and pointed it up in a building it's not going to correct that it's going to correct the distortion that's in the lens if you point it up that's a perspective correction we can do that you just have to go over the manual area and say oh yeah you know I was off access either up or down or my horizontal was to the left or to the right all right but that is not included in the profile of the camera and the lens correction so I'm going to check that on so that it would straighten it out and I would go to color and I would also remove any romantic aberration and then I would just klick done and if you wanted to make any other changes like the white balance and stuff you could but at this point what I just want to make sure is when I hand these often photoshopped photos gets rid of any of the lens distortion if you don't know what chromatic aberration is let me just show it really quickly before we make that thirty two bit file I'm in a zoom in really tight here yeah, you should be able to see it here now I'm zoomed in uh oh what two hundred percent and the chromatic aberration sea hunt on this side of the contrast there's a green line or a sigh in line there and then on this side of this high contrast area there's that magenta line so that happens because the way that the light comes in the camera right the lights coming in the camera and then it's gotta focus to that back sensor and if you've got a really wide angle lens you know those rays of light can become misaligned on the edges of your sensor and so you'll see it you'll see it happen a lot in high contrast areas like this s o or a landscape you might have a tree in the side of the photo and you'll see this chromatic aberration and it will also happen with the less expensive lenses so is you is you buy a less expensive piece of glass you're going to get more chromatic aberration but we can change that are fixed that just coming over here to lens correction removing the chromatic aberration and you can see that that fringing is now gone sometimes you actually have to increase the amount of purple or green tio to remove it even more but I think we did a good job there just by clicking it on so most of time it's just one click automatic you can actually set that to be part of your default so every time you bring in your images to camera wrong it could be part of your default if you wanted to that's up to you I'll just take counsel here to back out and go here to bridge because I did want to show you that's kind of a minute detail should I mention that I should, when you use command are to go to adobe camera raw from from a bridge, you'll notice that when I hit done, I actually come back tow where bridge and you're thinking, who cares? But wait, if I have this selected and I just say open command oh, did you see photoshopped flash for a minute? And now I am working in camera wrong, but see, camera rock is just a plug in, it can plug into bridge and it can plug into photo shot, but if I click done right now, I end up in photo shop, okay? I know you're thinking, who cares? But let's, think about this you might have, like an action that you're running on five hundred images and you want to edit your wedding, which is all wrong. So your action that you're running in photo shop is taking up photo shop, you can't do anything else while the actions running. So you think? Well, I better come back later if I want tio work on my wedding in adobe. Kameron no, just go to bridge, select your photos and say edit in camera raw used the keyboard shortcut, command our control are that forces the plug in tow launch enbridge and photoshopped continues on with its action for some of you I can tell I just turned into like the lady at the front of them want want want wow again tell but there's a question yeah, sorry, I just had a quick question you mentioned that you khun set it as your default like to remove dramatic aberration and yet how do you do that? Ok, so that's a great question the question is if I want to change the way that photoshopped processes or adobe camera rob processes my images, how would I do that? So I just double clicked on my raw file it brought it up I'm going to make sure that there haven't been any changes here, so I'm going to say right here I'm going to say reset camera rod defaults okay, so I want to make sure that I don't have anything set up differently than you would, so basically we're at photo shopper adobe camera, roz basic settings you don't want to change anything like temperature or ten because you're going to change those independently on different images and you probably don't want to add a tone curve really the things that people want to do is they either want to change the camera calibration or they want to change and maybe it's an end and they might want to change this remove chromatic aberration and the lens profile correction so let's, just stick with the profile and the color, okay? So with the profile I'm going to check enable lens profile correction, then I'm gonna go to color, remove chromatic aberration and then we're going to use the fly out and say, save new camera raw defaults now from now on, when I'm in bridge and I say edit in camera wrong, those two options will always be toggled on you can change, you could change anything. I mean, just be really careful because when you set and you save these new camera, ron default like if I propped this image from now on, every image that I brought into here, it would be cropped so you want to reset your file or make sure that nothing has been applied dear file and then set up the defaults and if you do it wrong, don't worry about it because you can use that fly oh menu and just say reset the camera, run defaults just put me back to zero and likewise, you know, if you ever do something like in the basic panel that you really don't like let's, take the exposure up let's. Um, well, take my shadows up a little bit and my highlights down a lot actually up here let's take my exposure down a lot too and let's say we want tio do something like that, ok, we make our change and I hit done so that takes me to photo shop. We need to use that keyboard shortcut command tab to get us back to bridge. We've made that change. If you ever want to get rid of those sending those changes that you've made, or if you want to copy these and put him on something else, or if you want in today's, no, you know you could make pre cents in adobe camera wrong. If you want to apply those presets, you don't have to go into camera wrong. I could come down here and just select, like all four of these images, right mouse, click look where says develop settings here's all the pre cents that I have. If I want to apply any of these pre cents, I can just from right here, I don't have to go into camera wrong. And by the way, if you want any of these presets there upon my block, you can download them they're free their trust me, it's not like rocket science, there's nothing crazy, unique, but you can download them if you want to. But if I wanted to clear the settings, I could also just choose clear settings right here, and it would take off or remove all of the settings so that's the great thing about cameron wrong right? Everything's nondestructive if you want to go back to your starting point because you were editing when you were highly caffeinated, then here's your way to do that all right? But I was talking about hdr because if you are shooting objects that don't move, which is what I do, I'm very good at it. I just say stay there and they do you people have to talk to clients tell them to do things I'm scared of people I don't do that all right? So my non moving objects here, aiken bracket all right? Even if they're moving slightly like the clouds might be moving though that won't be a problem. I'll use the tool menu I'll go down here to photo shop and we'll just merge these two hdr pro now this is not a new feature the ability and emerged hdr probe that's not a new feature what's the new feature is the ability for camera ron and light room to be able to work with those thirty two bit images. So here we see the bracket of exposures air down there in the lower left I don't want to convert this to sixteen bit I want to leave it in thirty two bit, so if you don't know what their needs if it is sorry, when you capture an image in the j peg file format that's like a pit you have, you have values from zero to fifty six that's it that's? Why? Sometimes, when you're editing jpeg files, if you need to make a big change, like you really want to bring out your shadows, because you've totally belong, the exposure the images falls apart, that's also because jay pegs compressed files, but it's also because they're in a bit. So most of your digital cameras capture in higher than eight bit, so lots more colors, way just loved everything that's higher than eight bit into sixteen men, and then above sixteen minutes is thirty two bit and here's this little option if I wanted to remove ghosts, so if there were things that moved, like, if a person walked through this and I didn't want to see that person, I would just pick one of the exposures that didn't have the the person in it and that's down there in that lower left. So right now, it doesn't really matter what the image looks like, because all the information is going to be in the image so you can play around with us, but this isn't really changing any data, so at this point, I would just hit ok and photo ops going build that thirty two billion so it's taking kind of it's going to take in the best eight bits from each segment of the of the bracket and exposures that I took, and it takes a minute to do this. Now, what happened in the pastor and photo ops e s five is most people just converted to sixteen bit right there, and they used our tools and whether or not they were happy, I don't know. So this I just think because I already know all of the tools in a cr like, why make me learn a whole bunch of new sliders when I already know those other sliders? So it's created the file, so I'll just hit command s for save saves it to the folder, though. Is it? Comeback, tio bridge, there is my hdr image. Uh oh. You see what I did? I did it wrong. Who can see it? I'm telling you, what did I do exactly? I saved it as a p s defile. So if I double click it right now is just going to open it in voter shop. Yeah, yeah, yeah. That's one of the little things here. When you do this let's go to tools again, we'll go to photo shop and I'll come back tio. And I wonder if I could just switch it what do you think I'm gonna double click on it I'm gonna go here to image and I'm gonna look and see it is thirty two bit what if I just tried to cheat and you save as and save it as a tip file what do you think I think that nothing good ever comes from cheating I think this might not work but I'm going to try it yes ok I do not encourage you to cheat but what I just did is what what the important thing is here is for whatever reason the engineers decided that it has to be a tiff file in order to bring it back up into this adobe camera dialog box so that you can access all of these tools so we talked a little bit about the basic panel a minute ago I'm going to go ahead and just bring those highlights way down so that we get a little bit more I'm going to need to bring him down even more even though I'm afraid on this monitor we might not actually see details that's all right and I'll bring up my shadows a little to see information in there but I want to make sure that my black stay all the way black ok so at this point all we've done our our global adjustments and I definitely want to go in and make a local adjustment so there's two tools to do that right? We have the adjustment brush and we have the graduated filter so if I wanted to darken the sky down more, I would just grab the graduated filter and you'll notice since he has six we have a ton of new options over here so and c s five you don't have temperature intent, you have the old processing version and you don't have the ability to do selective noise reduction or selective moray react reduction so this is really good and this's is really good because for one of the reasons he that noise reduction it works the same in light room so for you, light room users know that it only says noise it doesn't say noise reduction but it is noise reduction, so when I say noise reduction, if I want more noise reduction, I move it to the right but this could be very confusing and it is confusing in light room because it just says noise and you're like, well, I don't want more noise but it's more noise reduction but reduction is a long word and it doesn't fit in the interview face especially not in german so it is just noise reduction here which is beautiful all right so we can load up right the way that the selective adjustments work is you load up the tool with whatever parameter you want so if I wanted to bring down my exposure, I can do that oh, and by the way, if they're all crazy like you've got sliders going everywhere and you want to reset them all and just change one parameter, just click on either the minus of the plus so when I click minus exposure did you see all the rest of sliders just zero themselves out and then we just click and drag down and that brings down our exposure. You can re edit it later if you want to so I can keep moving this x suppose you're up or down we can change the length of this we can also rotate it if we want tio holding down the shift key will go ahead and constrain it tio either horizontal or vertical all right and we can make our adjustments like that we can also go in and if I change over to my adjustment brush we can load that up with something. So for example, if I wanted to change the temperature of this let's say I want a warm up the foreground we can load the brush with that let's get rid of the exposure here and just put zero in there and now we can go ahead and paint in this area now if I paint up in this area I just added some yellow let's let's make this soup are obvious okay, see, all the yellow that I just added up there. And if I scroll down, you can see that I have an option to show the mask, so I have to be a little bit careful with this. So what I'm gonna do is I'm gonna tap the delete key that's just going to delete this pin. So it's going to delete the whole adjustment, I think I'm just gonna select the pin and tap the delete key. There we go. Sometimes you have to talk to photo shop, your friend don't yell base sincere, how it works, all right? And I have auto mask on, so I need to make sure that wherever that little hot spot is that cross hair, if I put the cross there in the clouds, it's going to sample that color and apply whatever change to that tone and color. So I have to be careful. I could go anywhere in this area, in the mountain, over here. Oh, it's actually jumping out for me, and I don't really like that. I don't know why it's doing that must be close enough in tone, but that's, ok, because that allows me to show another feature, which is, if you hold down the option or the altar key that will toggle you so that you go to not the ad but basically the eraser and then you can erase that away from here and of course if we want to see that mass we can go ahead and click to show the mask and then you can see that that red overlay is the color of them ask here and so that's what it's showing me and if we think that's just a horrible adjustment that I've made we screwed up here and we say yeah I really don't like that temperature let's see if we can make it colder no that doesn't look good well warming up a little bit make it a little bit greener but we can also come in here and do whatever else we want so if we want to change for example add a little bit of clarity to give a little more pop in there we can do that as well right? So the thing to also know about any of these brushes and stuff you can add more than one right? So if you were trying to do something where I don't know whatever you're trying to do and you're trying to selectively sharp sharp in someone's eyes and you put this all the way at one hundred percent I'm gonna add a new one here just to show you so we go down here and we say all right I want one hundred percent sharpness scooted on up there if that wasn't sharp enough, just click new again, and add another one, and click it again and add another one so you can build up is many of these pins you want? See as soon as I click again, that's a secondary pin, so now we can go do whatever we need to do there, and then I can click new again and add another one, and then if you don't like it, you just click on it, tap the delete key, and that gets rid of him. Yes, I understand we're doing photoshopped nightlight room now, but this interface is really this very similar to light room. I'm wondering if this were not hdr, or perhaps even if it is I haven't used hdr enlightenment. If this were not, could you just as easily be doing this before you go into photo shop? Do all of these adjustments in, like, absolutely that's a fabulous question. So the question is, you know, today, I'm showing the bridge to adobe kameron to photo shop workflow. Could all of this be done in light room in light room for dot to? Absolutely so I say that because light room four and photo shop cs six have the same raw processing engine and it's, not until you update, which is a free update, if you have for light room for if you have photos of you just go up under the help menu and you say check for updates and it will automatically give you the newer version which enables you because it wasn't until four point two that you were able to take a thirty two bit image into camera raw and manipulated okay all right so enough with camera let's cancel out of here close that we don't need it in close that two and let's move on to another image so you know that you can make black and white images you guys do know you'd make black and white images and camera raw right? All right, so let's just go over here for one second how I would do this is I probably say convert to gray scale right? But then the great thing about camera rise you can go in here and you can change the grayscale mix, right? So for example, if I wanted to bring the blues down in the sky I could make my sky darker or lighter and of course you don't have to pick this lighter if you don't want to we have this targeted adjustment tool where I could just say hey for grayscale mix what if I just click and drag to the right to make it lighter dragged to the left to make it darker the little backwards from light room not backwards, just different and light room you gotta drag up and you've gotta drag down different engineering teams I've been in the meetings. Do you know that it is the eye icon and photo shop? It is not the eyeball icon. Yes, e I was in that meeting way can also, you know, click anywhere like in the grass and you can see you might have thought away. I thought I remembered the grass is being green know the grass is actually made up as oranges and yellows so that's converting an image to gray scale but there's something that you can do and photoshopped that you really can't do here. And that is I want to remap every single grayscale value to a different color I actually want to create well, let's do it so I'm gonna hit cancel we'll come over here and I'll just open up this image for a minute. Oh, do you know what the shortcut if you're in bridge and you want to open up a raw file and you've already made all your changes to the raw file you just wanted to open up in photo shop and bypass is the camera raw dialog box hold down the shift key shift key just opens it up directly so let's say I have this image, but I want to make it great skill and I want to remap the tones so why would I want to do this? Because you might want to emulate what we used to be able to do in the darkroom and just converting a grey scale in like adding a sepia isn't going to do that so let me show you here in photo shop we've kind of changed a little bit when you add an adjustment layer now we still have the adjustment panel but it's kind of a waste of space as far as I'm concerned because you guys know that at the bottom of the layers panel which you can't quite see here, so let me scoot that up, okay? At the bottom of layers panel, you know that we've got that black and white cookie that then allows you to add all of your adjustments, so I'm going to add an adjustment that probably not a lot of us have added in the past and that's grady in't map now, when you go to the radiant map, this is what typically will happen, okay, I'm gonna reset my grady in here you'll be like, oh, this is an interesting feature. What does it dio who there? Well, that was nice adobe and you'll be done and you, like, never look again, right? So that's really sad because we hired a consultant to go in and create these photographic tony ingredients that emulate things like all these cross process and processes that were done in the traditional darkroom so I'm actually going to replace him because really when was the last time you use this preset right? So just hit, okay, so these air all of these different options now you can see it's very different I still have most of the black and white tones here, but they're just tented so I'm not getting that crazy processing but I do not have a very long attention span to say the least so I couldn't go in here and be like, what is selling selenium one do? How about two? What about lucy pia and wait, did I like this one or this one or no? Was that this one? I think it was the pink one yeah, all right, so I just created a template and put it online, so I'm going to cancel here for a minute to get out of here and you know that when you have a layer selected, if you just want to delete it, you just tap the delete key right to get rid of them and we're gonna open up this little color toning template. All right? So it's just a psd file but it's really cool see it's got this one picture let's go to maybe a hundred percent, but it's got multiple copies of the image right and they have each won I mean there's the original there's platinum their selenium one selenium two so it's got all of the different toning presets applied to the same image so I don't expect you to make this on your own you can download it but then you're thinking I don't really want to look I mean this is my portraiture yes right we've got a rabbit reading a book in the field but take it as it is you probably want to see your own photo, right? You don't want to see mine so what I've done is if we look at my layers panel well I made it with a different image. It was a lighthouse image but I got bored of looking at the white house because I could never do the same demo twice because it gets so boring so I screwed it out the image I replaced my own lighthouse image which see how each one's name lighthouse but each one of these is a smart object. So I imported the first a copy of my photograph and then on the layers panel I use command j to duplicate that layer well sorry before I duplicated it I turned it into a smart object and then I duplicated it so all of the coffees of this smart object reference the same embedded file what does that mean? That means that if I change one all the references will update. So how do we do that? You can pick any one of these. It doesn't matter which one of the lighthouse images you pick. That was just the name of my original file. You just go to the layer menu, you go too smart objects and you just say you want to edit the contents. I just want to edit the contents of the smart object and that will pop the original image up in its own window. Now, for those of you who use smart objects, you probably know there's a short cut, which I just did. Sorry, there's. A shortcut which you can double click on the actual thumbnail for any of the smart objects. And I know it's a smart object because the little thumbnail right there is unique to the smart object. If you double click on it, it will launch the contents of the smart object in its own layer. So you will go get your image. Now, I want to see all the images I have open right now, there's two ways to do it. Controlled tabb takes me through my open documents that's the same on windows control tab on both or we can do a little shortcut here that will arrange my images to tile them so that's, what tiling looks like and then if I wanted to go back to the tab view I could quickly select that now if you do this all day long just like if you do anything all day long and photoshopped you want to assign some keyboard shortcuts and that's all I've done here just to keyboard shortcuts that made sense to me and the way you do that is really easy you go up underneath the edit menu and you come down here to all the way down to keyboard shortcuts at the very bottom and then you go pick whatever tool you want to add the shortcut to so for example I will go to my tool or application menu so I'll go to my application menu and scroll down here for example toe window and then you see all of the menus that air typically along the top are loaded up here and you can apply whatever you want as your keyboard shortcut so I happen news shift command are because that to me is very easy with my left hand our I picked because it was returned a single image at least that made sense in my head and then command shifty was for tile and I stole these from other commands I don't know what they're supposed to be I think command shift he is supposed to be transform again so whatever you put in here basically you highlight it and then you can just type in whatever you want the short cut to be and it will fill it in there and then if it's already in use somewhere else it tells you so then you can decide oh, you know what I use that short kind I use merge visible so I better not take that one away so then you just go and you try to find a short cut that works for you and it has to be more than just a key it has to be like a modifier plus a key if you're in this area, the only time it could be adjusted a key is if you come here to tools but what typically happens is someone I want to change something so they'll be like, okay, I want to change the marquis tool to something else let's try a no be no see d e f g h I know so they're almost all used so you might want to leave those alone or just take him away from the tools that you don't use. You guys know the photo shop alphabet, right? That's how I know your level of commitment to photo shop you know is for directs like peas for the brush tools he'll give you cropping india's for your default colors each from the oration toe foo beautiful emoji is rather grading majors for the hand to allies for the idea we don't have enough time in the world you know that thing you have to know which behaviors to encourage and which ones not to encourage that is not a behavior to encourage that is me having too much time on my hands too many too many air miles ok so when you're finished here you click ok but let me just give you some some other hands here for me it's a long mouse ways to go to show my foreground color so there are two letters that are not used in photo shop c s six and that is in is not used and I I think it's k that's not use so if I scroll all the way down here you'll notice I've reassigned the letter in to bring up the foreground color picker and I think I've assigned k to bring up my mixer brush as opposed to just my regular brush yes oh my mixer brush all right so that's quite convenient if you add layer masks all the time why not go here and and addicts keyboard shortcut for your layer mask all right, I'm just gonna get okay for now um what we need to do is look at all of our images so command shifty that was the new keyboard shortcut that I just created I want to grab this image right here so let's not paint on it let's make sure we have our move tool and drag this image over into this one and what happens it comes in way too big plus we have way too many windows open I'm a very tidy person that's yes I am a control enthusiast is what they would say it's ok I have a degree in psychology so I know that that really means I'm obsessive compulsive tighty sounds nicer doesn't control enthusiast I have okay anyway so it came in way too big and here's the thing that always stumps new photo shop users when they use command tear control t to go to free transform if your image is so big sometimes you can't even see it you can't even grab the handles so then people try to figure out well how do you zoom out it just so happens that this shortcut right here for view on screen when you're in free transform it will fit the transformation handles on screen uh oh no all right, so let's bring these down uh what am I doing? I'm scaling I've got this shift key in the option key so the shift key keeps it constrained the option key scales it from the center why do I have it in a square? Because I didn't know if you were gonna have ah horizontal or vertical image so I just gave a square boundary so when we replace all of the versions or all of the instances of the smart object we'll just work out fine. All right? So I've made this small. You don't have to make it that small, right? You could say, hey, you know what? On lee, this area of the image is really important to me, so you could make it larger if you want, but we won't. We will keep it constrained and tap the enter return key and basically, we don't need this other layer underneath, but I'm going to turn it off to hide it. So I clicked on the icon to hide that I'll save this command. S because member this this smart object, the contents here when I save it and close it because they're all referencing that same internal document. Now, when we zoom out, you can see that it's replaced all of them so you could go and see which one of these grady into light because you don't have a long attention span like I don't all right, but here's the thing we tend to kind of overdo everything to make it super visible, like, really is you're saying a type going to be that san? Or is the copper really, really going to be that vibrant? Probably not so then you think, uh, I know how to solve this, I just need to find that layer in my layers panel I kind of have a lot of them. So how do we quickly do that? Tap v to get the move, tool, and you'll notice there's an auto select layer option. So now I can just click on copper, too, and it actually found it in the layer stack here. It highlighted it and even opened up the group. You just have to be careful that this auto select is set to a layer and not group. Otherwise it would just pick the group. All right, so now I decided, well, I don't want the grady in't map that is clipped and that's how I've done this. I've clipped a grady it map to each one of these layers. I don't want that to be one hundred percent, so I click on it. Uh, sorry. I should have just click to the right of it. That's ok, just double click that. So if you click on the great at math and you start decreasing the opacity, though the problem is, is that now I have got the color from the original coming back. So how am I going to solve this problem? Way gonna dio yeah, control you. Ah, that would be that's an awesome thing to come back with, but because it is a a smart object, I can't do any pixel based editing and that, you know, I'd have to touch the pixels, but justcause, I can't do it here doesn't mean I can't do it to the original, so if I went in and I edited the contents of the smart object, so we just go in and double click on it again here I could do command or control u two de saturated that's, the keyboard shortcut for that, but that makes me anxious because I have a fear of commitment and what she's suggesting is that I do a permanent change and that scares me, so I want to do a an adjustment layer instead, so I'm going to go down to the bottom of my layers panel and I mean, he add let's, add a black and white adjustment layer. This converts it to black and white, but now look, I have more control like if I wanted to change the color of the barn well, I'm not changing the color. Sorry if I want to change the way the color is converted to a grey scale tone, we can do that. So now when I save this and close this it's going to update all the smart objects and it's going to make the original look as if it's gray scale and then it will apply those the radiance on it these different looks but even now I still have the same problem first of all I want to go in and I want to change the opacity of it so that's fine I can conquer that so here it is a twenty two percent here it is one hundred percent and you can see now I'm not getting any of the color in fact if I take it all the way down there's no color from the original photo in here because we're hiding that with a black and white adjustment layer when we edited the smart object so I want to change the opacity of all of them but that would probably take a long time because I have to go and select each one and then change the opacity no way so another new feature in c six if you look at the layers panel there's a whole new role of icons up here and this enables us to search or filter are layers so when we do start working with a lot of layers I could go in and say hey, could you just show me my adjustment layers or can you just show me my text layers or my pixel base layers or hey can you tell me that just show me the layers that have this name or this affected earn this blend mode or have this attributes and then because we can select multiple layers I just need to select all of these in my layers panel click on the first one dragged down to the bottom hold down the shift key that selected them all and then just drag your opacity down and it's doing it on all of the layers right now so I know it's a little subtle up there but let's just show you there's like twenty five percent and there was one hundred percent which just hits you over the head so we want to be a little bit more muted and we just bring that opacity down to whatever we like and then we can go in and pick the one that we want once we pick the one we want if we decide for example like this copper one is the one we want okay, okay? And I'll do that again because that was just wrong of me I clicked on that and it brought up a dialog box and what do you guys do when a dialog box comes up like this? You read it reading it is always a good tip. I of course didn't read it and then I was like, oh, what did that say? Maybe I should have read with that said ok, so I said you can't use the move tool because no layers are selected I know okay, fine so I have to turn off my filter here that's the first thing I'm gonna dio turn off that filter and now, because I have auto select layer on if I click a layer like copper one, it picks it for me that's the grady in math adjustment later I need so I could just open my original drag and drop this adjustment layer on my original to get that effect. Ok, ok, all that to show you these pretty new tony in pre cents. All right, let's close that I'm not going to save it and there's so much more to show you what I show you first. Okay, this is cool if you shoot with a wide angle lens, I know that we can come in here and we can go to lens correction and go to profile and we can try to fix it, but the profiles don't always work the lens correction profiles when you get to a really wide angle lens and this is a very wide angle lens here, it just doesn't fix it the way I want. So I'm going unchecked that for now, and I'm just going to open up the image and photoshopped because what photo shop cia six has is the ability underneath the filter menu to come down here to the adaptive wide angle, and what is that? Let me dio well it's bringing up a dialog box and it let me zoom out here alright, it allows me to click. See, I've got the cross hairs there, I can click and when I dragged my line, isn't it? I'm not bending the line, so because photoshopped knows all of the metadata, all of the information about the cameron, the lens that captured this image it's going toe bend that line for me, and I can't say yet could you please straighten that so that it looks like that? Who I know, but wait, there is more, okay, if I undo that this time, I'm gonna hold down the shift key, because what I noticed is that when I did that, it still wasn't quite straight, it was well, it was straight, but it wasn't horizontal, so holding down the shift, he will give me a nice for izon all if you if you need to change it later, though, look, we can always change it right here, all right? And then the look, the poor little lighthouse isn't quite working either, so I'm just going to click maybe right up here and or maybe right down there, see again, it it's bending the line for me, and when I let go, it'll just straighten that lighthouse. I mean now on an image like this what I really do it knew because I thought it was really cool to use that lynn so I thought that was really great but if I shot interiors or something where you're in a really cramped space and you've got to shoot with a really wide angle lens and you don't want the refrigerator toe look like it could come alive you might want to use this to straighten out the lines so that's the adaptive white angle if you are capturing with a camera or let's say you're scanning film negatives or something you can bring it in here and also go instead of auto you khun go teo emanuel mode and change those but I think most cameras today well actually capture the len's information so it should be able to actually create the line automatically oh and there's one other thing in here sorry this little guy right here is a polygonal tool so you could if you had that refrigerator you would just click on the four point to the refrigerator and it would make it square all right it's very cool, very cool little feature all right let's close that I'm feeling the pressure I couldn't see the time okay, what else do I have to talk to you about? I have to talk to you about so many things okay, this is this is this is good oh, but this you know, this is one of these things where photoshopped can be used for good or evil and I don't know what you're going to use it for, so I'm gonna open all three of these and I'm just going to say open these images now a few years back, we came out with some content aware technology so that you could scale things up and down you guys familiar with yes or no? Okay, I got to give you a little refresher on that then let's go, teo content aware and we'll use this image and I'm apologize if you've seen it before but it's a really good way to show you guys if you if any of you were doing wraps, how you can kind of make photo shot do eighty or ninety percent of the work for you. So what we came out with first is content aware phil so I just have the l ke that gave me my lasso tool and we can just drag around this guy right here, ok? And if I want to get rid of him in the picture I know he's like the only interesting thing in the picture, but let's pretend for a minute that we want to get rid of him if I do a fill a content aware phil well, how do I get to that shift delete is the keyboard shortcut basically it just brought up the phil dialog box so if I go here to edit and go to phil that is shift delete that brings that up and then I can choose what I want to use and I can choose content aware and when I click ok it works really well especially with this organic background it will just remove him and fill in the background with stuff from around now sometimes it brings in like the leaves from over here it'll bring that in so if that does happen what you can dio just undo that I would go on I would select these leaves and hide them temporarily and how can we hide something temporarily in photo shop with a mask uh huh but if I had a mask right now what am I going to get? I'm just going to get the rest still believes exactly the opposite of what I wanted so I'll undo that command z and I'm gonna hold down the option of the all key and click on the mask icon down here so it just hides the leaves so if you're selected an area and you're trying to fill it with content aware and it keeps grabbing other stuff just high in the other stuff, huh? You know all right, I know but then when you're done when you're done, you just say yeah, I don't need you anymore you apologize profusely and throw in the trash oh, no, don't apply it, don't apply it that's the wrong thing, see how fast that under undue was, like, undone before it was even done. All right, so we throw it away, and we would just say, delete, and then we would bring the leaves, all right? So with the gallery ramp example, though, I will show you that because this will not happen the way you want it to. This is what will happen. You'll go here to your image and you'll go to canvas size because that's going to allow you to add area around your campus, right? So let's, go to inches here for our measurement and let's, just say, we want to make this twenty inches by fourteen inches. We'll put our photo in the centre cook, okay, so that just added this white area around there, you see the checkerboard, that means it's transparent, and I decide that what I want to do is I want to use what's called content where scale, because this is another savvy way to change your image and have photoshopped kind of makeup data. So I just thought I'd be really easy, right? We go here to edit, and instead of going to fill, we want to go to content where scale so I thought well I should be able to just scale this and it should be fine way now I mean he might be good with it he's like oh no he's like that refrigerator now probably not what he wanted right but I'd be really nice if I could just say hey don't pay attention to that area and just fill everything else and you can and just in case you're wondering yes so that was before and that was like three transform and now you're thinking well gosh free transformed way better but no no no it won't what we have today was just undo this all right so let's just command z or just we can escape out of there for now and before I go into the camp content where scale I grab my last so and I select him but here's the little secret you have to save this election if you don't say this election it doesn't work how do you say this election? Well it's under the select menu saves selection okay we'll save this is new york city it's just going to save it in a new channel trust me that's just all you need to do you don't need to know what a new channel is you just save it you d selected now when I go to edit and we go to free trade sorry eight when we go to edit and we go teo escape escape at it content aware scale you're going to like it's doing the same thing cost what's the problem the problem is I'm not protected anything what do I need to protect the selection? The new york city selection that we just made once I do that, everything else is scaling to fill your gallery rap without you having to go like oh, I'm going to copy the side and then I'm gonna copy it and paste it and I mean it flip it and then I'm gonna clone stamp all the way down that doesn't look very good gosh, I hope that really falls on the bend of the gallery rap otherwise is going to look terrible all right? So trying the content aware scaling you just have to select whatever area you want to protect and save that teo a channel just go into this like menu and saves this election ok let's not apply that let's don't save it so this is where it starts getting for good or evil. We have that content where phil that I had mentioned but it doesn't always work when you're at the side of an image. I don't know why, but somehow the math like tends to bring in either like this dark spot or this white spot that looks terrible so again I have the lasso tool, but it doesn't really matter what tool I used to select this I'm just gonna select the band I don't want the bench in the photo but now when I come over here and I start looking at sorry right down here all of my different like spot healing brash and healing brush tool we have the patch tool and we've wired up the patch tool to be content aware so that means I can select the area that I don't want and then I can help guide photo shop where to get the information from so because photoshopped doesn't know it doesn't go like this is wall and this is baby carriage and so when I say content where phil usually I get like another baby carriage over in this area well good I got rid of the bench but I got two baby carriages so now I can say hey let me help you help me and I just dragged this right up here and say I want you to replace that with that and they will say ok, I'll think about it there it is all right and now even if it did if it doesn't get you one hundred percent of the way there is gonna get you eighty percent of the way there which means you've just saved eighty percent of your time so that's a very good thing okay now we had to take it one step further because that's what engineers do they love a challenge so I'm going to select this area but in this time I don't want to just patch that I want to move it and I want photoshopped to fill in where I've moved I'm telling you mine a checkbook is not balanced and this is all math so I just go in awe every day when I talked to the engineers and I say can you please explain it to me like I'm in like fourth grade and then I say never mind trying kindergarten and I just say never mind all right so what did I just do? I just selected the content aware moved tool and there's two options for this I can move things or extend things I want to move this so I'm just going to move it back a little bit so this is great for like weddings and stuff because all of a sudden you'll have something sticking in someone's head or you want to move something just a little out of the way so it goes in and analyzes it and it takes it from one place and moves it to the other and fills it in that is really cool okay but wait there's more this is where it gets I know you would never do this okay we've seen what's going on here well I'm just getting a copy of a space right here now I don't want to move that I want to extend it just a wee bit so just put it in a minute teo further there oh, I moved it a little too far but that's ok we could undo it maybe it's a little too far I was we don't have to make it oh, so we can still make it questionable right there. All right, so that's our content where technology as pretty cool stuff that the content were moved tool and then the fact that we put content aware on the patch tooled those of the new things in c s six the content where scaling is c s five the content where phil I think might even see us for I'm not sure okay, I would be totally remiss if I didn't show you these next few things I mean there's there's tons of other features like for designers you can have type styles and we've totally redone the way you work with shay players and stuff but what I think is super interesting oh my gosh there's all the blur filters to and there's the difference the crops stuff oh my gosh there's too much stuff okay seven minutes I told you have to show you this this is way more important. Well, do any of you guys use look with time ok then let me just show you this really quickly not that this is a great example or anything but this is the reason I'm showing you this is because it's really big I have one item selected and let's see how big it is when it opens up in photo shop, it is seven hundred thirty one makes, so I don't know if any of you have taken or trying to take seven hundred thirty one made files and the liquefy, but it would be a nightmare, and what most people would do is they would go and get, like their marquee tool, and they would say, you know what? I only want to liquefy this, and they would just take this much in, and even with this liquefy would be slow, and it would take a bunch of tiles, and it would kind of chunk the information in so now you don't have to do that any longer if we go under filter and we goto liquefy what the engineering team has done, you can see look, I mean, I can do it in real time on this huge file that's crazy like, yeah, you couldn't do that before it all. So let me undo that, um s so what they've done is they put all the technology and all the math that used to have to happen on the cpu, and they lifted it to yeah, I know. To the gpu so they took it off the computer off the hard drive and they put it on the graphics card so that's why it's important that when you buy a graphics card, you buy a graphics card that has at least five hundred twelve memory if not if not larger so and that's in our system requirements, which I'm sure you have all read the last time you had insomnia that's what I would recommend what are the system requirements? Please tell me. All right, the other thing that we've done here is we've increased the brush size, so I've got it almost two thousand pixels, but I think I mentioned before you go up to fifteen thousand pixels here so people can work really, really big files and we've got the option to reload the last mesh that we just that we just created, but I'm gonna cancel out of here because I'm going to show you some other things with this large size file okay? So I'm gonna free transform now I can't cause I'm on a background, so I better double click the background. We know that double clicking on the background takes converts of the background into a layer, right? But it does it would like a new layer dialog box and I don't know about you guys I'm not very good at naming my layers while I'm working I named my layers when I'm done working right before you handed off the art director, and then I think you're totally organized, ok, so I'm not going to rename it here. What I do is I just well down the option key and double click on the word background, and then it turns it into a layer without bringing up that dialog box. All right, so now I can free transforming the only reason that I'm showing you this is to show you how fast it is, right? So before there's, just no way we could free transformed like that, but I know that's not very interesting, so we'll show you kind of a better, really life scenario, which is this panorama. So do you guys ever shoot panorama and stitch him? Ok, so a lot of times you get these bends, and I'm like, if you're not using a tripod, or you don't use the right algorithm to stitch them together, and we have a great feature for this to correct it. It's called puppet work, but again, puppet work was a little bit slower in previous versions. What puppet work does is it puts a mesh over the entire image, and then you can add points to the image wherever you want to add them, and then it works like a puppet, like, if you click on a point, you can just kind of just bends and like a very fluid manner. All right, so let me undo the mesh I mean, I'm just turning it off for a minute, but now I could come in here and completely, like, flatten out or or warp or basically a kn worked this I mean, I could add a war, but I wanted to, but we're just going to straighten that out, so this is super useful and again, there's no way that it would be that quick if we were doing it on the sea few, not the jeep. You all right? I'm escaping out of there because because because we still have show you something else. Oh, gosh, we have all these blurs, but they're not as cool as the video stuff I know you're thinking seriously, not as cool as the video stuff, really? And I I was not a believer, I have to tell you so let's just open these three files. Uh, yeah, probably not in quick time would be better let's close all those let's not see me who were hoping we don't need that no one needs to see that let's open them let's, go to tools let's, see if I can open these as loading memory files I wonder if I can put them all in the same photo shop file I bet I can, but I bet it's not smart enough to know that they're all of video now I'm only going to take a second unlike what you can do with video as faras traditional video because I'm not very good at traditional video and it's not really what I want to do, but I just want to show you that we have three video layers, but they're not a smart right now they're not in a video group, so if I select all three of these layers right now, they're just stacked on top of each other, so if I hit play, I would on lisa see the video that's on top. It works just like you know your layers do in regular photo shop with still images, but if I put these guys into a group so new video group from clips now the cool thing is is that it's sequenced um so now they play one after another and then if you wanted to change like the end point of the outpoint of this boiling water, you can do that by just clicking on the drag and dragging on the end and you can do all sorts of things, you know, if I want to add a transition because right now, if we look we just get this straight cut here, right? I don't want that well, we have a bunch of transition so I could go ahead like a cross fade just put that on top and now when we scroll through we get this great little prospect from one to the other so you can do a lot of basic editing in c s six and this is the regular version. This is not the extended version which in c s five if you want to do video you have to buy the extended version of photo shop we can also do things like change the duration of the speed of a clip. So instead of just changing and pointed out point you can actually change how fast the cliff plays. We could go in here to the audio and we could meet the audio because usually unless you have a good audio set up with your video it's probably not going to sound too great so we might want to mute that and then basically anything else that you want to do or can do in photo shop you can do to video so I could make an adjustment to this I could add a filter to it the one thing with the filters like if I did want to add a filter to this when you have two dio and we can see that this is my layer that selected in my layers panel I would convert it to a smart object first, so I just use the right mouse click if you don't have a right mouse click it's time to buy a new mouse get your right mouse click converted to smart object once you convert a clip to a smart object just like in photo shop wants you convert a still image to a smart object and photos you can then add filters and they automatically are added a smart filters and check out the oil paint filter when you have a chance with photo shop see six that's a cool filter but I could go here, for example and oh my gosh where all those filters I don't know where they are. Well, all the artistic filters air now in the filter gallery all right? So know that they're there so if I want to add a filter like diffuse glow, I can click ok there's my diffuse glow and it defused to close the entire clip if you don't make it a smart object, it just it adds the filter the first frame want want want okay, but wait, I have to throw this way now throw that away and we don't want that one this is the clip we want a time for choosing this maybe I have twenty three seconds to do this way might do the simple version I just thought this is kind of a cool clip, but not really it's actually really boring I hate to say it I'm a boring videographer but I love layers and I love masking so I thought, hey, when I do a quick select all go here to edit all copy, all those merged pixels and then I'll paste them what does that do? Well, right now I've got it in my video group, so it just pasted it at the end I don't want that I want my still on top, so I'm gonna drag it up and then we're going toe just change the duration of that, so now we'll play it you're like, oh, that improved it cost now you have nothing going on, but wait, you guys know about masking still image on top at a mask, grab your paintbrush what color do we paint with paint with black to punch a hole in it? You don't see a hole in it? Why not? Because there's video underneath, but now watch what happens when I play the video. So there is stuff that you can do with video and masking his video and photo shop gives you all of the photo shop tool set, so now you can do some really cool stuff, so I think I will stop on that then why do we owe

Class Description

In October 2012, creativeLIVE presented an all-star photography event, broadcasting LIVE from New York City! We pulled together an amazing cast of 8 professional photographers from around the globe and from various genres of photography for 2 days of creativeLIVE NYC, a free online photography course!

Each day, we had four instructors speak, shoot, and inspire. We had returning creativeLIVE favorites and new speakers who quickly joined those ranks. To top the event off, on Friday night we had a special live broadcast of Photographers Ignite hosted by Kevin Kubota!

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