Everyday Adobe® Photoshop®


Everyday Adobe® Photoshop®


Lesson Info

Everyday Adobe® Photoshop®

Kara is an accomplished photographer she's an author, she's a public speaker she's on several award not only for her business practices but also the unique teaching style on the very playful sense of humor that she has and cara believes inauthenticity the power of possibility and all things covered in chocolate she's my kind of girl please help to created life parapet image that song there at the break was fantastic and I'm wanting to know is it's going to be available on itunes album? You have got a cd coming out next week two weeks at carnegie hall I think you just were booking it out perfect perfect, she signed up for your tour newsletter yeah, awesome well hello there on welcome tio everyday photoshopped we are going to be talking about some of the things that you kind of just do every day and photoshopped kind of just the regular stuff to take our images, fix a few things and make them look their best. So in my world as a portrait photographer, that means lots of things that means...

doing things like fixing blink shots so we're going to talk about doing that we're going to do some dodging do some burning maybe cem nip tucking and we will be doing with the liquefy tool and and even writing an action tio prep are images and brand them for for blogged, for example so we're going to go ahead and get started with these two images right here this is from a wedding where we have this situation where on the first shot blink aim we have her eyes closed over here and on the second shot blink b his eyes are closed now you guys, anyone take group shots, whether wedding or otherwise, this kind of thing happens a lot, right? So I spend a bit of time fixing these sorts of problem, and usually, I mean, this could go either way, I could take I could fix his eyes in this photo, or we could go over here and fix hers, but usually what I'm doing when I'm deciding which image I'm going to go within which way I'm going toe fix this, I'm looking at everybody else in the scene and their smiles and where I could end up doing the least amount of work, right? So if I'm looking through both of these, I kind of feel like over all, I like mom smile better in this shot. So, um, we're gonna fix this month, so that means we need to take the open eyes from her face over here and transport them over there, and it sounds like a far out procedure, right? Like we're going to be doing surgery or something, but it's actually super, super simple, so in fact, the simplicity might surprise you. I'm just going to grab the rectangular marquis tool. So it's the second tool here and it's in a family with a whole bunch of different tools. The family of four, the keyboard shortcut is m for marquis. I'm just going to grab the rectangular one and just make a really a generous selection around her head, so not even going to try to just get her eyes or anything complicated like that just around her whole head, and then I'm going to grab my move tool, and we're going to just simply drag this over into the other image it's a simple as putting the cursor right here inside the marquis selection, and you can see when I do that, my cursor changes from a normal move to a cursor into one with scissors, so that lets us know that's our cue from photoshopped that we're about to cut something out. So I'm just going to start right here. I'm gonna click and I'm going to drag on and she left with the pink box or purple or whatever that is, and that, by the way, is there because my current background swatch is that purple color so that's where that comes from in case you were confused, and sometimes when you do this, people sometimes get confused because they watch the image when you drag like this what you want to do when you are dragging a selection from one image to another you want to watch your cursor so if you're selecting some big a giraffe or like the other day we did a snowman you're doing something like that don't want snowman watch your cursor so I'm going to drag like this and I'm watching my cursor and my cursor I'm going to pause up here and then the scene is going to switch so then when the scene switches I dragged down so I still haven't let go of my mouth I dragged down in here and then I'm going to shift drop and the shift is important because it keeps your object whatever it is from skipping out into orbit we talked about that in the layers class if you're not careful or you forget shift sometimes whatever it is that you've moved in is going toe land out here on your pace board and then you'll feel like it didn't work and the only reason you would know that it worked is to look in your larry's panel and if you see that there is in fact a new layer then you know that your object indeed survived the trip it just had a crash landing somewhere in orbit so if that happens you compress commander control teeth to put the transformed box around it and then you'll be able to see where it is I'm going to cancel that with escape and let's zoom in so we can see what we're doing, so we need to position this about their the nice thing is, of course, that this is a pretty good fit, right? I'm not taking an image from a different scene from a different angle from different lighting it's really important that you, when you shoot these types of photos that you shoot enough that you at least have everyone's eyes open in one shot. So if you really had to, you can combine mulch double ones, but because you don't want to try to grab their face from a different different location or something and put it in because it's going to be really tricky and will probably look terrible. All right, so we've got this actually pretty well in place. One of the things that I like to dio we'll zoom in much closer here. One of the things that I like to dio is just temporarily reduce the opacity of this layer a little bit so that I can see through it and make sure that I'm lining things that properly so I could come over here to the layers panel and here's, the opacity slider, which is currently set to one hundred percent, and I could click on that and it could drag the slider down. But that's kind of tricky it's a lot of work to make sure you're clicking in the right spot and usually I would end up clicking something else by accident so what I prefer to do is on my keyboard I just press five and that snapped the capacity down to fifty percent and then I can see right through this and really line it up now I'm looking at a couple of things I'm looking at her neckline but also her eyes and I could I could choose tio sort of raise her head here a little bit by lining up her shoulders, but I think I'm just going to go and get her eyes in position so I want to make sure that that looks about about right and then when I'm happy with it all press zero to bring the opacity back up to one hundred percent now it's looking pretty good but we do have a box around it and that is a dead giveaway but this image has been altered so you might feel tempted to grab your eraser um and just sort of erase the box which would work. And in the philosophy class we talked about how there's more than one way to do everything in photo shop but some ways are more advantageous than others so it's nice that could erase and I could just call it call it good and move on but I have found through my own trial and error that, um that's not always the best idea because you will find out later that you missed a spot or you raised too much and you can't edit it, so for more flexibility, we're going to do this with a layer mask so the bottom of the layers panel there's the little mask icon right here and I'm just going to give it a click and it's going to add the blink mask right here on ly irwin and all I have to do is grab my paintbrush and make sure that I've got black as my foreground color up here, and if I don't, I could just flip flop thes you should already have black and white here because any time you add a layer mask photo shop knows that you paint on it with black and white, so it'll give you black and white over here so you could just flip flop these by pressing this little double headed arrow or you compress ex on your keyboard to exchange those two colors. So we got black on top and now you can see that my cursor is crazy because this is one of the chalk brush tools and our cursors and that's not what I want this, so I'm going to pop up here to my options bar and I'm just going to grab a soft round brush and you can change the size of your brush with the left or the right bracket keys those are the keys next to the letter p on your keyboard so the left bracket key makes it smaller there right bracket key makes it bigger and you can also change the hardness or softness of your brush on you can do that also with the keyboard those same bracket keys but you add shift so shift left bracket key makes it softer shift right bracket key is going to make it a harder edge so obviously if I brush on this with a hard edge that's probably not the look I want we're trying to blend this in so it just sort of disappears we don't want it to look like I cut it out with scissors like a ransom note kind of a thing so we want a soft brush saul hit shift left bracket a few times and you can always see what kind of brush you have up here in the options bar this is telling me that my brushes currently two hundred pixels in diameter and that I can see that it's kind of fuzzy by the little dot right here all right, so then all they have to do is paint paint away and as I get closer to her face or areas that I don't want to erase from all make the brush smaller so that I don't go overboard and get any of those areas and they might just lend her hair all in and I'm using my tablet here, which just makes us really kind of fun it's just literally like coloring or painting on ge of course well, we have some cheek action going on over here. Um once you get finished, you always want to check your work and there's a few ways to do that I can turn this layer on and off and I can see if I've done anything funny like enlarge her neck down here so I can clean that up if her jaw line is changing there we go it's looking a little better it's funny, right? We're going to check your work so you want to toggle that layer on and off another thing that you can do to make sure you didn't miss anything I've done this before where I've done mask and I didn't used to check my work and then I would get a print back and I would see like a funny smudge in the corner, which would be like if I if I didn't erase the whole box around her head maybe there's like a little corner piece that's weird, right? So you wouldn't protect yourself from that and all you have to do is shift click on the layer mask, not shift sorry that canceled it option or cult? Click and then you can see your mask actually on top of your image. So I can see down here like, oh, there's, kind of a little hole in the math. Ask andi can fill in any spots that you may have missed and that will really save you. Especially if you're ordering, you know, a big different or canvas or something. That's a lot more expensive to replace. When you make a mistake, you can avoid it, and then you just alter option. Click back on the layer mask to get back to normal. And, of course, the nice thing about masculine. The reason we don't just use the eraser rush is because if we do make a mistake, fixing it is a simple as pressing x to flip flop your colors down here and then I could like paint. Um, oops. What is going on over here? There we go. I could paint her eye away. There it is. So we can she can be blinking at us, which is kind of fun. Wink wink. So it makes it really easy. Tio, at your masks and clean up after yourself. We have a question when you get on the previous picture where you cut, could you copy instead of cut? Yeah, yeah, there's a lot of. So there are other ways, of course, and photoshopping of, like, twelve ways to do anything so I can show you all kinds of other ways to do this. We could come over here and just come up to edit, and we could choose poppy right on. I could come over to this image and just choose edit, pieced I could do that. I personally I don't know why I just drag and drop it's just kind of my my default thing, but you could copy and paste um so that's another option as well? Yeah. Any other questions? Good. Okay, um, I think that was always going to tell you about that. Just make sure when you're dragging and dropping, if you if you do it that way that you hold shift when you drop so you don't skip out into orbit. All right, let's, pop over here and work on this image. So I shoot a lot of wedding, which means I get teo retouch lots of beautiful images for albums and all kinds of really fun things. And if we were going to make this image black and white, there are a lot of ways we could do that we could come up and just quickly d saturate this from the image adjustments we could come up here and open hughes saturation, and I could just literally drag all the saturation at and I think like, that looks fine, but if we really want o hand tune all of those colors, I can come at an adjustment layer and pull up the black and white sliders here, and I can really adjust this. So if I crank the reds over here, um, her skin gets really clear pretty quickly, and I know I have to do a ton of retouching so I can play with these sliders to really hand tune the way that all of these colors get rendered in black and white there's also some pre sets up here, let's say, we like this, so we'll just go with that. Um, and now I get to do the fun stuff for dodging and burning and dodging and burning. I feel like it's, a big part of portrait photographers, working photographers in general and I I just get so excited about it because I actually came from the dark room in my early days. And this is one of those things that is literally a metaphor taken straight out of the dark room and what am I talking about? I'm talking about these tools right here they are members of the oh family, so they are a family of three we have the dodge tool, the burn tool and the sponge tool, and the keyboard shortcut for all of them in this family is just oh, so you compress. Go on your keyboard and we'll start here by talking about the dodge tool and it's, the tool that looks like a lollipop. So I like to call it the lollypop tool, but it's so much more than that and it's literally a metaphor straight out of the dark room. So if you've never been in a dark room dodging and burning with lake, a key to how you made all your prince so you had a larger that sat on on your workstation, which is basically an enlarger was kind of like a an overhead projector, sort of there's a lamp in the top, and you would put your film in the carrier underneath it. And when the light was on, it would project your image down onto the baseboard and that's where you would put your photographic paper to make a print. But the catch wass the whole thing, it was connected to a timer. So you have the whole issue of exposing your film, developing your film, and then you'd go in the dark room and actually develop and make your prince and so there were so many different opportunities for things to look differently, depending on how long you leave things in the chemicals or how long you leave the light on and all of that. So in school I was taught to make little test strips. We would take a little piece of photo paper and cut a little strip of it and cover it with black construction paper and set the timer to something like twelve seconds and every two seconds we'd pull the little strip back and expose more of the test strip. So by the time we were done, we would have a print that showed all the exposures in two second increments from two seconds all the way to twelve. So you wait, you develop all of that and then you go and think, ok, well, six seconds looks good. So then you get your photo paper and you put it there turning the timer to six seconds turned on. The light comes on for six seconds and you're done. But often you do all that work, and then you'd realize, oh, six seconds is good except for this spot. This spot is too dark at six seconds and maybe it only needs four seconds so how would you expose the whole thing for six seconds and parts of it for four? You would dodge it and the tool really looked like this it was like a piece of wire or really skinny dowell and it would have black construction paper usually in some sort of kind of circular shape but you could cut it to be anything you want. It was very high tech tool mary hi tech paper and wire on dh then he'd set your timer for six seconds and then when the time we got down to four seconds or maybe the last two seconds that you want to dodge it from we'll say that easier math easier figuring so the time we get down to the last two seconds and what would you do? You would take your fancy tool and stick it in between the light and the photo paper and then you'd very carefully wiggle it just a little bit right? Come on, I want to see you wiggle it just I just have to tell the whole story for that job, but you would wiggle it so it didn't burn reno right into the image of big circle or whatever and that would lighten that section of the image. Now are you happy that a photo shop you don't have to breathe all those chemicals and you don't have the wiggle it just a little bit you just brush so this is basically like a brush that lightens things um and then the opposite of that is the burn tool, which is the little hand here and I'm assuming it's a hand icon because in the dark room you would often use your hands to kind of cover the rest of the image except for wherever needs more exposure. So then you kind of leave an opening like that on dh that would make those parts of your image darker so we can do that in photo shop without all the drama on dh there's a couple ways of course to do that you could do it directly on the image itself but a better practice to make things more you know, non destructive is to work on a blank layer so in my layers palate I'm going to click the little button down here I call it the sticky note pad button because it looks like a stack of sticky notes but it's really the new layer but going when it click that and we'll get a blank layer here and I'm going to fill it with something magical so we're going to come up to fill and I'm going to choose uh excuse me edit, edit phil and I'm going to tell it to use fifty percent gray, which is kind of a magical thing and photo shop, so we're going to fill that with fifty percent gray and our whole image is gone and you might think that I'm crazy but we're taking advantage of lots of magical things, so fifty percent gray is kind of a special color and it has special properties when we mix it with the overlay blend mode so now we have this gray layer set to overlay blend mode and it disappears but it allows us to dodge and burn on that layer without actually doing anything to the background so it's very non destructive and we tend to like that so I've got my burn tool right here and up here in the options bar I can target different tonal range is although we are here on a gray layer so literally a mid tone but we were working on something else you can target the different tonal range is over here and up here we have the exposure. So this is akin tio in the dark room making all those test strips and having the timer and using two seconds, six seconds up here we have a slider and it's measured in percentages, so the higher the number, the more extreme oven adjustment we're going to make. Generally speaking, I would suggest keeping this pre low like I usually go around fifteen percent uh something like that so it's just pretty low and I'll make my cursor a little bit bigger and soft of course it should be soft by default and then I just kind of paint over this maybe I kind of want to just dark in some of these areas in her hair and you'll notice I'm using multiple strokes so I'm not just holding my mouth down and just like rubbing over this whole thing I'm just kind of brushing and then I let go and then brush and let go and that allows the image to very suddenly get darker what you don't want to dio is torch it by dragging this up tio something crazy and then just really you know going at it and now photo shops thinking about because it's going to get too dark too quick and that's not going to be pretty for anybody I'm going to kind of back out of there so that's the burn tool the opposite of course is the dodge tool and it works the exact same way you come up here and adjust your settings again I would recommend the lower spectrum and you just kind of brush over it and you can lighten different parts of your image so ample adams was a genius with the stuff I mean he was like photo shopping before there was photo shopped in the dark room right and that's part of what made him such a genius was he was just really really good with dodging and burning by hand and in the dark room so we get to do some of that here in photo shop and the key is to work on that blank layer filled with fifty percent gray changed the blend mode to overlay and then you can see your work by a toggle ing that on enough so you can see what kind of difference is we made and if you feel like you know that this ends up being too strong for example, then all you have to do is come over here and feed this away or you could, you know, burn back some areas that you've dodged away so it gives you some flexibility there we have a question when you're dodging or burning can you flip back and forth between your background color and being white or black? Well, these the colors that you have here aren't going toe actually influence the tool the tool it's not like the paintbrush it's not like painting on a mask where you switch between those colors because they're actually painting with the paintbrush in this case we're using these two different tools right here and one makes things lighter and one makes things starker so you can switch between them using your keyboard shortcuts but it's not actually making use of your foreground or background colors. All right, well, good well so this is dodging and burning and I think you know, tiger woods do this a lot and it really could make a difference when you've got different areas with fly only different exposures in your images so moving on um we're going to talk about doing some retouching and we're gonna work on my mug face be that's me with the big on my head no shame here I know right? Like there it is and so because I felt guilty if I was going to like take pictures of my clients and re text them for the whole world to see I felt like that's just not I don't know I felt funny doing it, so I thought, well, who better than I'll just throw my own face up there and we could do anything to it and I won't hurt anyone you think because it's just me so this was taken on a trip my husband and I took way back before we were married and I was meeting some of his family for the first time. Of course I got this huge in the middle of my head and it was one of those really painful ones. So we just nicknamed it the horn and it was so bad and what was funny is when I was looking through these images to find something to be able to show you guys I had a hard time finding any pictures with this from the trip because I very diligently retouched them all out the minute I got home and I saved over the original because I never wanted to see that horn again ever so I had to do a really deep to find this somehow this one escaped its gave to my wrath when I got back so there's a horrible horn plus I have this crazy vein in my forehead maybe you've seen it I don't know pops out now and then um it's a little crazy and I know some viewers I said maybe I should have bangs maybe that would fix it, but I've tried so anyway we've got that going on I like to think it's a sign of something good like maybe I'm extra smart or something, but I think it's just kind of weird I don't know what it's doing there, so we're going to get rid of it on dh fix some things that are going on in this photo the first thing that I usually do when I'm re touching an image is I make a blank layer and it depends what tools that I'm going to be working with because some of the retouching tools don't work on blink layers and some of them dio on and I really like the ones that do I really like tio use them in that way so what the heck am I talking about let's let's really check out this horn oh my gosh you guys growth all right? So first things first we'll come over here and the healing kind of fix it tools are over here in the j family and there's a lot of them it's a pretty big family kind of almost as big as the brady bunch not quite, but it's got a lot of members and it has for one thing here the spot healing brush tools so that's a little picture of a boy banded with like a spot like marching and so the spot healing tool in this one's kind of magical because you can just enlarge it just like it's a brush so you could make it bigger smaller with the left or right bracket keys and then you just that whatever you know what? But you have to have sample letters on see that's a little live lesson for you the way that this works because I'm on a blank layer is we've got to turn on sample all airs up here otherwise it's sampling the area around the horn and it's not gambling all layers it's sampling just layer one which is empty so it's sampling nothing and then it's healing nothing right so you always want to make sure that you turn on sample all layers up in options bar and then when you come over here and zap it goes away so it's better I wish they could make likes elvis at the drug store so you just put it on your face I would really love that um ok, so that is great what is really happening is that footage shop and that spot healing breast tool is actually reaching down through the layers palette to the background layer where the sampling is happening and then it's actually putting the paint on layer one so if I hide my background layer we can see that this is the makeup that make up that photo shop just put to cover up my bit so the makeup is on layer one and visit is on the background and if I turn off later when oh my god we can see it I think this was actually like when it was on its way out or it was honest way in it was somewhere it was not at the peak of awfulness so that's pretty awesome that is the spot healing brushed tool so then let's talk about the healing breast tool so it looks the same because it's a band aid and it's also a brush but it behaves a little differently so you don't just spot the hell with it by just clicking it's more for clicking and dragging so use it more like a paintbrush and works a little differently. We still have to come up in the options are next to sample and we want to make sure that this says all layers so unlike the spot healing brash that just has a little checkbox right here the healing brush actually has a drop down, so it looks kind of different but it's the same thing, so we want to tell it to sample all layers, and if you try to use it without taking a sample photo shops going to yell at you, and if you're on a mac it's going to say you have to option, click to define a source point. If you're on a pc, you click so that means does that make my brush about this big? So I'm going toe hold down the altar option key, and then I my cursor changes into this little target, and now my mission is to set the target in a healthy area, which might be hard to find sometimes held the area here and I'm going to click with my mouth so I'm just fault, click and then I can let go that's it and by simply doing that, I've told photo shop where to source from right? So now I can move my cursor over here, and I'm not actually pressing the mass yet, and this was a new feature back sometime back where it started previewing the stroke in your cursor so I can already see, like what's gonna happen when I paint, so I'm not painting yet, but I can preview it, which is super handy, especially if you're trying to line up like a pattern or something or like, if you're trying to clone or he'll grass or something on the horizon and it needs is to stay in alignment. It's really handy to have that preview, and then all I have to dio is click and drag, and I can paint downwards like this and as I'm painting, you'll notice to the left of my cursor is a little plus sign, and I call that the tail so if my tail and it follows me wherever I go, just like a real tail would dio and whatever is underneath the tail is what's going to come out of my brush, you have to be really careful when you're using this tool. I think the famous joke is that you might start out like fixing a stain on someone shirt for morning in the morning and then by the lunchtime. The stain is now like bigas the whole shirt because you could make a big mess with this tool. You have to kind of be careful, but when you let go it's going to blend in and get rid of whatever was there so we can do it again to get rid of this, and when I let go, it's gone, all right, but you want to be pretty strict. Begic, because if you're not well, undo some of this if you're not careful and I just click right here and then come over here maybe and start running down like this, I'm about to run my cursor into a problem area and look what happens. I just spread it great. So you want to choose your location for your source point very carefully for your sample, and I like to say that you need to give it room to run, so I wouldn't set my source point right close to something that the problem if I do that and then I come up here and I click and drag down, I don't have room for the tail to run without hitting a troubled spot, so you want to make sure you have room to run and you want to think about things like which direction you plan on moving if you're goingto start from the top and dragged down words, you want to make sure that your your tail, you're source point has room to run or if you're going to drag left to right, set your source point in an area where it like your brush will have room to follow you and not run into stuff we have a question with that being the case if could you let this be a place where you would zoom in a little closer and maybe use a smaller brush if you're getting into spots where you're kind of running or wayto yes and this is why knowing how to zoom in or z amount and so handy right and doing it with your keyboard so as a little refresher if we want to zoom in we have a couple of ways to do that we can do command or control plus oh, this is just scare you guys would know what needs to be my face that close so commander control and we can hit plus or we can hold commander control base bar which will temporarily give us the zoom tool and then I can just click and drag to the right to zoom in whoa my goodness whoa my goodness all right, we're really I know you're you guys are in my mind right there this's so growth remind me not to use it. You wait again like this kind of just yucky. So yeah, you definitely want to zoom in and make your brush bigger or smaller as you need to be able to work around other obstacles of kind of like an obstacle course so you've got to be nimble you've got to move around making brush big, small and know that sometimes is going to take a while this is not always you know, a fast thing, if you're retouching images for fashion, you know, they have, like, unbelievable expectations and standards for those women. I don't have to worry about that, so I can dose that my horn and leave the rest of me alone, but it is tricky sometimes and can take a lot of time, and it can, you know, sometimes you also make a little bit of a mess sometimes when you heal our clone or whatever on one thing, sometimes it has what I call a misfire, and I can never get a misfired happen on purpose, so I could just try let's see if I can do something really miss fiery, well, kind of here kind of I don't know what this is, but it doesn't look very good, but I call it a misfire because the way that the healing brush works and what makes it different than the clone stamp in case you were wondering, the hewing brush blends things so it's really great on skin to be able tio fix corns and have the new tissue blend with the old tissue it's kind of I mean, the closest I'm ever going to get to being a transplant surgeon is just performing these little operations, but the healing brush blends the different things together, the old with the new, whereas the clone stamp just copy that straight up, so sometimes when you're blending like this, you get what I call a misfire where kind of blends and doesn't do the best job, sometimes it's like and blending were, and it goes someplace and you get a weird funny, a splotch or weird funny pattern or dark spot or a light spot, and when that happens, you can undo it, but you can also just make a new source point and go over it again, keep moving. Um, so I'm just kind of keep working here lots of things to do on my face. Another strategy is to use your brush at a good size rate. Sometimes people think, well, I'll just grab a huge brush and then just glob over this, but that ends up causing a lot of problems because people don't realize that your sample is as big as your brush, so just because when I hold down the cult or option key and I get this little tiny target, the sample is that it's taking is actually a big as my brush. So if I make my breast really big and I come set a little target right here or let's, say right here I set a target right here, and when I let go, you can see that what's appearing inside the brush includes this big highlight on my forehead because the target will just change size to whatever size brush your using so you have to make really sure that that your brush is small enough and that your target is far enough away that they're not overlapping. So your brush has to be small enough for that, but also not too big, that you're altering more of the image than you really intend the altar, so we can just kind of keep going. I'm all clicking the way that I usually work is I are all option clicking. I am on a mac, aren't I am? I'm option clicking and working my way through this, and I usually keep one hand just right on the keyboard, so I can set my source point a lot because as I moved to different parts of my face, um, I need to set new source material so it can't be sourcing up here to fix it means something else, sometimes it'll work. So I also have this scar on my cheek that I don't know if you noticed, hopefully not, but that's from a cat when I was a baby got this little scar here, and normally when I'm re touching things for my clients, I would never just fix their fate late, take a scar off their face or anything like that, because that's part of who they are, right? So there's a lot of weird fine lines that you get into and sort of like ethical kind of things, and I think it really depends on your industry. Obviously the retouching that goes into fashion photos is far more fantasy based then things like I would do for my wedding clients on do you know that that's, fashion and that's sort of expected, and people in that industry expect to be totally retouched, but my clients wouldn't, and so it would be kind of weird if I just gave them a nose job or, you know, fixed fixed, whatever, so I would never just remove something like a scar unless someone really asked for that. But in this case, just like we can know how to do it's the same kind of thing, you could heal this, but I'm going to show you another tool that's kind of an oldie but a goodie sometimes, which is the patch tool, and I don't see people using it much anymore because we have content to where phil and like all these other things, but I still I still dig the patch tool, so I'm just going to show you it, but the past tool doesn't work on an empty layer, so I have to go back to the background for this and it's in here with all these other ones and that's right here looks like a patch and the way that it works is you draw a little selection around whatever you want to patch and then you just click and drag too the solution so you encircle the problem dragged to the solution and just like that it's as if the cat never happened e think my mom told me I was trying to get in its food dish or something and it didn't like that apparently so was a little upset but so that's the pactual and you can use it the same kind of way we could do some stuff down here I don't know what's going on with my face must have been a long day of travel or something um you can just kind of and I'm causing more problems than anything so you can use that in much the same way and that's the patch tool and sometimes I still use it even though it's sort of I guess fading away with all of the advances we've made the patch tool has been around for a long time but I still think it's great did someone have a question? Yeah, I guess sort of speaking to the patch to lily how would you heal the shine good question you could do the shine in a lot of different ways we could get let's see let's go back on to layer one there's a number of things we could do, we could clone it, maybe with a lower opacity to sort of buff it away. So I grabbed the clone stamp and I would want to make sure same thing that sample is set to all layers because I really prefer working on this empty layer instead of the background. So this is what's going on right now on that layer that's the makeup layer on dh, then you would just ault or option click again and you can kind of paint over this too faded away. You could also go back to the background. You could use the patch tool and do bits of it. Or you could go back to layer one and I could grab the, uh, healing brush and I could just heal over it. So it kind of depends. You know how much how much time and effort you want to put into it and how you wanted to really come. You wanted to look when it's done groups that part wasn't so good if you want to just kind of fade it or really take it out, but that's another advantage to working on that blank layer and maybe actually, what you could dio is I would even make another blank layer so I could come in and come on keyboard, there we go I could come in and take this stuff out and maybe if I feel like it's too much or it looks you know plasticky, then you can just fade it so maybe I have less shine or more sign question we're learning about a lot of new terms here tough toodles wants to know can you talk about what tools are non destructive versus destructive? I know that I want to work non destructively I just I'm just not sure what tools that involved sure well that's a great question and it's sometimes it's the tools ray we know about smart objects and smart filters and those things, but in this case the tools are always just the tools and they're always going to be messing with pixels and pushing pixels and painting pixels. So the way to make all of this non destructive is to work on the blank layers or a copy of the background so like the patch tool doesn't work on a blank layer so you can copy the background to use the patch tool and I mean you are like destructing the pixel on that layer, but because it's a copy your background would still be ok on dh that's why I always work on these blank layers here and when you do that you just want to make sure that you have the all layers option turned on up in the options are yet awesome! Ok, so let's take a peek at some other things, one of the things that I I dio and like I said, I'm really minimal with retouching I do for my clients just very minimal I don't want to offend anyone I've happens it's always because their temporary rate that just like a temporary thing, it's not part of who that person is, but I never I never get people nose jobs, I don't go in and shed fifty pounds off of them that would be super weird. I know that every night I would love that too, but but who am I to say that that person should have that? But one thing that I do dio on occasion as a wedding photographer is I help brides out a little bit when sometimes the camera angles not in their favor or maybe the dresses maybe not quite fitting as well as I'm assuming they would really like, but I'm not going to go shave fifty pounds off them. Um, what I do is just liquefy, so I'm sure people been showing that all week. One of the things I do that help it run a little quicker is I'll just make a selection around a problem area that I want to attack with liquefy and then we can come up into filter liquefy and I'm gonna go grab I usually use the forward work tool or the push left tool just kind of depends, but if I click here and drag upwards, I could just tuck this in a little bit like I said, I get really like I get a bee in my bonnet about the ethical boundaries of all over this, so I'm not going to super put people on diets or anything crazy just a little tuck um and when I click ok, we can see the before and after and she is still her she doesn't really look any different it's just a little bit of a shift because you know, that could be my fault like I should have caught that and I should have had her turn, but when you're shooting live events that's kind of tricky sometimes you know, first dance like they're twirling all over the floor and I'm doing with off camera lighting and all this kind of stuff and I want everyone to look good I don't want to see the exit signs I want a watch like for flattering angles, but sometimes it's really hard to make all of that come together at once and I would hate for my clients to look at the images and the first thing they say is, oh my gosh, look at that dress on me, so I'm just going to help him out a little bit but andi kind of draw the line right there and you know what I think it's ok andi it's okay to say no and it's okay to not do things I mean I have I've had some times where I've shot like a ten twenty and there were chandeliers you know in the tent and one of them or two out of the four burned out somehow before the ceremony I know it's sad and I I fixed it for them in the photos because they wanted it and I could do it and so I'm not I fixed things at wedding receptions where the couple's name is in a gobo you know projected on the wall and they spell the bride's name wrong oh it happens and I don't know that she ever noticed because I got there and they said only that her name spelled wrong and so I took a picture of it quick and then they killed it so she never saw it but in the photos I fixed it so I never heard I mean I never talked to her about it but they were fixed in her photos e I used my powers for good that way, but I know there are some times when I just tell people like no, I won't fix that or you know that would be a million dollars to fix because it's a crazy amount of work I've had I've had claims ask um on wedding day like maybe mom wasn't smiling in her in the her son's wedding photos she wanted she actually wanted to come back to my studio and have me shoot her in my studio and like her back into the candid songs for wedding day yeah and I was like I just have a problem with that like that's two false for me you know that is like totally fake we're not talking about swapping a blink shot or a little nip tuck we're talking about like a total false and so for me that was too much and I just actually what I did it was liquefying and I don't have an example of this I couldn't find it to bring it but I went back into her photos and I literally liquid glide hearse herb kind of scowl into like I mean a smile would be all out to like that would never work but I just leg so she didn't look quite so upset um you know I just called it good and you have to draw those boundaries for yourself and you have to be you know do it with confidence and be ok with it because it's your work its your your stuff your reputation and and that's okay so don't feel bad um but I do this to myself is well this is an image that was actually used in an ad and some of you may have seen it um and I I was a swimmer for many, many years and I really broad shoulders and I would have some nice strength going on, I guess, but I haven't always been a stand of my really wide rib cage that somehow comes along with that, so sometimes I do that to myself, too, and I might select part of myself and go back into filter and liquefy and use the same darn thing to just kind of tuck talk a little bit in stripes don't help way always way remember one dress dress strategically, right? Oh, I don't know stripes are fun, but they can be problematic, so on, the nice thing about liquefy is with this push left tool depending which way you drag, it pushes different ways, so if I drag up it's going toe, tuck it to my left, and if I dragged down, I'm going to make my problem worse, so in this case I would drag up, but depending on what you're doing, you just changed the way that you drag it and it will change the effect that you're having and over here you can control all kinds of things, including the pressure which will change, you know how extreme of an effect that you're getting on when you're happy you click ok, and we could easy before and after I mean minimal, but I like it better so I don't know on drily these are things that you know, like I mentioned before they're not total person overhauls aa lot of it is really just oh, that camera angle probably should have been a bit more twisted when I'm shooting the stuff of myself in the studio I can't tell what I'm doing I'm not a model I don't know all my poses and whatever so you know I just end up we shoot a lot and then I and then I get out photos up um so anyway that's how that stuff kind of works another thing that's a biggie it's pictures fun right? Uh we'll just focus on the teeth ok? So yellow teeth and I see people a lot when they go to fix yellow teeth and they know about things like the dodge to all bill just want to dodge the teeth, but the problem is that when you dodged teeth you're just lightning them right that's when you've got something you're lightning the area you're you're digitally reducing the exposure in that area and so by reducing the exposure on someone's teeth that's not going to fix the yellow so I've seen people fix teeth and all kinds of ways and so you you know you kind of just have to see what works for you, but my favorite technique is I usually grabbed the lasso tool let me just come up here then so lastly, tools over here it's part of the lasso family I just grabbed the regular lasso tool I also call it the free hand lasso tool and I would just do like a really sloppy selection so I'm not even you can see I'm not being perfect at all not even trying tio sometimes photo shop works best when you don't try to be perfect, which is another life metaphor we can all learn from that right? So don't worry about being perfect, so I mean to make a selection here, I'm going to add to it I could hold shift to add to it or I can come up here into the options bar click on this little guy and that will allow me to get the bottom teeth, so we'll just kind of go away I should have done this the other way that's all right? We'll be a teachable example, all right? So I have a selection here and now what we want to do is feather the selection so it doesn't look like we cut it out with an exacto knife so we're going to come up to the select menu and I'm going to choose we could choose, modify and hit feather, but then what gonna have to guess pixels and I can't see what I'm doing and I don't want to guess and play goldie locks all day long, so instead I'm going to come up to select and choose refine edge and then I can see my selection here and I can see it in lots of different ways. I can see it on a white background I could view it is marching ants, but that won't help me while I'm feathering his marching and can't display feathers, they're kind of limited, they just marched that's it? I give you it as an overlay, I could do it on black, I could also view it as a mask like this, and sometimes I really I really like this, so I'm going to leave that here and I'll come down to the feather slider and I can just drag and now I can see like, if I've gone crazy like that, I can tell and I don't have to waste a bunch of time guessing, so I don't know that's probably good, I'll just leave that what does eight pixels will click ok, and now we're back to our aunt's and now we can get rid of the yellow, and one of the ways I like to do that is with an adjustment layer and I like to do hughes saturation and I can come up here if we just do saturate the whole thing, his teeth look gray and that is wrong right? We all know that looks weird now he's like a zombie or something so we don't want that but what we can do is come up here to the master menu a little drop down and what we really want to do is just suck out the yellows right and now if I d saturate the yellows go away but yet his teeth are not grey they're just not yellow and I might also grabbed the lightness lighter and lighten them a little bit but you really got a temporary yourself because we don't want him to be barbie that would look odd right so I like this and I would yeah he saturate the yellow now if we close this you can see that apparently I feathered too much and that's ok because guess what? Because I made a selection first and then clicked on the uh adjustment layer icon it automatically photo shot made a mask for me out of that which means that if I feathered too much or not enough or whatever I can adjust it on the mask so I'll just make sure that's active all grabbed my paintbrush and I can come in here and paint paint that off any areas that were feathered too much that makes sense and we can zoom out and then I think oh maybe now his teeth look a little too perfect so we can take this adjustment layer and just adjust to taste so there would be if it has no adjustment there is with a whole lot of adjustment I just kind of fade maybe that pretty simple right so that's my preferred method for whitening teeth so we're not lightning them a little bit I guess with the adjustment went slightly but mostly we're just really taking the yellow up so we're not dodging them into oblivion it just to show you what that looks like if I did if I did grab the dodge tool we'll turn this off and if I came in here and we'll really crank it up and if I dodged this you see that's not the same effect at all so I'm a huge fan of that's pretty I know you could really make this really even worse I really a huge fan of the adjustment layers and the trick is to just make that selection first and you can do that with the quick selection tool or I don't know why I just always grab the lasso tool because I like to just do it I feel like sometimes if you do the quick selection tool you end up with the guns and then you have to clean that up and I just would rather draw it even though that's not perfect either but um the mask makes it really easy to fix okay so that some everyday kind of retouching stuff another thing that I dio all the time is I get rid of that um I prepare images for my blogged and I like to brand them for the website ah but I don't want to have to manually do all of that so I'm going to show you guys we're going to make a pattern we're going to create a design to be like a block tag so have you, you know, have a blogger website or whatever and you like to tag your images to brand them I'll show you how we could make it designed to do that and they were going to write it into an action so you could re size and brand your images for your website all automatically, which is pretty rat right? So here's what we're going to dio let's just pretend that our images for the blogger going to be four hundred by six hundred pixels because that's easy math and just easy so I'm gonna make a new image just a blank win so file new and I'm going to come down here to the background contents and I'm actually going to make it transparent okay? So we'll make that transparent will make the wish six hundred the height four hundred so we're going to repeat this once for horizontal image and then we'll make another tag for a vertical image so we'll start with the horizontal first, then I'll click ok and we get a blank image so when you do this, when you make your pattern, you want to make it at the size that your image would be on your block. So in this example, the finished image would be four hundred by six hundred, so I'm creating the tag pattern at four hundred by six hundred. All right, I will just keep it really simple. I'm just going to grab the rectangular marquis and I'm going to drag out a little sort of tag at the bottom and we can fill it with a color. I'm just going to come up here into my swatches panel and click on a color, and it will load that over right here. If you don't see your swatches panel, you can come up to window, come down to swatches or of course, you can always handpick your colors out of the color picker over here, but these are really handy too, so I've got this color and I'm gonna fill it. I could come up to the edit menu and choose phil, and then I would select my foreground color, or I can do it with the keyboard shortcut on this to spill with your foreground color is going to be all too or option delete, and that will fill whatever your selection is with your foreground color, so we've got that going on. Now we're ready to add some text to this so people know what they're looking at so I'm going to swap over here so I've got white and I'll just click to get a line of text and we'll say my awesome studio dot com right? So I'm just using the regular type tool to add some texts and I just clicked you could also click and drag to draw out a text box but in this case because it's all just going to be one line of text I didn't even want to mess with the bucks if we want to change fund we have a couple of ways we could do this if we want to change sponsor of the whole entire type player I don't even have to select the type I can just select the layer and then I can come up here and change this to something like I don't know century gothic um and we can make the whole thing a little smaller by dragging up here in the options bar on the point size did you know you can actually click and scrub right here I love this it makes it really easy you can also come and choose a preset size option but I'm a huge fan of the scrubbing right here so we've scrubbed this down and changed it to century gothic and then if I want maybe just the word awesome to be something else I can select it with my type tool I just come and just like you would do in any other blake microsoft word or something you would click and highlight and now I can come up here and change this to a different font and also maybe a different color let's make it like a dark green or something I don't know I don't know who is branding this is crazy on we'll commit that so any time you got your cursor in here in a text layer before you can move on you have to commit your type or set your type and you do that by clicking the check mark here or you can press command or control enter or return if you just hit return you get a line break right yeah you get new line so controller command return to set your type or you can go in the options barn click I'm going to use my move tool by pressing the to get my move tool and I'll tuck my text over here and let's just say that that looks awesome and we love it if we wanted to make any changes made we want this all lower case I'll just grab my type tool again by pressing t and I can highlight any individual characters that I might want to change maybe I want this all lower case I like that a little better and maybe we make the word awesome a little bigger yeah, now that's more awesome and moved it move it over. Okay, now we're talking all right? So in the layers panel we have layer one, which is the green stripe and we have the text layer right here that is now the branding so we are ready to make this a pattern, okay? And this is what's going to enable us to automate this whole process. So what we're going to do is grab the marquis tool and I'm just going to click and drag and select the whole thing. You could also choose at it or select all excuse me, select all. So we put a selection around everything the whole entire document and then we're going to go teo edit define pattern when we do that, we get to name it, so I'm going to call it blogged cag, horizontal all right? And I click ok that's it then rather than re creating this whole thing from scratch for our vertical images let's just rotate the whole image and spin the texts and everything and then we'll just make the vertical pattern so we'll come up tio image rotation and will rotate it like ninety degrees and then I'm going to select these two layers by commander control, clicking on whichever ones not active, so they're both active and I'm goingto bring up free, transformed by pressing commander control t to put a box around all of this and then I'll just hover my cursor outside the box and when I click and drag I can spin it and if I hold shift while I do this it will snap into fifteen degree increments and I can land it perfectly horizontal so I don't have the wiggle it just a little bit to try to get that ninety degrees rotation all right? So now we can talk us down here and again to commit it weaken press enter or the check mark and then I don't know maybe I decide I want this I don't know the texas kind of huge on the vertical images but if we want to be consistent we could leave it that same size or I'm just going to command tea and actually just shrink that down like this and again return so there's our vertical blogged pattern so we repeat the whole thing so I'll just do command a this time our control a to select everything and then we're going to save this as another pattern so under the edit menu will say define pattern and we'll call it log tag vertical okay and we can actually close those now they're gone all right now what are we going to do it? We're going to record the action that will now make use of this so somewhere let's find my wedding images folder and we'll just grab grab one of the little it a little out of the sky will be great okay, so we're going to grab in image and now we're going to record the action that's gonna place and re size is going to resize the image and it's going to place that pattern all right all right so we need are actions panels will go to the window menu and we'll grab actions and we get our actions panel which is very long and messy apparently should have cleaned this up oh my goodness all right, so we're going to make a new set for all of these actions so we'll make a folder and we'll call it blogged process whatever blogged process so we have this here and now we're going to make the action to go in it. So I'll click thie new layer new action button which is the same as the nuclear button will click that and we'll call this horizontal and we'll hit record now when you're recording actions, you don't have to actually hurry. Everyone knows this, right? But you still feel even I still feel like every time I do this I'm like, oh, I don't have to hurry so remind yourself you don't have to hurry but now we're recording this so what we want to do is resize it so we're going to come up to image and shoes image size and in this case we've got a whole lot of pixels and we want tio re sample it meaning change the total number of pixels so we'll leave re sample on and we're going to knock this down to six hundred pixels so the height will change to the four hundred justus we designed for in our little pattern that we made and then we'll click ok so now it's resized and now we're going to place the pattern so we'll come up tio edit phil just like we would normally fill with a color or something like that this time we're going to fill and we're going to use pattern going to click on that and now I get to choose the exact pattern I want and oh look here's the pattern that we just made so I'm going to click to select the horizontal pattern for that horizontal image we'll click ok and it put it in and I can stop let's do ins we can actually see so there did so there's the image tagged with the pattern that's the action and we're done now we have to repeat this for the vertical file so we'll just close this one out and we'll just grab but we'll grab a vertical image something like this and we'll make a new action and this will be called vertical record and now we repeat the process so first thing we re size so image image size this time the with should be four hundred pixels so the high it will go to six hundred we'll click ok we'll fill it again so edit fill with a pattern will choose the pattern this time the vertical one click ok and stop the recording and you can see the tag now here is the magic part um if you are in photoshopped I don't know when they release it sixty me where they had the conditional actions you can record another action so that we can take a whole folder of images both horizontal and vertical and we can run the action to make everything ready for the web and photoshopped will know whether or not to run the vertical or horizontal action based on the image and whether it's horizontal or vertical so to do that we need to create the conditional action so I'll make a new action and we'll call it if if and up here in the menu for the actions panel in the little menu appear will click and we'll say insert conditional all right so we're in the actions panel the menu insert conditional on we're going to tell it if the current document is landscape then play the the action horizontal played the horizontal action if else meaning any time it's not landscape than what then play vertical right that's it then we click ok that's not hold my name that's that's really all that action is just that little thing done now in order to make this happen let's check it out um we'll get some will select a few different vertical we don't need to do the whole folder but we'll kind of get a mix here all right? Clear the random assortment of vertical and horizontal images and watch this we'll just kind of tools photoshopped image processor we'll tell it it's going to use those ten files and we'll tell it to save them in the same location and we'll save emma's j pegs will make him twelve we will not re size because the action will already handle their resizing oh, I guess for the web we might want like ten maybe eight or something for quality we'll leave it at ten we won't reese I've it and the action that we will run will be our block process action and it will be the if action okay, so all those actions air in a set so we made a set that has horizontal vertical and if we're going to run if because if will drive the other two actions all right on down we hit run and then we go grab a cup of coffee or eat a donut or whenever we want tio and it will do all the work for us and check this out, then we'll go into our folder that should now be in here uh just side here it is so here's the folder that was just made. So when we told it to save it in the same location, that meant it was going to save it in the same location as the original files, and it doesn't just toss them in loosely to be mixed with all the originals. It always puts them in a folder, so even when you're saying save with the originals that it will always make a folder, so you never have to worry that it's going to overwrite anything on def, we open the folder there. Ah, right, so that is so awesome for prepping stuff for the block. Now, if you I can't deal with the conditional action like that makes you crazy or if you don't have it in your version of photo shop or whatever ah, work around would be that within bridge in this folder of images, you can sort them if I come up to the view menu and I choose sort and I sort by dimension, it will separate horizontal from vertical images, and then what you could do is just, you know, select all your verticals and then run the batch photo shop you know, image processor and choose vertical, then repeat for the horizontal cz so it's slightly more work it's not that huge of an inconvenience but did you have a question? Yes, you've run that from bridge, but I've never used approach and honest. I want to learn it. Can you run that from anywhere else? But you don't like bridge. Really? What? Why? Why don't you want tio two meth? Woodbridge. I've just never tried it. I always use light room for most thing on toe. Well, I highly recommend bridge. Yeah, yeah, you can do it. I mean, you can come up here into photo shops, file menu, and you can come down to the automate command and you can run a batch right here. So a batch is kind of the same thing, so you can tell it to play a set of actions. You choose a folder that you want, a batch and a destination for that. The only difference is if your if your action doesn't have the save built into it, then photo shops going to pop up and ask you on every image. How do you want your j peg? How do you want your j big? How do you know? How do you want to do a peg and it's asking you for your compression choice? So I really like the image processor because you can skip all of that kind of stuff. But that's a little bit of the difference there, but I would I would invite you guys to embrace bridge. I used it not be a fan myself because bridge used to be kind of slow, and I guess I had a lame comm peter, I don't know, but I would accidentally launch bridge sometimes, and I found it really upsetting, but now I love it and bridge is open on my system all the time, but I also use light room like every wedding I add it goes, sir, light room, but I use bridge the same way I would use finder or explorer windows that floor it's just always open really for navigating around. So in that sense, there's not a whole lot to learn about bridge, so if you're new to bridge, I can just give you give you the nickel tour so normally let's see normally will reset the work space here because it's not what it normally looks like, so normally bridge looks like this, which I could see why people might be like taking back the light room on, and I don't use any of these parts of bridge because you can do a lot of that in light room, and I just I just don't do that, so I mainly use bridge for this right here, which is just the viewer on dh so what I do is when I'm in bridge I go up to the view menu and I get rid of all like I don't want to see folders so this kind of stuff goes away I don't want to see um you want to see some of that stuff but I don't want to see my folders panel I don't want to see my favorites panel my meta data I don't care about my key words my filtering my preview um I pretty much get rid of everything except the path bar so that's under the window menu sorry not view window on dh then when I'm here I just have all my images that are in that folder and what's great is you can this little triangle right here I think it's called a carrot or those called carrots I don't know maybe I'm making that up but under this carrot here uh you can make certain folders your favorites so my favorites are like that wedding images folder so I can go to it really easy and I don't have to navigate through a bunch of stuff so at home on my computer I have a client's folder that I've made a favorites here so any folder that you're in if you want to add it to your little carrot drop down menu you just navigate to that holder and then you come up tio file and you choose add two favorites and bridge will take whatever folder you're in that you're currently browsing at the moment, and it will add it to your favorite, and then you can get to it really easy from this little carrot right here, so I use I mean, his bridge for everything, for just having it open all the time to get around from images when I'm designing wedding albums, I have bridge open, and I'm just dragging and dropping in the in design from bridge to do my album designs, and if I'm blogging, I have bridge open so I can pick the images that I want in the block, and then I'll just run him just like I showed you do it. Um an image processor to batch them all out with branding for the blogged um, I use it for everything it's super awesome, so I'm glad you brought that up because that's a really great a great thing, but a lot of people I think, don't take take advantage of bridge and it's really great like that. Did you have a question? Do you import the pictures like you do in light and the bridge? Good question you don't bridge is just a browser so there's no importing, I mean you can browse to any file and that's another reason why I like is because I have some things that I put in light room, right? I import my client images into light room, but when I'm doing kind of some of my own stuff, I don't always use light room for every single photo I ever take, so sometimes I just puts us straight straight to my hard drive by bypassed light room completely and when I want a brow that I'll go to it with bridge um so sort of an in between like that hence the name bridge, right? So the dhobi people there, they're always on their toes thinking of stuff um so it really behaves like that bridge and it lets you get back forth between all your programs. And the nice thing is that it can stay on, you know, your screen, it can be open and you can bounce around between bridge and photo shop or in design or illustrator or light room or any other programs that you're using and they actually work really well together. Um it's just it's a great a great tool and have a lot of functionality built into it. I mean, we could have a whole, you know, full three day session on bridge because it is pretty powerful, but it's a browser um not the catalog like light room is, but there are a lot of overlaps you can add keywords in bridge you can filter and label and do a lot of those things in bridge but it's different than light room in the sense that you're not, um importing your files into bridget's not managed like a catalogue the same way that it is in light room was a good question I saw another hand back there you had a light room all your photos there do you happen to be in my room? But you're intelligent when you say you picked your favorites? Does it? Does bridge go to because I have like my light room catalog in our drive and then all the photos there does bridge know how to find it in the yes, it does our go here so that's a good question because there's sometimes people get pretty confused about where all their files are on their hard drive, right? And the key is that they're all on your hard drive, so whether you're in light room or you're looking at them through bridge, the files are on your on your system there just on your hard drive and you can work with them in light room if you've imported them so that light rooms aware of them or you can just navigate to them enbridge so it's sometimes like the images that I haven't liked room I for whatever reason might wantto see them in bridge, so I'll just navigate to them in bridge because this little carrot that has my client's folder, I can just go to it and it's the same folder of images that I would see on my catalog and light room. I can also browse them in bridge because they're all just on your hard drive. So it's, like bridge is a window that you're just looking through to your hard drive to see your photos the same way we can see them and photo shop, we can open them and photo shop, we can view them in bridge or we can work with them in light room were accessing the same file all the time, so one more question, and then we'll have to wrap it up. How do you avoid having duplicates of a file when you're importing from your camera or, well, good way don't have to actually worry about that with the stuff because the files on your hard drive and we're not re creating anything when we view it in bridge or we work with it in light room, we haven't actually duplicated anything. We're all looking at the same window, the same file, so it's, just like from wherever you are on earth, we see the sun. Right way. All share the same. Son. Wherever we are on dh, you can see the sun, whether you're here in san francisco or you are somewhere else on a mountain top, we can all see that same son, it's, just viewing it from a different place. So hopefully, that help helps to clarify it.

Class Description

Practical solutions to everyday problems like fixing blink shots, zapping zits, reducing wrinkles, whitening teeth, and more. gallery wrap correction, background clean up for product shots, etc.

Software Used: Adobe Photoshop CC 14.2