Adding Layers to Your Toolkit
So in the three tour tubs, which is the exposure tab and the color tab and the details tab details is where we look at sharpening and noise reduction film grain, those kinds of things in these three tabs by default. There is the layers to and the layers to is where you manage your various different players on the way a layer works is that we can create a new one with the plus key right here. And then we can draw layers on the image in a number of different ways so we can use a brush, which we look at in the second. And we can do radio masks, ingredient masks and so on so forth. So when we create a mask, let's just grab our brush right here and right click to get our parameters up. When we draw a mask on the image, it shows him red, and then any adjustment that we do. So let's just grab a bunch of exposure only happens on where we've drawn that mosque so very easily we can build up different adjustments to different parts off the image. So let's do a proper example on this'll one. Okay,...
so I'm just going to reset that. It's going to check my notes. Make sure missed anything. Okay, good. So we haven't image here. Uh, this handsome fella and we've done some base adjustments pretty much. Let's just check that we need to do anything else. So some slight shadow recovery, as you can see, exposes pretty great out of the camera. Let's just do a quick water levels and lift shadows and clarity wise. We've got some clarity in there as well. Now, in this case, let's just look at his face now, normally with skin, we don't like to sharpen and so on. But this kind of environmental portrait Whoops, Wrong short cup. But with this kind of environmental portrait, it might be nice if we give a bit of extra texture, texture and sharpness to to his skin. So, like we did before, in the quick example, I'm going to grab my brush over here. Another short cut for you to remember. That's just be for brush. Easy. If we right click, we've got a few sliders to change the parameters of the brush we're just going to use to for the moment, which is the size so big brush small brush on the hardness, so that's whether it's a soft brush or a hard brush. The reason why there's two circles is that the outer line of the circle so the very edge of the circle, that's where your rapacity is a 100% and by the time you've got to the inner circle, that's where it's now down to 0%. So that shows you how it bleeds off, essentially. So if we start drawing with this one, then you can see it's got a really soft edge. If I was to change, too, Max hardness at 100. You see, it has this really hard edges, the edges, and generally when we're masking, we want to make it as subtle as possible. So we don't want it to be obvious that we've drawn some kind of mask. We want it to look really subtle and nice. So there are images look the same, subtle and well processed, So I'm gonna soften this up and let's just do a quick mask around his face like so, and to see them ask another shortcut to remember, which is easy. Its M so M turns the mask on and turns a mosque off. So in for mosque, you can see here are in the brush selection or the various different masking tools here that the short cuts are listed next to it. So be for brush E for a raise. So if I made a little mistake, so if I went over here by accident, like a press E you see in the center of the brush, there's now a minus symbol, so I can just erase a swell. So that's the easiest, simplest way of drawing a mosque, just with the basic brush like So. So now any adjustment that I do let's go up to 100% is just going to be on that mosque. So even though it's nice and sharp as is this is an environmental portrait on this particular layer. You see, I'm one layer one. We can bring up the show opening a bit more, and we could also add Cem structure as well. And let's bring up if I zoom out. Let's also bring up the, uh, clarity a bit more as well. So you concede If I exaggerate it, it's just happening on his face, like so so this allows me to really separate out the kind of edits that we want to do. And that's just a really simple, basic example. A couple of others. Sort of good practice to get into with layers is also naming your layers, and I think the same goes for Photoshopped as well. You can end up with this big stack of layers called layer and you can never remember what they do, so to give it a name, just double click. And I could call this face clarity, for example, like something. So now I know exactly what that lay it does. If we want to see the effect, there's a small tick box next to it so we can turn that off and all, just so you can see the effect of your layer. What's also really useful for each individual layer is Thea Pass Ity slider, so that allows me to almost blend in that layer with the layers underneath it. So, at 100 maximum effect, if we drop this down to zero, that zero effect and then anything in between weaken blend that amount of adjustment in adjustment in on the layer. That can be really excuse me. That could be really useful, especially if you've bean a bit over or heavy handed. With your adjustment, you can think you know what? There was a bit too much. I just take that down a notch without having to go back and play with all my adjustments. Because if you remember on this particular mask, we did some clarity structure we could add in some contrast. For example, so two removal of those, or to lessen the effect. I've gotta go back and retrace my steps and adjust three different sliders, whereas with the A pass ity slider is just a simple case of bringing it up and down like so. So it's really Super Bowl versatile. Okay, um, a few other points about layers is that there's a limit to the number of lays. You can have a swell so under here, where the plus button is, we can add up to 16 layers and then you hit a limit. Now it's very unlikely that you'll need more than 16 layers, But just be aware that there there is that limit of 16 to remove a layer we can just go over to the minus button and just take that layer away like so as we go through, you'll also find some other options in the sub menu. As I said, often hidden things of gold in there. So we've got various different options that we come through as well as we work through working with layers. So that's one kind of layer drawing on with the brush or raising with the brush so e for a raise, Be for brush like so that's just a really simple way to had any layers onto the image. Now the two sliders we looked at so far was just the size and hardness, and there's also two others called Capacity and Flow, which we're going to get to would look a capacity just very quickly now. But essentially what capacity does is is change the strength of the adjustment. So it's pretty much the same as the A pass ity slider here, and it's kind of almost redundant now because now that we can change the capacity on the layer itself, we don't necessarily need to brush in set lays of a pass ity like. So if I was to drop this capacity slider right down and then start brushing somewhere, for example, then that would be 39% in this case of that adjustment, so it just lessens the effect. Personally, I don't have much use for it now these days, because we have another slider called Flow. Hold that thought. We're gonna look at that later on as well. Using the flow control gives you the best versatility of working with your local adjustments to so just a recap plus Teoh. Add your layer minus to remove it, and when you have be for brush, you can right click on. That allows you to change your parameters. There's a really handy little check box here, which is called Link Brush on a Razor settings. So that means when you switch between brush or a razor, he for a razor, like so it keeps those same settings for the brush tool on the arrays. It'll so if I didn't have that checked on, let's turn that off. What I would be able to do is have independent brush and a razor settings, but personally, I think it helps that if they match because in this case, when we were masking on our gentleman's face here. Like if I made a little mistake, I could just switch to a razor straight away. And it's the same feathering and softness and a pass ity, so it makes it easier to add and remove mosques straight away. So that's the basic principle off adding, Last your image very, very straightforward needn't be intimidating or anything like that. But there's lots of various other ways that we can add most to the image to.