12:45 pm - Retouching and Enhancing in Photoshop
We're going to continue right on with it what we've done so far looking at are snapshots here is our before we did our tango to the file and now we've been going in with targeted adjustments including our lens correction and our detail taking advantage of both noise reduction in luminosity reduction to do some basic um softening of it but that is where we started when we were going a little tip I'm I mentioned that I used the snapshots we have been using snapshots a lot today we did it yesterday I like starting off with snapshot I usually name that zero are entitled zero um I like that being my before and after remember our little backslash key over by the delete key is light winds way of doing it before and after it's before and after the last time you opened up light room so if I was last time I closed it which was before lunch was on the last step that now my before and after is you know not a whole lot going on I had made a snap shot over here on the right hand side on the left han...
d side and I want that to be my before I love having that backslash key if I right click I can say would you copy this snapshot setting to before in other words my zero what I started off with I can make the before so now aiken do my before after using that key. So again, if in doubt, another great tip that I've that will give you is if in doubt, right click okay, almost everything adobe has gone to great lengths to make sure that the's content sensitive menus are all throughout the program. So right, clicking on anything is going to bring up, you know, whatever options are available, okay, um, we did our skin softening. What I'd like to do is I did not do the eyes enhancement like we did on the previous one, so I'm gonna do that same sort of thing and I'm gonna take advantage of my presets that I used before, so I go to my adjustment brush take advantage of my drop down. I mentioned that I do make presets not only for the images but also for my targeted adjustments I have done here when I call the I in teeth whitened that does that slight brightening of the exposure and slight de saturation of the image I'm going to come over here and remember we mentioned a and b brush, so in review I'm coming over here in my a brush is smaller and harder if I come over here and tap it again, my be brush is going to be larger and softer, so I like taking advantage of that the other keyboard shortcut that we've been talking about was the one to turn on and off his ability of the mask that's o think of the whole in a mask and remember your command plus or minus actually you don't plus is actually would be a shift equal key right? So even though I'm saying command plus you're seeing command equal because that's the same key on the keyboard so we say plus and minus when in reality you don't need that shifty to actually get to it but it's pressing that key and I want to come over here and do that same thing where I'm going to come up and um not worry about the corners because I know that I have my option or all key is going to give me my erasers so I can come back in here ok I've got the whites of the eyes now on tap the key again so I can see that and you can see right here this is what we've got going on before and after it's looking a little hard to me so I'm gonna come up here and I get it just manually and with a tap on that kind of soften that edge a little bit and again I can use that same thing over here getting rid of some of that ambien light it could be the reds of the eyes some eyes um like mine if you're out in the sun a lot are getting well scarring so they're whether they're yellow or red or blood shot or whatever this can obviously cover a multitude of sins and we're going to take that right off to the edge turn on the mask again and then again he is my eraser to find tune that allowing you to get that nice sharp edges it comes down, I can already tell that this my a brush is a little bit harder than I like whenever possible. I use the as a soft brush as I can use because it's just going to mean that, um I can get away with mauritz going to hide that edge, so oftentimes you're image is gonna have an inherent softness to a decade and they're not as you zoom up, you're going to have a little bit of softness, any upon what camera you're shooting with lin set up so there's no reason for you to be working really hard edged in there so again, here is our before and after in the whites of the eyes let's go ahead and do what I just did before so well using this as a review, we're going to do that for the teeth capped the okie so I can see that sometimes you could do a slight different recipe for the teeth depending upon how they look you could either add or remove contrast to them um and it could be that certain teeth are stained when we get to the lips I mentioned that there is a little bit of blotchy n'est going on I'm actually going to do some dodging and burning on the lips and uh same thing could be done with teeth if there's this particular piece of dental work you need to do it could very well be that you need to do some special work on individual teeth but you get the general idea here probably at a higher resolution than I need to be in terms of zooming in it's interesting that I'm getting this uh those little lines where it's getting a little excited I promise you I'm not going down there I don't know what's in the lower left hand corner new feature you can shift click between any two spots to do a straight line but I ain't going down there and uh so we're doing a command z is all that I can do it's probably I need tio I probably need to update my welcome driver for light room five because it has probably dealing with the brush I'm going back to the mouse, which I hate to dio um that should be illegal but I don't think I'm going to get that issue with the brush it's probably my fault for not updating my walk of driver so anyway so there we have that they're weaken zoom out when I say that is good if I wanted to, I could do some more work on the teeth, but I think that it will be fine for now, okay, maybe take that saturation down a little bit more. Ok? Speaking of the lips let's, go ahead and take a look at that situation and that really I wish then I could doom or first off that's a little bit darker right here I'm seeing not seeing the delineation of the edge and lead the first have to do a disclaimer men should not be allowed to do makeup, ok? Most men ok, eddie izzard, maybe he's got some classy moves, had classy moves, but typically men should not be allowed to do makeup, so I'm going to fake it right here and I am going to have to go back to that brush because if I don't do the brush, I'll just cry so back to my adjustment brush I am going to reset it, I'm gonna come back up here and what I basically want to do is I want to do an edge I want to match the tone of this portion of the lips with this part and that's basically is going to be a little dodging and burning basically I'm dealing with my groups, I still have the teeth that pin was still active, so let's go ahead and that that one was still active so I'm going to come down here and uh do that and maybe even take that contrast down so even though I hit new it did not trust me okay? So there we go so now I'm going to say new and reset that thank you very much and now I'm going to come up here and do a little dodging and burning like I said and in this case I am going to want to have the brush definitely be smaller and harder and I definitely want to be able to see that mask is basically want to, you know, delineate where a person specifically a woman would come in and put in some makeup to make sure that um that her lips were outlined especially a bride I take it that would be the case so this is, you know, not uncommon that you just need to take care of those sorts of things tapping the okie again I can already tell that's probably a tad excessive in terms of my exposure right here and take that just a little bit down here I could even instead of x using exposure we could try doing highlight since it's pretty light we could try using the highlight slider since that can go up and down so now I'm taking that down it could be that that's going to give me a slightly more subtle um sponsor a combination of both the highlight and I can also see that I want to soften up that transition so I'm gonna come up here and just hand paint in a little bit more in here and I think that will do it for now. So here is before after now I'm getting a delineation of the lips and again you could probably spend a bit more time if I wanted to. I can say new it's going to keep that kind of same setting right here and with the highlights and it could be that I do again this is going to be excessive, but over on this side of the lip in the shadow area, I can just see another little area that I want to do now I don't want to put on lipstick another thing that men should never be allowed to do, but I'm going to do it now and that is going to be new and justus, we change that color of the car yesterday I'm going toe doubleclick to reset that I'm going to come over here and this time I'm going to use a little color swatch I really don't know what best color I will change that once I get into it the nice thing about changing color with your adjustment brush, of course, is you have every other slider at your disposal as well. So usually when you're doing something like this you're not just changing color you're not adding an opaque color you're wanting to change a couple different things in this case it's going to be the overall brightness of the lips as well as the color I'm going to turn on my mask again so I can see it normally I would be doing this in a situation without a classroom watching me if I was turning on and off my own recording, I would do that and then say come back but in this case we're going to do like the nice thing is that I can certainly turned on the snap shots that I take for the follow along files I can certainly, um speed up that process by just saving snapshots that are appropriate any questions from the either the, um office, the studio audience here or the internet office the audience daddy photo one no one asked why can't you match the color and the paint color the color and the paint color? In other words, why can't I sample from within the photograph? Yes, exactly. Um that's a good question the thought on some of the adobe applications if you actually move your turkey baster if you're in a panel, it actually stays as in photo shop or if you hold down a modifier key it's going to allow you to have that turkey baster and they haven't added that feature into light room yet or at least I haven't found it if somebody knows where that easter egg um feature is then you can let me know um but you're absolutely right it would be nice to be able to sample from within there so you can choose what the bride actually chose and then use that as the starting point for making a darker version of it but that is available in photo shop where we are not having that available in light room can you specify on that a specific color number you can match you have only when we go back to that swatches palate dancer question no, you can't what you do have access from the swatches palate is you have a hue and a saturation numeric value you don't have a luminosity because that would be controlled by one of your other exposure sliders up here but you do have a specific you in saturation and that technically is going to give you a color um so you could write that down and those are values that you can get out of photo shop um but in the case of the readout that color picker is based upon hugh saturation the main color picker in light room is based upon either rgb or leiby l a b or rgb so it's not like I can come over here and if I look at my history grammas, I move in here, you'll notice that now I've got mindset to l a be color space up here in the upper left, I can come up here and change that two lab colors back to rgb that's how right clicking on the history graham gives you the ability to switch between those two, neither of those air using you saturation for color picker. So it's not like I can use that to get a reference point photo shop would give me the reference point if I opened up in photo shop, but, um, not in light room, okay, so let us go. We have gone in there, that is way too pink. I don't need that let's actually make that I'm way more subtle will go more toward a red in here if we do want her that if it's a richer lipstick again, I can come up here and even take that brightness down, and now I'm going to give her definitely where she has put on some lipstick in the situation, so that is definitely is a is a darker red lipstick. We don't need that much in here, and we've added a little bit off the pink color in here, both of those have given us this. Result here so again you're going into it this would be similar to a sun spot or something else when you physically need to do some dodging and bernie it's the same thing you do in photo shop it's not anything special in here, but we have the tools in this case I'm doing both changing the tone as well as the color in one mascot supposed to needing to do it in multiple masks came and I think that's where we're going to go if we wanted to dio I mentioned the circles under the eyes we did I'm strictly with clarity actually I can see something right here we've got a little makeup malfunction here so let's go back to our spot removal tool also now known as thie advanced healing brush you can see the other areas that we've already done before and I'm going to come up here and if it is giving me a little bit of a soft edge in here it's actually delete that one bring up when you sample and image it's going to give you a soft edges it's trying to blend from one edge into another so if I come up here and I want to maintain the same sort of contrast in this area, I'm gonna do one line and I'm gonna make sure that I sample from the area that has the same basic contrast in it right next to it and that's going to allow me to get a harder edge if I tap the hp to hide that you're going to see that I'm not getting the blurring of that file and now we're going to finish it off in that same thing, so in terms of what you're sampling from and when a sample from the same basic area that's going to allow me to not get that blurring and well, we're here let's jump back one more time to our adjustment brush I mentioned I like doing the clarity to do ah popping of the eyelashes so we're gonna come up here with the adjustment brush we're back on new day, double click the word effect to reset all my settings. I've got a nice feathered russian here and I'm going to add this time add clarity and this is the one time I have not been I've been anti clarifying things all over to soften up, but now I'm going to do the same thing, but this time I'm going to intensify it and I'm going to intensify it around what would be the upper eyelashes specifically in this case, we're going to do it without the mask and you're going to see what that's going to do in terms of kind of doing a mascara to the eye so it's a little eyeliner kind of thing going on we really can't see the the eyebrow in here but I'm going to do it right over the hair and it's going to do a little intensifying actually over here I'm gonna say new cause this um eyebrow may need a few more things to it I don't know what her intention was on the eyebrow but I can tell probably light purple is not what she was going for so I'm gonna do that clarity you can see I can make it you know, intensify it kind of outline it simply by adding more clarity to it I could possibly she's a blonde so I'm not going to make it really darker but I am going to take that um purple that's going on there for some reason and the thing to remember about any kind of retouching when it regards color is you add the opposite of what you have too much of to fix the situation so we're getting a little bit for some reason I magenta cast in here so I can actually add will that area is selected let's go ahead and show those pin so this is what I painted for that eyebrow and I can add the opposite of the magenta which is a little bit of a green and see if I can you know, neutralize that little color which I just did and maybe we'll zoom out one more time get a feel for that actually that eyebrow in terms of its density is probably fine again I don't know that's one of those beauty questions will darken it just a little bit to see what we've got going on so here's our before after before after you can see the lips now how we've outlined and delineated the lips we've gotten rid of little blemishes on down here in the chest we did a little softening overall using our radio phil, we've added are vibrance to give us a little bit of pop in terms of color we have yet to do the inside of the eye so let's do that her eyes by just using vibrance have actually got a lot going on in terms of her beautiful eyes that I mean she's actually is a beautiful bride and what we're doing is we're just like I said trying to make it look like she's having a really good day okay, she slept really good last night um let's, try that little pupil trick again that we did on that last portrait using our new radio filter her pupils because brooke is shooting her from above looking down, which is a great little trick her pupils air right next to the top of a rise so let's see how far we can do this but we're going tio do that same little trick I like the fact if you can do to increase the uh size of the pupils of the eyes using this trick because it's going to allow you to um affect that softness that edge of the mask and actually let's do that we didn't then invert that mask if you hold down while you draw it shift key it's gonna draw it out from the center but it doesn't seem to be drawing what is going on here we have to be nice that reset it invert the mask okay obviously I'm not sincere enough no no it was actually doing it normally I had tapped it actually did it a bunch of times I just I had tapped the h key but normally even if you have tapped th key it's after you're done with it does it hide the effect and so I think to note that if you have the h key tapped then it's gonna hide it even while you're creating it and I just wasn't seeing it because I had never expanded big enough and it was actually inside her current iris so back to what we had here new radio filter doubleclick the effect take our exposure down we're inverting the mass we want to work on what's inside not what's on outside you can see the current tone of the of the pupil and when I mentioned before there never pure black so in this case that's probably like a eighty percent gray so I'm never going to need to go beyond that so I'm going to hold down that shift key while I'm creating it and it's still have that h chosen so it's like I still can't see it. So let me come up here and do that there is my h so I can see it, I can change the feather after the fact, so let's, take it down so I can see the size of it and we'll take that exposure, which is my middle tone value, and I'm going to leave my highlights up. I don't want it to affect the highlights, I'm gonna take my feather up and now I'm going to see how close I can get in terms of that density of the pupil to get it to look like a real pupil, and I'm also going to reduce that contrast in general, this is something that I have normally done with the adjustment brush trying to set that, uh, feather to match? Yeah, I'm trying to not get it to dark if I wanted, I could obviously go here and we're going to end up with a really dark pupil, but that for me is getting a little bit dark. You see, what I'm able to do is I'm I am able to keep the some speculate highlight intact. Let's just use that as a starting point command option is going to allow us to drag it we're gonna move that over here to where the other eye where we don't have a special er highlight tap that h key let's zoom out to check our progress that is again to dark so I am going toe find to net and think I keep the h key to show that and again we're going to find two men okay is our eyes and we have also done are um highlighting using the clarity around that to do a little bit of an eyeliner and here's our before after before after let's do our back to our phil so we can see more of what's going on here before after before after and you could see the outlining of the lips questions it's not and you could say well I could do all that photo shop where you could there's nothing in there that was actually slower here in light room that whole thing is basically it's the same speed if anything it's a little faster than they can do multiple adjustments in one brush that would have taken multiple layers and photo shop what I'm doing in one so your question is and it's a very good one at what point do we use photo shop on what time at what point do I use light room? My thing is to everything in light room that you can where it's going to be the same or faster there's no reason just for the fun of it to go into photos show we're about ready to go into photo shop in just a minute to do stuff that you definitely can't do we can't do liquefy we can't get rid of beards we can't do really nice to fuse close in here uh, so we're going toe, you know you will be using both of those last thing I see here is I definitely got a magenta thing going on underneath their eyes, that's just a little bit I don't think she actually put on magenta eyeliner, so again, I'm going to go to my adjustment brush and do that same thing I mentioned before add the opposite of what you have too much of which is in this case it's going to be magenta, I will do one more up here and again that's not the explosion that I wanted I wanted just this down here, so you can see how I'm neutralizing that by adding the opposite of what I'm getting of kind of de saturating it so I don't need that much, I just want to take the edge off the magenta if anything I can also, you know, take a little saturation off, I can add back in another color, but you can see, this is going to be neutralizing that kind of magenta that I was getting in here you could do the same thing if you're getting kind of an awkward you know the reds of the eyes and the interior are just too much then you can also use that at the opposite of what you have too much of ok? Is there any questions out there in these, uh, internet audience or yes, well, I know I'm kind of being greedy here, but it be nice of when when this went to photo shop but came in his layers so that you know, use a blend modes or something or if he had blood modes available within light room for those eyes just once and that's actually is this a simple quick fix if you could have some blend moments or some absolutely and that's a really good point in terms of these peoples of the eyes which you're giving me a little bit? Obviously I do have blend modes and photo shop so if I knew I was going into photo shop rather than pardon the expression hard around in light room jump into photoshopped do it come on back so again I'm showing you how far you can push like room that's showing you that you know how dramatically we can push it but there's nothing in the world that's going to say hey, I know the blend mode I know this I know you know whatever. So by all means there's nothing you know as I said don't get extra points in heaven for doing something hard way but don't complain adobe won't fix it either, so no way good and I think it does we just heard you I'm sure that adobe is listening as we speak right now jack have a question from photo maker who says does each inverted mask have to be processed separately or can the mass on both eyes be linked and adjusted together as far as I know they cannot be there is no way toe link those you can't come over and then do a selection around them there now both visible here and there's no way that you can, you know, shift click around those or something else like that we're selecting if you go right on top shift click yes, you know that would be normally how you would do it you know we're doing an option click shift option click shift option click right hand claw click I don't know of any way of doing that so um it's a very good point ok? Other questions okay um we're going to say that that is good enough for this one I'm not going to take this file in the photo shop I could well take some other ones into photo shop but let's do a couple mohr images before we jump into photo shop and do things like liquefy um here is one that had a little bit more of the ah issue another a model taken at light workshops like workshops dot com where they're also doing that california photo festival and in this case just for speed I'm going to just jump right to the fixed image over here and, uh thank you and dio are before and after we don't need quite that much let's see a little bit more of the resulting image and in this case I use did use that patch to kind of soften these things up so looking at our spot removal tool and tapping the h key actually this version I think I have the version that does not have that had just been on it so we're actually going to do it I'm going to say that doesn't look like I so often that up you can see that I did do all these other spots in here so if we turn off that you're going to see the little no blemishes around here so these are what we're being fixed by using our spot removal tool so it does a great job now that you can do it on a straight line is you can see here removing those things uh again it's not as good as thie content where brush content we're sensitive brush in photo shop but again, for most things, it can do a great job so I'm going to go ahead and do that same thing that we talked about before we're going to come up and I'm going to softened the transition basically is what I'm doing here let go I don't like that we'll use that forward slash key using that is not going to be what we're going for, so I'm going to bring it down just below that area and then again I typically take that capacity all the way down to zero so we're seeing absolutely no effect whatsoever and then I'm going to take it up just enough so it's blending in that area again as if it was makeup or something else like that and again it's going to keep it it's at thirty percent now so everything that I do now is going to be a you know, reduced capacity fix and let it catch up so there's our little thirty percent capacity and always changed that later on and maybe if we want again we'll come back and do even one right along this transition again it's using that same thirty percent so we take that over here there's our little reduction on it probably is a little bit bigger brush we'll do that over here and you get we love our little animated smoke cloud when you had the lead her eyes are fantastic she has a gorgeous eyes get normally I would and again I like using that the forward slash key toe it may not choose a nice area but if it's going way out there rather than zoom out and find it you're forward slash key is just going to be a speed increase for at least getting access to it no can I change that opacity back a little bit okay so we got that camp over here to our left hand side I'm going to do it another snapshot that's why? Because this was an older filed using a step so here is going to be our curse over here and here's our it was opened up already with a set so we're gonna do that same little trick that we did just a second ago come over here and we're going to say use this zero as our before and that way we can come up here and have our cursor off to the side before after before after so obviously the tango was used to fix all our tone ality of the file and then after the tango we've come in here and do some dodging and burning let's go out even more and I'm looking that to me is still looking a little bit yellow I may actually you know come over here and warm up her skin tone a little bit doing a little custom hand uh white balance adjustment okay, so there is another little tweak to see how far you can do it. You obviously we have our vignette were taking advantage of some softening along the edges. This is another shot of the same model where we're doing that same thing. Here is theory, jinna ll shot, and I'll just jump over to this one. I know we've got that, and in this case we're taking advantage of definitely the softening of the file. Well, we're actually, you know, because of all this distraction going on here in this background, we're definitely taking advantage of the adjustment brush and doing a blur on that here is the skin softening going on with that anti clarity going on here so again here's our before it's a really good thing we frankly there here's our before after four after a lot more little shaping of the light on that one, and then last one on here is our before, but make sure that that is our before and then after and in this case, we also definitely took advantage of that softening of the background here this case rather than do the retouching on the all those flyaway hairs simply by using that in this case the adjustment brush to d focus or d sharp in the background, a swell is dark, and it allowed us to save a lot of time on not needing to retouch out all those hairs. All of these are quick enhancement. If I had more time, none of these the's air the sorts of jobs that I would say, I don't have that time. It's not the money shot. I'm not getting paid for one giant photograph over the mantel place. That's exactly exactly where I think light room shines is where I've got a dozen shots. This is a wedding, I may have hundreds of shots, you know, how can I quickly this concept of using, you know, an anti clarity and a brush, you know, is going to be great, that idea of, you know, doing a little tweaks that are going to take that image up from here to here, knowing that in photo shop and maybe even using third party filters and stuff like that may get it for those money shots where I know spending an hour to on an image is going to pay off with the client most the time, uh, in a large throughput of information, large throughput of images, you may not have that luxury to spend, you know, in our or even half an hour into it, last week, you photographed us sales meeting for real estate office and did thirty head shots and I would have saved a ton of time doing the retouch in light room versus thirty of them and photoshopped yeah because you may have ended up with the least half a dozen layers on each one of those shots and then getting around to it so yeah okay anything from the studio audience where we continue on okay good well then speaking of going into what about things other than ah beautiful young ladies let's work on grandpa here now I have worked on grandpa before another videos that I've done I actually found because I like using you know different images I've got a my friend here and he's got a five o'clock shadow but it's not the high enough resolution for made it to show you what we want to do is is get rid of a five o'clock shadow also for him this is kind of a manly you know the baby and the husband in the dad and all that so that's kind of you know is a feature not a bug okay grandpa here that's not a manly five o'clock shadow that's not where you're kind of going a grandpa it's looking pretty sharp so um is that really your grandpa know itt's not is actually not is a nice stock photograph this is actually when you purchase it this is what the photograph looks like so I was looking for the search for five o'clock shadow and I looked for this one but this is I think it's a fantastic shot okay, if this is taken in the hospital looks like it's actually, you know, maybe even a hospital robe if you've got a shot like this in these situations, this may be a zillion dollar shot this maybe you know I mean the world to you. So how far can we push this? This is the opposite spectrum of our little beauty glamour glows we're not going to glow if I grandpa we're not going to make him look twenty years younger we want to get rid of distractions right that's the goal of this sort of work in um light room or photo shop or wherever you're at, the idea is to get rid of distractions so in this case the distractions we've got a few going on here we're going to emphasize mainly what we're khun due in photo shop but just to show you the steps this is has the photograph was taken this is doing the tango which is a basic overall tone to it this right here if we look at grandpas nose over here basically we had some discoloration again none of us have consistent skin tone we're gonna work on that in a second on another image here in light room so irregularities are part of the equation. The thing is is to get rid of it as a distraction and we're going to hear just what we did to the bride's underneath her eyes had a little bit of a magenta in this case we've got this kind of magenta thing going on here and so we're going to do and I'll just do it from scratch here we'll go back to our adjustment brush reset the effect and we're going to add the opposite of what we're getting too much of this is magenta we're going to add a little bit of green red is not only a different color than the yellow it's also a darker color, so I may add a little bit of exposure up knowing that anything that I do here, I'm going to be able to find two so I'm gonna come over here and in this case I'm just going to take my brush, keep it pretty soft and we're just going to come up here and work on grandpas knows it's also going to make it a little bit yellow er the skin tone here that maybe a little bit more of that and a little but more of our exposure remember you have your shadow slider sometimes I use that for kind of doing a dodging and burning on it and we'll see if we can reduce down our speculate highlight and settle that make that transition so that right there gave us this will sell from that up even more things like the backdoor little spot tool these sorts of things we can fix larger areas what we are getting is we're getting a ton of little you know, spider veins you're going to see through this in here so not only do we have the five o'clock shadow we're also getting the spider veins we also have little crunchy things in here which I don't even know what they are but we don't we're not their kind of distracting so we'll say that that is maybe we you know get rid of that that chose a good spot over there you get the the idea were ableto get rid of these these little distractions and make sure that we sample from the same area that is great and if I I want to do that little patch job maybe we'll do that same thing in that transition that highlight on the nose and highlight on the nose we're back to our welcome driver issue and we'll use this well forward slash so what that is going to do is going to allow me to get rid of that kind of the shine on the nose like I said, I'm not trying to make grandpa you know look twenty years younger I'm just trying to help out a little bit in terms of distractions so let's go ahead and hide those pins and here's our actually this is our after so that's kind of are doing that right here let's go ahead and again make this our before so before and after before after that we did a little more dodging burned there, but that looks like that's the one where we didn't do the lips. Okay, so that is well say that is good enough for government work as they say and that, but the problem is we still have the million little spider veins, the crunchiness and our five o'clock shadow again, if you've been with me before you know this this file you've worked with may apologize for using the same file, but it's just such a great example of the opposite of our typical beauty retouching, and for this we're going to go down to a filmstrip and this is going to be one of those places in the first time we've used for another time we've used our smart filter recipes were going to right click we use this actually technique yesterday when we, um, had our antique photograph, if you remember, we had a lot of dustin scratches well, that's our teaser for what we're going to be doing here edit in photo shop as smart object as I mentioned, if he has any time, you know that the primary thing that you're going to go into photo shopped for is filtering go ahead and open it up and photo shop as a smart filter and that's simply what we're going to do our five o'clock shadow removal filter is that same thing we used for dustin scratches the other day filter noise dustin scratches what we want is again you take up the radius big enough to fix the problem if our problem is we're looking at individual grain grain, so to speak are hairs going to take that up until the hair start to disappear, which is going to be a little bit difficult for us to see? So we're going to add our secret sauce, which is the threshold setting you take the radio is big enough to cover the problem and then you come over here and bring back the threshold until it gives you back the texture or in this case the skin poor structure without the beard we're going to come up here you look around primarily around here for our, um little hair and what's going on with the threshold setting is that's telling the filter at what point does it kick in? In other words, subtleties like skin poor don't do anything let them show through when it gets to this level of twelve it says there's enough contrast between the hair in the skin tone start doing your magic at a radius of seven so that's what we're seeing here and that is giving us this before and after, where we're getting our still getting a poor structure to the skin, but we're getting our hairs removed. The nice thing about what we're going to see a few nice things about it is it does a huge amount to the overall feeling of beard, but it's also going to be working on this little area of our spider veins. The problem is, of course, is it is also affecting things like the eyelashes, eyebrows and everything else in the file and that's actually looking a little a little heavy handed so let's take advantage of that other aspect that's actually, I think is a different resolution than I typically work at it, so this is a different file um, it's a little heavy handed in terms of the filter, the nice thing about smart filters one they're tucked up inside the actual layer of whatever you're working on, so they're part of that layer it's, not something where you duplicate a layer and run it, though it acts like it because you have access to not only the filter, but it actually is going to give us a little mask toe work on, but if I double click on the word dustin scratches, I can actually get back to the dialog box, it is non destructive and I can come up here and I'm going to take down that threshold a little bit more and again, this is a lower resolution file, so I'm gonna actually take down that radius just a little bit, okay? Now, in this case, what I want to do is rather than paint out what I don't have done what I don't want in this case, it is too heavy handed around the entire area it's giving me a nice beard situation, but it's too much overall, so I'm going to do what I did talked about yesterday is oftentimes it's much easier for you to start with no effect and painted in? Well, then paint out what you have too much of so in your mind think of is it easier for me to paint out the eyes leaving behind the beard or because this is affecting? Obviously everything, the background, the hair, everything all I really want is the beard and some skin softening. I'm going to fill this mass with black and paint in the filtering effect, so for doing that, I'm going to fill it with black there's a million ways to fill that with black or inverted to black the tip that I gave you yesterday, which is a really good one just because it allows you to feel anything with anything is shift delete, and it happens to be the same on the mac and pc, which also makes it cool shift, delete and it allows you to one do black, but it also lets you do foreground color background color any color content aware okay when we did tomorrow, we're going to go into things like a panorama stitching and how to extend areas that you may need to you know, re touch in and that is going to be using our content where phil patterns a history state anyway it allows you to do everything yeah, the shortcuts for filling with your four grand color in your background color is option delete is filled with your four grand color are all delete on the pc commander control delayed is filled with your background color um if you want to on ly filled transparent pixels on a layer you can option shift and that preserves transparency so if you had like a logo you want to change its color it was floating on transparency the shift key forces it to stay the transparency to be locked so the shift key adds that to it and all sorts of shortcuts. So anyway, I'm going to come back up here I'm back to my good old fashioned paintbrush I've got a nice big brush one hundred percent capacity make sure that I'm painting with white make a ridiculous shaver noise and and basically getting rid of grandpa shadow if I want if that's a little bit uh extreme I can either change the the intensity of the filter or I can come up here and tap on those number keys and change the opacity of the brush and that's going to change how dense the brush is the effect is but I'm gonna go ahead and leave it where it is the one thing I am going to mention here is that even if you're not working with five o'clock shadow seniors where else do you see hair being an issue especially around the edge of the face ears and things like that you know here's his years out of focus but even ah portrait of anybody that's backlit that side lit you know even a teenage girl is going to have that peach fuzz when you see all these other little hairs going on so if we look at these hairs right here on grandpa I can actually get rid of those hairs simply by coming over here and doing you know a straight line so it allows you to cover a lot of as I said cover a multitude of sins simply by coming up here and I'm doing it when I get to where there's less hair okay so we got that going on here at this point I can start reducing the capacity of the brush I don't need it as much I can tap something like the seven key and now it's at seventy percent when I come up here to areas here backto the beard situation and here this is just going to be a skin softening and I don't want that to use that same noise reduction, so I'm gonna tap five key changes my capacity appear to fifty and now I can get rid of those spider veins um, by doing a dust and scratches at fifty percent, I'm actually going to use it over the wrinkles it's going to be a softening overall of the skin? I want to stay away from those eyelashes, but even these subtleties, these little things going on in the nose I'm able to get because of that threshold setting, I'm able to maintain as much poor structure as I want to stay away from hair if I want to hit something twice because I'm using a mask, anything that I hit twice is going to be, you know, I'm doubling up the mask this case, making it more white, so if I do need to intensify whatever I'm doing, I can simply paint over it a double a second time that's different than when we would get in light room because remember, in light room, that density setting that you have stays consistent no matter what you're doing in the file, you don't keep brushing and it doesn't get more and more intense, so coming in let's get rid of those little crunchies up here up here going toe basically I'm just getting an overall, um softening of distractions and here normally I crop grandpa different we don't need all this, but we're gonna do that anyway, you see it's just and again you can do this on anybody, but here is what we have are before, after before after and the mask could not get any uglier. Yeah, so in terms of that, you can see that by looking at that mask that and again viewing the mask that's option and are clicking on the mask lets you see it you want to turn off the mask, its shift click on it and now that's what it would be if we hadn't targeted just to those areas of getting rid of the beard and softening skin tones, getting rid of the, um you know, spider veins and everything else. So here again is grandpa okay? Something you would not want to do in light will make sense doesn't scratches it's a very nice old trick, and again, it doesn't matter on the age of the person that you're working on, it actually works, you know, be used on a bunch of different areas ok, close that save it it's going to go right back into my catalog in light room on dh it's going right back into my catalog in light room, but with the mask that's interesting again, I'm using the beta of photo shop it was released last night so you can see what's going on there, um at it in photo shop at the original it's going to come back in here and it's actually accurate here, but when I closed it and came in that massive not so that's an issue related to my copy of photo shop and the, uh beta that I'm working with still, because that is not updating um correctly in light room. Interesting, yes question, yeah, so jacket, where would say you're like the dust in scratches check is pretty sweet. I've never seen that done before. It was pretty cool. So how does that how? Where would you just determine whether or not you would do something with like that anti clarity versus dustin scratches I could see maybe, like, sometimes makeup reads a little too heavy, or you can see the makeup a little too much. Would that be like something you would do in destin scratches versus anti clarity? Because it seems like the the specific area I'm going to use destined scratches is like what I'm doing here, the beard removal or things like the spider veins you're talking about thing that's almost like a piece of dust or scratch, and just really smart. It's a real hard, high contrast the thing it's not going to be for subtleties, it will work if you've got pores exaggerated, pours, you've got, you know, a little dark pores over something, then that may be great because you've got again this high contrast. So if you're looking at exaggerated pores and you know, there's really nothing in light wind that's going to really do that, you could try the anti clarity, but that's such a high contrast that it may not do so you'd have to be so heavy handed with it. That may be an excellent idea for going into footer shop, doing exactly the same sort of thing and doing it. One other thing that I'll mention if you've got, you know, five shots of grandpa and you need to retouch them all. The nice thing about that smart filter recipe is you open up, do everything you can share every setting that you can in light room, bring them into photo shop, all the different ones that you need to do the beard removal and remember that that, um, smart filter recipe, the settings and everything that you did for whatever filter it happens to be, you can literally drag that where it says smart filter to another document, and they will apply the filter with all those exact same settings now the masks may not line up or it may you know depending on how much it's moving if it not a lot of movement you know if one's the funny and one's a serious lind then they may be very close and you could actually share the filter in the settings and even the mask is a starting point between files that's the other thing with smart filters as you can literally dragon dropped them but between different files was pretty cool this is another image that we have I have used over the years and it's just so good I keep looking for ones that have the um both the combination of because I call it this is a friend of mine rose atia and john diss at the same time and similar to what we saw in the um grandpas knows situation here we have both the red and yellow would just have a disk coloration of the skin tone throughout so we're going to fix that and in this case because it's global enough and they're not little teeny you know specific spots we're actually going to take advantage of the h s l panel to actually fix our issue because I mentioned this before. The great thing about this h s l panel is if you have something like overall you know skin tone values in the orange range you have portions of your color range that are two yellowish you can move them to orange something that is to read you can move that toward orange, they can meet in the middle, shake hands and make up so even hs l that you normally don't think of as a retouching tool per se is can be great. So this is what we're going to do on this file related to this idea of unifying skin tone and again, I've use this image for years for those you have seen it and are sick to death of the image. I'm sorry, I just haven't found a better one for doing it, whether it's rose atia or whether it's freckles, whether it's, sunburn, whether it's, acne, this idea of having read things and little yellow things or whatever things are going on, this is appropriate, so we're going to take over here we're in, hugh, I'm not going to use my targeted adjustment tool because it's very specific what I want to do. I want to take what is to read and move it toward orange. I want to take what is yellow and move it toward orange and I'm able to balance out in one fell swoop the cheeks and blend in that skin tone red is also a different saturation than yellow it's, a more saturated color by definition so I could go to saturation and I could take the reds down a little bit and that is going to reduce that red cheeks there's nothing wrong with kind of red cheeks, but I'm going to just show you how far I can push that luminous red is also a darker color then say yellow so I can also take the luminosity of red up and that's also going to lighten up those cheeks just to show how we can unify skin tone that is using those three sliders how far you can push the unifying of skin tone. Now the question is, is it also affecting his red lips? Yes, is it also affecting his obnoxious red tie? Yes, this may be a situation, though where it's faster what we just did, bouncing out that skin tone maybe a situation where you would open this file up you can actually we could do it a couple different ways we could come here in our, um filmstrip do a commander control apostrophe we now have this a duplicate of the file we can undo it or in this case we'll just reset it. So now I've got two versions of the file that are exactly the same and I could do that exact same thing that I did before in this case where I'm going to right click edit in and sure that I've got both files active right click editor in dae shik, click both files edit in I am having a really good day in terms of that I can see that we're that this is again and older file and much older file that's changing the profile that really that's undo that one okay, we've got that file here I again I apologize for what may be going on between the beta that I'm using it had to happen one time there's no way that we're going to do three days without some sort of significant but going on here so to file selected edit in that that's just it's got me stupefied with why I'm not getting the ability to edit that in you still like the live audience jack no at this point at this point yet it's not even letting me open in photo shop so all I can think of is that it's coming up here yeah and that is the older version of it and right click edit in well, you're gonna have to trust me on this one that's what you're going to do it is this one we've got one file were able to do a huge amount you do have toe admit that the ability to come up here and unify this skin tone is dramatic and you've spent a lot of time of hand retouching the fact that you're do able to do this much unifying of skin tone with just sliders no hand work at all is great the fact that we've got this and the original were able to do a virtual copy, so we have two versions of the file down the film strips like them, both right, click and obviously just paint one in, just as you would in a photo shop. This situation where you do one tweak, it could be a total tweak. Some people do this all the time. We're rather than doing hdr with bracketed exposures that basically create different exposures and then do virtual copies of that and then bring them into photo shop so they can hand paint in their exposure. Of course, we have all of our exposure tools built into our adjustment breast, so I don't do that. But some people are actually more comfortable doing these global different exposures in light room and then blending them in photo shop. But this is a case where it may be easier. The reason being is that even though we have a huge number of parameters that we can change in the adjustment brush, we do not have a chess ellen a brush so that's what's going on here, if I had a jessalyn a brush, then obviously I could do exactly what I just did. I got a ton of stuff, I do have what we did on grandpa, I have the removal of magenta I've got the temperature and ten slider I don't have all the control that I needed here to be able to take advantage of these the cheek situation okay? And we'll figure out why that is right click edit in yeah it's something to do with that file and I just dug too far back in the geologic column of what I have here in order to do that okay? Questions so many people just continued to ask about the walk tablet and if you could just tell us what which one you have and he said not sure if this was asked her mention before but do the new brushes have provisions for pressure sensitivity with the welcome yes, you can do pressure sensitivity inside of light room using the walk him this is a walking for obviously I don't have the updated drivers is I think what's going on in terms of why it's jumping down it's when I'm using the stylist not when I'm using the mouse um the interest for it is the latest and greatest from welcome is wonderful it's awesome it's the only way that I would do retouching we're going to do some liquefy right now so I'll be taking advantage of it in that sense as well welcome does have other ones that don't have all the what's called their heads up controls that you can use um so any walk him is better than no welcome but the welcome into us for is fantastic they also have an entire line of tablets called this antique this antique er actually a monitor that you would use that's a pressure sensitive monitor people who are doing a lot of work in the design car design interior design set design movie design you know cel animation traditional cartooning a lot of them are going to have either the smaller the large sin teak in their lap and they're doing this you know, all day long and it's fantastic. So you actually your monitor is in your lap and you're drawing just as if you had a pad of paper so this antiques are excellent basically anything that welcome does this fantastic? So great and that's a medium this is their medium there what they call their six by nine and had a smaller and larger and you recommend it for light room equally as you would photoshopped. Absolutely great. Absolutely. All right, thanks for that. Yeah, ok. Speaking of let's, go ahead and do a liquefy liquefy now since photo shop cia six allows you to use it as a smart filter and I mentioned before a few things that were going to do on this shot that we tweet yesterday this right here is our before after I mentioned that were ableto take five ten pounds off slender rise any of us male or female by using our lens correction over here and in this case we're using the aspect just tow qualify are brian just slightly okay? So here's our before after when you initially look at it you may go it's stretching awkwardly but actually once you look at this for a while you're gonna go that doesn't look natural this actually looks natural so the same thing with the bride's face we use the pinch to kind of de emphasize the nose after you look for a look at it for a while going back to the original one you see that is actually is kind of a lens distortion thing so this really is you know, not only do we choose our tango but we've got our little lengthening but because of the tightness of the dress there's none of these how you ladies do wedding dresses let's take this right click edit in open a smart object in photo shop and this is going to allow us to bring in the actual raw data that's the nice thing about opening a smart object you actually have the raw data to work with and if I wanted to get back to it if I go you know what? Gradual but we'll save that in a second we're going to do another really cool trick before we take a break, but I'm gonna go right up to filter liquefy and there's one thing that you need to remember about liquefy and that is this is how it opens up in both c s six and four shops sisi both of this in this current state I would say is absolutely useless because what they've done is they've simplified the interface and they've done what they call we moved the regular mode from the advanced mode and without the advanced mode you shouldn't be using liquefying it's so first thing open up liquefy turn on advanced mode because without the advanced vote, even though it is a little scary, we're actually not going to use any of this stuff here and that's why they turned it off they have the freeze and thought mask options are only part of the advanced settings, and without those you can't use light room so let's just first say, and the first thing you're going to do with light room is you're going to actually use those tools the freeze mass tools specifically this one right here or in the right hand side because what you want to do with light room is say, I don't want you to change certain things and I do want you to change others in other words, you don't want to just start doing plato and hacking things around, so in this case we're going to come up here on this bride we're going to zoom in using our space command key or space control on the pc and basically what? Like I said, we're going to move some stuff around now the thing that you want to remember going to check your brush size density and pressure the size and brush, pressure and density all of that's looking good um for are actually let's take up our density all the way up. We don't want to partially free something we want to completely freeze it and we're going to come up here and we're going to change the mass or when a mask off what we don't want to change and in this case, the arm what we want to do is go underneath the arm and move this back up into position. All right? So if I didn't do that, I would be moving in probably could get away with it because it's kind of a straight line, but I freezing this, I'm saying whatever you do, don't change that often times again, if I wanted to move this waste in here a little bit, I could, you know, come up here and change this arm and the reason why you want to do this is you go well, maybe can't you just use a small brush if you need to tuck into an area and the problem with a small brushes you're hacking away at the problem in the little teeny serrated edge and it ain't going to be pretty one of the main tips with using light room is you want to use his bigger brushes possible and to make it as subtle as possible if you wanted to dio face if there was again beautiful face on this bride you could say don't change the eyes the nose or the mouth basic structure of the skull but you could then move up and I'll just do it here even though I'm not going to do it you could do this t area here and then come up here and do portions of like the gel line the freeze the freeze mass tool is essential because if you're not you're going to get into problems ok, I've got those pros and I'm not going to go to the regular er work tool here don't need quite that big the brush pressure I'm going to take that back down to like twenty five in other words I don't want I want a subtle movement in here I want to be able to control that subtle movement so in this case I'm going to come up here and I can come up and I can move that area without worrying about the arm I could even if I wanted to come over here and I can move the waistline in without worrying about the arm if there was an issue here we could move in the general line ever so slightly without worrying about changing the overall personality I come over here to my thaw I don't really knew this if I wanted to say do the back of the arms I could again come over here and using a big brush and here's another tip for you rather than use the edge of the brush you want to use the center of the brush and you don't wanna hack away you're not making these little divots in the area by picking it up here in moving it in I'm actually picking up the arm hey and I'm reshaping the armed by using the center of the brush it well said, well why are we doing this when this isn't her actual body um the picture was taken the picture is gorgeous but she has since been going to the gym and wants it so good, you know? So it's whatever there's all sorts of reasons let's go ahead and we'll this is what's known as the thaw mass tool I'm going to now come over here and again this I'm gonna not I'm not making her bigger, but what I'm doing is I'm just you know that was the dress is awkward, okay? These dresses are awkward so me being able to find tune it could be a lot of times it's the you know, fulls of the dress moving the fold something is just awkward, so that right here is all we're going to d'oh to do before after before after, okay, the things remember about liquefy are what turn on the advanced advanced mode about the advanced mo don't even bother with it once you have the advancement of you have the freeze mask tool freeze mask tool you want that density to be all the way up? You don't want a partially free something you wanted pros and your mask off the areas that you don't want to touch, especially when you're coming in too tight corners and working on it it's essential once you frozen it, go back to your regular ford work tool and then you can take that brush pressure way down something like twenty five take your brush size up really big so you have a big soft brush and then move your areas into position. This because this is a smart filter, I didn't need to duplicate the, uh document or anything I was able to do it all, not destructively, I can go back in there, double click on it and get back to it and I confined to what they call the mesh. The last thing that I'll mention that is really cool is I could have started this off as a black and white photograph, and then all this if I had done it traditionally and then go, what am I thinking? It was a beautiful color photograph there's no way that what I fixed were black and white pixels because this is a smart object here I can come up here and what I'm gonna do is I want to duplicate this layer and do another version of this this case of black and white version but I'm not going to do the standard shortcut of layer new v a copy okay, I want to do layer smart object new smart object via copy, which you can also do by simply going over here in your right clicking on your layers palate new smart object via copy this now is a completely new version of that file it's the raw file that I brought in is a smart object, but they're completely detached they don't know if I have any knowledge of each other the reason why I do that is that if you just do a regular duplicate of that current layer, these air actually what are known as an instance it's the exact same raw file by change one raw file it will change the other and the reason why that is a problem as opposed to doing this one new smart object a copy it's when I double click on this and I come now into adobe camera raul I have all the raw data that I've ever had access to and now I've got my file and go black and white I can increase my contrast in here I can add my little c p a if I want we're going to do cps later on, so we're going to come up here and we're gonna do a little you know, c p a on here and we'll make it so it's just in the shadow areas we could take that say ok and now it's going to apply that filter in this case liquefy to this file I don't have to read touch it and if I had started with a c pia I could undo the color by simply double clicking on it. It doesn't take you back in the light room takes you into adobe camera but you have access to everything that was part of that original file. Yes, so is the new smart object fee a copy duplicating your raw file? Yes, we have to rob files now you do have to raw files in here. It's going to double your file size if you did just a command jr control j doesn't double your file size it's actually, just making an instance almost like a virtual copy the benefit of doing that way is that you can actually do different filter recipes if you want to try different recipes on there, you could do that by adding different filters onto it you could duplicate as many times as you want it to so that's a benefit of doing a traditional copy of a smart object versus what I just did here which now I have you know two versions of it okay good any questions from the virtual audience question from leroy sparks who asked can you stack or have multiple smart filters you certainly can absolutely as matter of fact one of the things that I have given to you all if you go like my facebook page is this really cool smart filter recipe and went to see if we can add it right on top of this filter here this is a kind of a low res file but let's see if we can do this one these are part of my um uh painting actions sampler here and that is going to be my smart object painting and we'll see if it's going to add it to our liquefy and well we'll see if it's adding it to our liquefy yeah I've got a funny feeling image mode that was probably not since I've already got a smart object on there that was not what we were going for but what we did is we're using the well pain filter so unanswered question here we've got the liquefying and the oil paint filter going on at one time media and oil paint as well as the liquefy yes you can stack it yes, that is scary in terms of the joker aspect of it, it was it was meant for a much, much higher rest file than this one, but the idea of using the oil paint filter is actually a really cool thing, so that's going to be able to more subtle, but we're not going toe. We'll do that with our regular, so here is taking all the different filters. You can add as many as you'd like in terms of filters, and you can turn them on and off the eyes, as you can see there, much like a layer style, you can say whether I want just the liquefy or median oil paint is actually is part of this action has another three or four different components to it, so we'll do that one later on. But, yes, you can stack and that's actually one of the great things about smart filter recipes, you can add as many as you'd like to it. Get shot by, shorty asks, could you go back into a chess l and pick and select a tool to fix the tie color that would you use that h s l is all global, so the tide that's why, when I did his cheeks, it did the lips as well as the time, so again, if I was going to do the tie wouldn't be through h s l unless I wanted to do that trick that I mentioned, which was not working where I could do hs l make a virtual copy and then opened them up in photo shop. What I would do for the thai copy if I wanted to use an adjustment brushes, I would have access to that tent and temperature little slider up there at the top of the adjustment brush, or I could do the trick that we did on the car or other things like that, where we can go in there with that tin slider and do it over the tie and then just add a tint to it. If we need to, we could take out the color that was there by d saturating in that brush and then adding in the actual color into it. When I did the change, the models eyes a little bit ago, we took out the inherent color, added another tent on top of it and that's what we could do with a a tie? Great, we'll have a question from eddie. In other images, you've mask the lips to add clarity. Would you do all of the lip related stuff at the same time at once all the lip related clarity or all the clarity in general? I think the question is that you master lips to add clarity, but would you do all the lip related stuff at once that question all the lip uh no as an example so and going back to our bride let's go back to our bride that we did here and again I didn't do a clarity to this bride in here, so let's just go back to our adjustment brush that was something that I didn't do, but if you remember I did little dodge and burn too I unify the tone of the lips and then I did another completely separate one which was just adding the red tint to it if I were to do clarity to it here we've got new so let's just show you where that is again, I would normally do someone add clarity to it and take this up this I'm going to actually go beyond the lips and here I'll do it well sloppy for here because the clarity is doing edge contrast to what that's going to do is make the edges of the lips pop so going a little beyond the lips will exaggerate that you can see how it's adding that contrast in that area it doesn't matter if I go beyond the lips so each one of those the dodgy and burning of specific areas to kind of match the totality is separate, adding the color was separate and then adding the clarity because I couldn't be sloppy with it would also be a separate adjustment so I would do those three different times okay let's ask one more question okay this is from cool crew who says to jack does jack make a virtual copy of his photo in light room before starting tons of changes so he can easily just go back to the original or does he work on the original I worked on the original and instead of doing the virtual copy for the before and after because that would have me doing a comparison which is great you can just tap the cd key to do a person um I use that snapshot where I always create a snapshot when I start off with so that's what as an example here that's exactly what we're doing so well there than me going to two different versions of the file I can take advantage of this right here by using a snapshot of the opening image and then I use the backslash key so I only use the virtual copies for things that I want to output again I'll use snapshots to do if I do variations on it like again if this is my latest version of this file I can come up here I'm gonna click at another snapshot if I now tap the wiki so now I've got a black and white version of it which is interesting because I've done that tempting you know is the tempting tempting of the lips the image is black and white but I still got a color tint to it so which is kind of an interesting well again we're going to be working with color later on so basic let's go ahead and take our contrast up for our black and white so now I've got a black and white version of it will say that those lips that's actually go ahead, get rid of those lips consider you know we don't need that color tinting on this since I've saved the snapshot it's just like a completely new copy so that is my clarity which I don't mind there's that one I'll hit delete and now I've got the my black and white version of the file hits snapshot for so now three is everything that I did for that color file for is going to be my black and white version when now I finished all my retouching I've done my different effects I've got my different ones maybe I had cp or whatever else now I can make a virtual copy commander control apostrophe now I've got two versions of the bride here and all I need to do is simply have won the black and white and this one right here I could go back to the snapshots every time you make a virtual copy it contains all the snapshots from the previous versions so I click on snapshot three and now I'm ready for output I have both the black and white and the color so I only do virtual copies when I'm ready tow output either to print or going to photo shop or something else I use snapshots to keep variations on a theme within a particular for well fantastic um hey jack, I know you I will totally agree the integration between photoshopping my room is now probably more important than ever with the cloud people are going to have these new software, so I just really appreciate you showing how to go back and forth with these two powerful programs for editing your photos and that brings up a good point that that integration especially taking advantage of the cloud the storage that comes with a creative cloud subscription things even like starting on your tablet or even now on your something like your iphone or android you've got photoshopped touch on there with layers and filters and typography integrating that into your laptop via the cloud because everything that you do there is instantly part of your cloud subscription which includes your cloud storage so your ability to move not only between applications but between devices is also very cool and groovy if that's part of that thing to remember as well you get twenty gigabytes as part of any subscription even if it's just a single application subscription like just using the cloud creative cloud subscription for photo shop. You still get twenty digs, plus all the other freebies that come with a subscription.