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Post Processing

Lesson 22 from: Build a Family Photography Business

Jules and Joy Bianchi

Post Processing

Lesson 22 from: Build a Family Photography Business

Jules and Joy Bianchi

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Lesson Info

22. Post Processing

Next Lesson: Work/Life Balance

Lesson Info

Post Processing

a couple of disclaimers. I normally would be doing my editing on a tower with a Mass. So today, for the purpose of creative life working on my sister's laptop. So it's a little bit little foreign team. But I think it's I think, what we find no problem. What I wanted to tell you. Look, I'm looking you guys is just touch on a couple of the things that we talked about earlier. This is a little bit backward because obviously we would be doing the color correction before Joy put her images into pro Select. But just for the purpose of the class, we were doing it backwards. You can keep reminding me to slow down. That's fine. And I'm I'm. If you recall when I was shooting, I would dio take one image in aperture priority. Check the back look at the history, graham and then shoot the rest in manual mode whenever I was in the same general vicinity. So if, like if the sun were shining into my face and my couples were backlit, then anywhere I was within 180 degree radius of that, I would keep my o...

nce I found my exposure, I would keep it the same. Now, that doesn't mean I didn't change my exposure. If I wanted Teoh, um, have a deeper f stop, I would slow down the shutter speed or maybe bump up the eso so I could speed up the shutter speed. But because I was moving all of those things together in tandem, the explosion was the same. So what I would do is after we cut it down and joy cut the down even more than this. But I cut it down to my 68 favorites here out of the 400 that we shot. Then I'll take the chunk that I like that are in the same Oh, that's right there because this is a different resolution to be on that screen. 01 other thing I wanted to mention is that I like to set my camera raw preferences with the auto applies tone adjustment. I mean the apply auto tone adjustments unchecked so that when they when the images appear in bridge their their their closest to the way that I shot them. The computer isn't trying to apply its own, um, adjustments to them and what that does is, it makes my initial at it pretty simple because you are asking me earlier, Michael, about how much work I gonna put into it. And if I think that the image is pretty close to perfect out of camera, that I don't want to do too much tweaking, I don't spend that much time on them before we know my sister might cut it out or if the couple doesn't like it, if mom doesn't like her hair or something, and then later, if it's something that they love, then I will go back and maybe spend more time, or maybe even go back to the raw file toe plus with them. But typically he's You can see here that it's the default has been said, and if I sometimes if you click auto along in this case it didn't change too much. But usually what I will dio is these are the presets, and this is the precept that we've been talking about for the past couple of days that I made. They work here in a CR. They also work in light room, but it's basically I made them slowly over time, as I would do things to images and say, like I like that I would just save it and that's a while I had this big giant bunch of them. So they do everything from sort of creative pretty things of the pictures or black and white or tones or just simple gives. I'm going to show some right now, so usually with something like this, I have a couple down here. They're called snappy, snappy, too stupid snap and a lot of hands. I'll just toggle through them like I think that's a little too snappy, so I'll stick with snappy, But it's moving the curbs, and it's not changing, actually exposure or brightness. So it works across the board on a lot of images, and I have all highlighted on the side here on the left. So whatever adjustments I'm making to the image of the top is happening to all of them at the bottom. So then, once I've finished adjusting those here that I might go into my main basic adjustment tab and then I always like to keep this on much like I do in my camera so I can see what highlights air being blown out and a lot of has all total on and off, just to make sure it's gonna look all right. And I think like blown out highlights like I said before, are not necessarily a bad thing just where they are. I'm not a huge fan of feel like, because I think sometimes it make a really strange look. But sometimes I'll use it if with backlighted situations, if we don't have a reflector. If we hadn't used one there, or even I think in this case, I'm kind of liking this, I tend to like to put the contrast a little bit. And then once I'm happy with the way that average looks, then I'll just hit, okay, and in this case, I have hoping that works because I can't see the bottom of my I did so If I like that adjustment, I usually will find most of the images that I shot, that we're backlit and apply the same thing to them. So you could do that pretty fast just by opening this, copy the settings there and then paste them. So, yes, I wanna pace all of the settings and then they'll relatively match. They look a little bit darker because this has a little bit more brightest in the scene. It's been a little bit bigger this way, and I think, Well, maybe if I think they're a little bit money, I might go into them and pumped him up a little bit. But typically, if I shot things in the same light, I can apply at Montebourg Standard Recovery either. Think it kind of tweaks the magenta, but my goal here is just to make it so that we can have a nice, solid J pegs for joy to work with, and that once she's putting them in pro select, they're bright. They're clear. I don't like to do a lot of really twiki things to them in this first initial stage just because I want. If they want to see things in color or black and white, it is a little bit easier to do that. I wanted to show you, though these if you recall I had said I was struggling, getting the color to be right on these, and if you look at them, they really are a little muddy and and the color is a little bit awkward. So I had decided I'm going to make these into black and white, and I just wanted to show you how that works with these, because I have several black and white tones that I just toggle through Black and white. Four tends to be my favorite. It's very crunchy, and I really like how it emphasizes contrasts like this. And then I always put a black and white tone. I warm, warmer and warmest, or if I think, well, I could just a black and white off or a cool tongue, which is sort of them or blue or tone. But warm tends to be my favorite, and then I might do a couple more tweaks with contrast. So I have a question for you. How do you determine what color to make? That like you get with this sort of picture, doesn't have to do with the type of picture that it is like. This is sort of an intimate setting. So would you make this more of a warmer tone color versus I don't know, something. They did make a cooler tone, but that something that almost goes back to the decision making so many choices. I like to let you process because I can't decide, right? Well, with this particular one, I have gotten just into a black and white warm phase, so I like the way it looks. And I feel like most people see black and white images, and I like to offer this one because I made it and it's a little different. It looks a little, has a little bit of a vintage tone to it, and I have used the warm and warmer for other images that I want to have a little bit more vented shown. But lately I've been I really like this because it's almost black and white, but not quite, and you can also sort of play with him, layer them together. I would be interested in what, what everybody else thinks that how do you choose Makes me miss. This is how I used to process all life. Very similar. Similar functionality is amazing and light ruminants, and it's made my workflow so much quicker. But I have a bundle of presets that I totally forgot. I created, you know, But I don't know, like I just take open and hoping a raw file by the peace say take it into like women and save it again. That's the hardest. The hardest from Dan. How do you decide what I do? Strong lines in a scene. I'll go black and white with it because graphically, that just grabs your attention. And if somebody wears a lot of vintage clothing that I know they're gonna be OK, right? That's a good point. I think about that. What about the color tone, like in terms of more blue I'm having. I'm definitely warmer. People look better when they look a little more alive than kind of. I have that blue and I must never use it. Sometimes it weddings all use it, you know, if it's tends to lend itself a little bit there, but not that often. I tend to gravitate. The warmer tends to like that. And then I wanted to say one of the things, By the way. I know everybody has different ways of working at images and things, but I always love watching people work in photo shop. But I always think, Oh, I didn't realize you could do that. I think that so if there are things that I'm doing, really, you know I have a solution ever got away. Or if there's something you want to see, please tell me, because I'm probably would just start working on things and then you. But, like, for instance, here, I would probably want to add a little bit of Phil to her face a little bit. And I love this tool where you can choose auto mash so that it'll automatically Onley fill in her face and you and whatever is behind her isn't going to fill in and then there, see how she's getting dark. That studio. Oh, you don't have my automatic ones. That's all right. We'll have to just do this. I can show you how to make automatic ones. Double click him to get him back to zero. But if you on Mike, like I said, I'm on my sister's computer today but normally gain it to live. We'll have some clarity normally would do. Say we write, lighting up the brightness a little bit, and then with weddings, I find myself bringing down the brightness and bring up the clarity a little bit sometimes just to do on the wedding dress so you can go here and say a new local correction setting and I'll call this one brighter. So now if I wanna go here and do the same, we'll also have one like this. New local correction settings. And I call it you go so that if I do, if I say I did this to her, I know I hear yet. Well, let's do that. Let's show first you choose brighter, which we just made right, so it automatically will go to brighter and you want to do a new one. Can zero them out first, pick something else. So I like things that I'm doing constantly. I like to make a little shortcut like that, and it's so easy to do it. So if you like, I said, with the wedding gas, if you wanted to be a little bit darker and bring up the clarity, you should call it dark and outlined it. And then any time I have a wedding dress, I choose Darken outlined. But I also do even with the brighter ones, because I know sometimes I want think a lot brighter. I'll go. Yes, that's right, a lot brighter, so I don't need to be even pressing any of this stuff. I'll just grab one brighter, a lot brighter or darker, a lot darker and whatever you make it, you know, it's so so that just to make your own life a little bit simpler so that you don't have to reinvent the wheel every time. And I like doing that. And I like having be able. You can show the mascot, see where it is there, and I love this tool you can erase. And the other thing I think it's so cool with this particular tool is that if you look at her and think, that's too right, you can fuck with it after the fact. I think that's fine. My black and whites, Any questions? There it goes. The other images that I had trouble with so I thought I would share with you is I really like to have some flair, this part nobody was here for when we shot thes and it was I don't know you for you remember. But in the beginning I talked about how I try really hard to get some of the more formally when everybody's clothes aren't wrinkled up and no grass and get those you know, the ones that I know. The mom really wants started. Get them out of the way first so you can start a play later when you feel like. Okay, I've got that. I got that. So after everybody left, we started rolling around in the grass and doing something like this, like the dog pile or Dad's on the ground. It never waste piling up on him, and I shot it into the sun and got a lot of flair, which I thought was cool, and I liked it, but it feels a little bit blown out to me, and I just wanted to show you what I would do with something like this. That's some you know, where we feel sort of soft because it's very backlit and that we have a lot of feeling. We've lost a lot of information here, so the first thing I always try on these kind of backlit images that I know I want kind of fun. There's a preset have called snap, crackle pop, and it punches up the clarity, and it punches at the vibration vibration that vibrant like and the color a little bit and a lot of times click that and like okay, done. I like that. But I can also go back and tweak. You think that's what I wanted to feel a little bit warmer? I like that a little bit. And the one thing I have noticed about this image that we didn't have much time and the kids were pretty much melting down at this point. But but a Maddox really wanted to do it. And the data? Come on, come on. And so I knew it was something they would want to see. But of these two images, which were my favorites because there was a lot of motion and life and you could see everyone's face is where the couple Matics hair was way and and you couldn't see their faces. I liked his smile here, but his eyes looked squinty and I like his eyes here, but his mouth looked strained. So this is where we talk about that. I felt like for me I felt like this image was worth just swapping his eyes because I wasn't. I didn't want joy to show both images. They were I felt too similar. In fact, I like the energy of this one better because the kids were looking up and um, laziest smiling. And Hillary is laughing. And this one, they look more like they're sort of It's the end of that moment. So when the other thing is, you didn't get that many of that shot and they deliberately went and did that, and you knew they wanted that one. So that's one. What about that one? If you didn't put either, they would probably ask about. And because neither one is that, like, there's an element that kind of makes you where everyone looks. Dad looks weird. Like bacon possibility. Oh, that's too bad. And then let it go. So for me, I felt like that was worth, um, swapping the eyes. And I wanted to just show you really fast. How did that? Because I think sometimes people struggle with things like I swaps. And I know everybody has different kind of tricks, and they wanted to show you how I did it, So Okay, um, either the good eyes and I try just to get, like, just the eyes, Not not too much more so I could zoom in later on. I copy it from this and again because at essentially the same angle in the same place. It won't be that hard to dio then paste them on. Could you just go through kind of what tools you're using in case people can't see that quickly? Yes. Let me bring you. Start that part again. Thank you. No problem. So I have chosen the select tool and just made just a quick box around his eyes like a little sloppy, a little bit farther than eyes encompassing part of its forehead and privacy knows. And I copied it. And then I just pasted it here into the image where I wanted to open his eyes. And then I'm gonna take it and put it What? You're selectable. I'm clicking the selectable and move it over just in the general area where I know that I want it to be. And the reason I try to do a small a peace is possible because I want to be able to zoom in. And if I have chosen, if I just do copy and pace of the entire image, then when I'm doing in its much it's much more difficult work, whether not, I'll show you what I mean. It's right here. So here I go to my layers palette and I'll take this layer and bring the opacity down a little bit so I can see what's underneath. And then I'll just sort of move it so that the eyes match. You can kind of see them underneath there. Can you see that? Like I'm matching up his nose, twisting it a little bit. Obviously, I turned my body a little when he turned its body a little. And it's not gonna be perfect, cause obviously, one set of eyes is closed and one is open, but you can kind of match his nose here. You can see Can you see the curve of his nose there kind of matching if it doesn't have to be perfect, Perfect. At this stage, I just kind of want to get a sense, like as close as I possibly can. Then I will bring it back to and I choose this mascot, the bottom, the little square with this and I love, love, love this too. I used to a little time for everything. It's like a window. So right now can you see the mask attached to that layer is white. So I click on that layer that mask and I'll do command I which is inverse. So now it's black. And when I first learned about this, it was like this light going on and just do all of you used that mass school and know how to use that. Okay, I figured so. This will be for those of you Should do not, But but everyone I learned how to use it. I was told. Think of it as white is on like a light and black is off. So essentially it's controlling that layer. So it's that layer has now turned off black, so you can see the semi closed eyes underneath, so you would choose your brush tool and make sure that the palate down here it will turn to black and white only if you're in that that layer, that little black square white will turn the layer on and black with eternal air off. And you can click the X key on your keep ed to toggle between them back and forth. You know it's changing black and white over here. I want to turn it on and then I'm gonna make can also use the bracket keys on your keep head to quickly make your circle bigger or smaller. And I think it kind of small about the size of his people. Make sure my opacity is at 100 for now for this one and just start to paint his eyes in. They're not gonna be perfect yet, but it's gonna be close, close ish, painting his eyes. And I tried just do eyes. I don't want to get a lot more information. So then I'm gonna put this tool on, and this is where it's helpful. Oh, I like to have a little piece. I always have this show that transformed controls on so I can see what I'm working with. C. When it's unchecked, you can't see, but when it is checked, I can see where it is. And that's helpful because the first thing I'm going to do is turn his eyes on and off. And if I think you know what, it's close. But it's not that closed. Then I can go here into this and with just the arrow keys, moving ever so slightly up a little bit and then tried again and when it just looks like he's blinking down a little bit, but you have to remember that his eyes there would have moved had he been here. So then I'll take my paintbrush again, go even closer. And as much as I can try to keep woo. Not that. Make sure you're in that black one. See how it's got the little bar around it. Otherwise, you'll be painting black on his face and try to bring back his original face. One. Karen that part off. Bring back because you're showing the picture underneath right now, I'm showing the picture underneath and just keeping his eyes. I think his eyes are not quite as sharp from that other image, so I don't want it to look that desperate. I don't think that's gonna be as noticeable on a picture like this, where there's a lot of movement anyway, and I just wanted to be the kind of thing where they see it and they don't question it. His eyes are open. Why would they question it? It looks just like it. So there you go, Then we can see the whole thing and you can see again the thinking. You do have to make that I can't. We just went in it and I'll say that and give that one a joy. And then I feel like that is the image I would have wanted to capture. And it didn't take that much time for me to do it. And I think that there's value in that because I know that they really were excited about this picture. And I think Teoh make him look that much better, makes the picture that much better. And then you could I could see this as being a fun, well print or something that they would maybe put as part of the album way. We didn't use it as part of the album, too, Um, and the only other thing I think I wanted to share with you today, because there there are any questions about that. We were online. Can a husband? Yes, sorry question earlier from Jennifer Jennifer Rain or photography, who was asking how you create a preset go through that again to create the actual preset that if you want to make your own, Let's see, I think my hidden I have it's kind of similar to how we how I just showed to make the local corrections. You would be in camera raw and say, um let's do something like, say, whatever adjustments he would apply to an image give making crazy just just trying to get things I like to do. Like so I have a bunch of creative ones that I had made that where I was tweaking a lot of the hue of the of the colors. And I like them so much. I was like, I'll never remember how to do this again. So I saved it as a preset. I'll show you a couple of those are cool, but say you went through here and you brought all the greens and yellows down, and this is gonna look kind of hitting, but say they wanted to kind of do it way. Love it. We love this kind of funky selectivity color kind of a look or something. Fluorescence. You go into that little preset button, tad again, click this one and just say save and you can call it What you Oops. Sorry. Left on it. Save Where is it? I would have thought that was it. What? Let's bring it me. Maybe. Is this one so? That's okay. Yes. I'm sorry. I haven't done for a long time if you only want to save that part of it. What did we work on? The colors. But you don't want. When you apply this preset, you don't want the white balance, exposure, recovery and everything else to be affected. You can uncheck those things so we can say we only want I think it was this. We were just thing when we played around. I think that with it. So then you would say save. And then you could call it something we could call it. We'll call a A since wanna have it at the top. And I think that is what we adjusted. Right? We'll find out. Yeah, it was It was okay, So then good. I'll do it again. It's a show cause I'm sorry as I'm learning it myself. Um Oh, do it now. Just to back toe. Cameron defaults. So now here we are. We've opened our image, and now a is already goes in there, right, is in our preset, and we want to do it again. We just click it and exactly what we just did happened. So the cool thing about the presets is you can have you and that just that one adjustment, which is all. I'll have things like, um, burn the edges and it'll only affect the edges. And because they know I don't like that brand that just off. So it's just taking those on are often you can thing that's cool about this is if you want to burn the edges into several pictures, then you could just select several pictures. And then we feel, well, it's right. Click on a mouse, but here, control and you could just choose developed settings. You can just burn the edges on all of them. Burnham Mall in. So it happens really fast. Or you can go to drill settings and you could change him all the black and white. So then that all changes. So once you know you like something on one, you can apply it to the rest of them really easily, and it's the same in light room to the same concept. So let me show you again can really quickly what I how I did that so very cool. And Jennifer Ric Raynor photography says, thank you very much. We go back to auto everything. Were there any other light room questions. I mean, I like Bill asked me this bridge question. Are any photo shop Well, can you share some of the keyboard shortcuts you're using to toggle between black and white brushes under? Do you have those? Those were some of the things that I was saying before when I, um he will open a picture. And I had I had fooled around this picture last night. You should show that that's cool. So I might just on the basis what I had let me do a texture thing. I think that would answer some questions, or at least I would be the same ones that I had just been working on before. So this must be the ones she's asking about. So these are actually textures that I made, and a lot of them are from fabrics or from life or from a different kind of other textured home olives, for I couldn't on that one. Actually, you're like a like a reliable one, I thought was cool for this particular image is the swirly one like textures a lot sexual or fun, because you can. You overlap them and, um, you could make them is intense or is not intensive you want, and I'll show you one trick that I have done with them that I have never seen other people do. So maybe that we helpful for those who already detectors. But I chose this because I like the arch in the texture and there is a little bit of an arch over then. So I thought that might lend itself kind of a cool texture. So you just copy it and paste it into the image. And does everyone here know how to use textures? Using them a lot in the short cut for copy? Right? Okay, well, there's likely people online. You don't You don't. That's okay. I'll do all shortcuts. So down and float down. Sorry. E texture. Ok, well, they're super fun. And let me show you how to do so I'll try to say every shortcut that I do because that's true. I guess when you do them automatically, you don't Maybe something. Look on the skinny. I'm apple A. I still like a little thing. Apathy. I copied the whole thing. I went into my image, which already has it here. So let's delete it then. I did Apple V, which is paced? Don't know. White V is pace, but this texture is larger than that image. So I'm gonna make it small like this. I'm gonna select the I guess I just called the selectable. Why, at the very top, the move to a B for that keystroke be we'll get you on. Yeah, I need to be that to learn more of the shortcuts like that. But again, if I have this show transform control selected, it shows me how much bigger this images and the thing I like about textures is you don't have to keep the perspective or ratio. So I'm gonna squash it up like this so that the curve is more exacerbated. And I also think I think I'll keep it like that a little bit. I like that. And then, um, DoubleClick, just Teoh. Apply that. And then now it's covering up the image. So what you do is you go here and the layers palette and choose a soft light. It's usually where I start and it'll the image will come through in it. That's one I said to myself, I don't really see it. I'm not getting that little hard light that I wanted so you could choose hard late. And there it is for vivid light. I think that's to contract, so I like the hard light, but I don't really want it to go over her face like this. I think that that's a little bit too much. But if I once again going to my mask and do a little mask and then she was my impressing the X key to flip from white to black to change that palette there x x x six. Because now the entire pallet is entire layers on, and I want to turn pieces of it off by painting black. So I'm taking my brush. I don't want to add 100%. Well, actually, for her face, I 100% and this is the part that always bugged me until I figured out a solution was, If they did that, then suddenly the original tone of the image would come through. And I like the way that this texture brought that brownish tone in. So I will try to figure out how am I going to get that brownish tone. And so what I do is I actually make another layer plena layer. I go into the back into my texture and I, with my selectable pick, one of the tones, kind of the tone ish that I like of it and then with the paintbrush, paint that on to my other layer. So then I kind of used that. I put the mask on there, Yeah, and then I carefully and bring the opacity of my papers way down and then kind of paint it back in on their faces. We still have the same kind of tone, but not I make that one stoplight as well. So it's not. I'm not painting brown on their faces, but I'm doing the same. It's basically using a color as a texture instead so that the tone of it is similar. But it's not gonna, you know, it always bothered me that would fix it because I like the tunnel. I didn't want the texture over their faces how to combat that, and that's sort of a way that I found to combat it. I thought that was really fun. So then I think maybe that's a little bit too intense here, so you can you can do several things. One thing I like to do is go back into the mask, take your brush and make it really, really big. And again, my shortcut is hitting the bracket like the right bracket key to make the brush bigger. You can hit the left bracket key to make the brush smaller, but I'm gonna make it just bigger than the kids right around them, and then take the opacity of the layer off a little bit. Did the opposite, didn't I? And then I make the brush even bigger and bring the opacity down. Wait. So take it down a little bit so that it's getting stronger towards the outside of the edges and not not around them. So it becomes a little bit more subtle around them. And then I can actually just change the opacity of the entire layer altogether here. So it's just sort of a hint there. I like that, and we can look at it before and after. Like this. This is the before in the after, and it just adds a little warmth in a little bit of extra texture. The problem of textures that there isn't anything in the background of its white, you won't see them. They don't work and Black doesn't working there. So there has to be information there for to work so sometimes heavily backlit things tougher to do them. And then the example that I did for my sister yesterday they picked him some grass you could pick all its for. Don't do that all. It's just for one extra layer of texture. And that's when I think I'll dio extremely pale just to get a little. See how I love how that looks like all that little squirrel, but bring it way down and opacity. So it's just barely there. But just a little extra put our mask on, and I think I'll just take it off the kids altogether. Opacity is really low, but I was really curious our tips or tricks or things that people have done with texture because my problem textures is I don't want to do anything That's two super dated and I think textures. I don't want to say overdone, but we've seen him a lot, and I'm curious what things have done, what things people have done to be able to incorporate something that will. I think the idea is that you want to show you your clients that they like. Look, look, I created this for you. I saw this vision, and I kind of put this together and created a few, and it's in a way that certainly they can purchase it somewhere else because it came from your brain. But I want to know, how can we keep moving forward that way? Like, what are other things we could do that might incorporate things like texture of the presets or things that won't take that much time but but are sort of more innovative now? What are people seeing that's happening? Pattern overlays there they're similar to doing that. Is that this kind of stuff you don't like? What it's actually like? Patterns that are already pre you can. You can get free patterns all over the Internet where you can do the same thing. And, um, you know, you can take pictures of images and it's in layer style, Um, and just doing overlay and I have found like this one pack that I have is just about fibers basically, and you can adjust the scale and stuff like that, and it's just very simple. It is gonna check that out. That's cool. You can create your own patterns to there's a whole I couldn't tell you how to do it but like off the top of my head. But you can create and load your own patterns. You can save pattern files on you know you can. I always do with over layer soft light, some very similar to that, but you're doing it within the layer styles option because analyses, pattern people. How many of you have tried to you? Have you tried textures before? Yeah, I'm pretty sure it's fairly incorrectly. I just kind of want long winded, so I didn't look good, but I didn't make a whole bunch of last. It's just the reason I like masks so much is because it's not like deleting something. If you change your mind, you can just paint it back in so you essentially all the information is always there. The mask is just turning it on or off, And so with all of the either the capacity of the brush or the capacity of the whole layer itself. You have so many choices and you don't have to because I used to do a layer, and then I would delete things and they're like Then you try to put it back. History Russia, That's not working. So the mask just eliminate that whole problem and the thing, too, if you like something, but you aren't positive. If you want to stay that way, you can save it as a PSD file. Keep all the layers in there and work it up later, or if you know you love parts of it. But maybe you're not sure about the text or you gonna add texts or something and you don't You don't flatten because you want to put them under the layers under the textures or something. You can do that. It's great. There's somebody. I mean, I love photo shop, but there's just it's fun to watch. Other people will use it cause everybody, you know, there's so many different ways to do the same things. Yeah, I think that's a really important point that should people should understand that there so many different ways of accomplishing similar things and Photoshopped, and there's really not a wrong or right way of doing it. And also I think it's funding pick up new tips to. And if you haven't tried textures before, I think that's another way of advancing your craft. Just try some. I like them pretty. That one was kind of a harder one. I like them pretty subtle where it's just well, but it's what's just what. You can't necessarily even tell that you put a a texture on it like this one when I was trying to fool around with the color and see if I couldn't make this sort of a punchy fund whimsical picture because I was thinking that the killer was kind of money, so maybe use it to my advantage. I put a texture on it, but you can you can't really see it. It just kind of seat, you know, a little ghosting in the feed. And Stephan, I took most of it off there. There's you concede above her head and in the trees. A little kind of I Felt gave it a little water scullery kind of lended itself to the sort of poppy colors, and that there was a little softness in this image at more than 100% sure. And although I get so mad at myself when I don't have 100% sharp eyes. I also recognize, like we said earlier, that sometimes image trumps perfection.

Ratings and Reviews

a Creativelive Student
 

Really nice job. Comprehensive and generous. Talented and giving as always. Thanks Jules and Joy.

a Creativelive Student
 

I love the workshop so far!! Tons of great ideas for my new business.

Student Work

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