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Adobe Photoshop 101

Lesson 19 of 48

Stack of Prints Panorama

 

Adobe Photoshop 101

Lesson 19 of 48

Stack of Prints Panorama

 

Lesson Info

Stack of Prints Panorama

let's use photo, merge again and let's create something. Looks different than a normal panorama. Here is the actual shots I'm gonna combine were at Devils Tower and I want to produce this where it looks like a stack of prince sitting there instead of looking like a seamless panorama. So let's try it out. I'm gonna select all these. I'm gonna choose tools, photo shop, photo merge. But when I put this together, I don't want to Seamless panorama. I want to see the seams. And so I'm gonna turn off the check box called blend images together, which means it's not going to apply the feature that's called auto blend layers. It's not gonna make it to the brightness is match and that there's no seams. So all I'm doing is turning that off. But then I don't want it to be able to distort the picture. So I bending them in any way. So one of the choices down here is called Collage in what collage means is Onley scale and rotate, don't bend, don't distort and so look OK, so we're just doing their scal...

e and rotate and don't blend them together. We could have done that manually, we could have come in in, said load files into Photoshopped layers to stack them and then choose Otto a Line layers. It also has that choice called Kalash. So here now we have these individual layers, and now let's see, How can I make it look more like our end result? Because right now, to be honest, it looks way too seamless. If I look really hard, I can tell that there are some seems if I looked right up in here, I can see the edge of that photo just a little less bit because the brightness difference. That's mainly because with my lens, there's vignette ing, which means the edges. The corners are a little bit darker, which causes that to not match. But I wanted to be blatantly obvious, so let's see if there's any way I can figure out how to do that. If you look at the Layers panel, it delivered a separate layer for each one of those. We're working on the top layer right now, and let's try out a feature that's found at the bottom of the Layers panel. And that feature is the letters FX. There are two terms used for what's found under this menu. One is called a layer effect layer effects, and the other is called a layer style in. Adobe uses those two terms interchangeably as if they mean the same thing. So if you ever see the word layer style, you see the word layer effect. They are the same. It's just that I don't know why they didn't standardize. So I click on FX and there's a list of effects I can apply to this layer. I'm going to apply an effect that's called stroke. Stroke means draw line around the edge of me. So when I say the edge of me, I mean the edge of this layer. So I choose stroke and I don't if you can tell enough. But if you look at the picture, there's a black line right now being drawn around the edge of this. I can control the size of that black line, the thickness right here with a setting called Size. Bring it up like this. It's gonna be 29 pixels wide. Can you see it now? Then down below. There's a choice called color, and that's what color the Linus I'll click on that. And when I do, it brings up a color picker. And what I'm gonna do is I'm gonna choose White. But then I'm going to drag down the tiniest bit so that we got something a little bit darker than White. Why? Because when we're all done, if I were to print my end result on a white sheet of paper, I want to still be able to tell the difference between this border that's around my picture in the empty part of the paper that we printed on. And right now, this checkerboard is the area where my paper would be when I print this. These two would be identical if this was white when I print. So I'm just going the tiniest bit darker than white. Click OK and all adjust the size and I'm just thinking, How can I make that look like it's an old style print back when they print and leave a little white border around the edge? Click OK, and then I want to get more separation by having a shadow between these two. It almost feels like one is floating above the other. I'll go back down to the letters FX and I find a choice within their called drop shadow. That's what that's gonna dio when I choose Drop shadow. There are a couple choices in here you need to adjust. There's a whole bunch of settings, but there's really about three settings that are important. One is distance, that's how far is the shadow away from the layer. And if I move the distance up, can you see the shadow over there in my picture? And you might not be aware of this if you've used this before, but you can actually click on your image in drag. While this is open and it changes to settings, it changes the angle setting, which is what angle away from this. Does the shadow go at in the distance setting? And so if you just stare at the settings in this dialog box, watch the angle in the distance. When I drag, see the movie you can see that's I know it's pretty small on your screen, but you could only do that well. This is open where you got the settings, then the other setting that's important is one called size. Size controls. How soft the edges kind of weird. They call it size, but But the higher the sizes, the softer the shadow in one final setting that semi important is opacity. Capacity is how prominent is that? Shadows. How much does it show up? If you bring it up, you're gonna get a dark shadow. Bring it down. It shows up less and less so we had a drop shadow. There's actually quite a few important settings, but what they are is angle is what direction is the light coming from. Whatever direction this thing points at the light source, it's pointing out. So it thinks the light is in the upper left right now, so therefore the shadow goes the other way. Distance means how far away from the layer is a shadow. Cast size is how soft the edges and then opacity is how brighter darkness click. OK, now I have that on the top layer. What I'd really like to do is get it applied to the other layers to, and there's a bunch of different ways of doing that. First, I could come in and manually do a teacher later, but it would be hard to get the same settings without writing them down so they wouldn't look consistent. And I'm way too lazy for that, right? So if you look in the layers panel, it shows me the effects that have applied. They're attached to the layer in a way that's not permanent. If I were to turn off the eyeball on either one of these, I could turn off those effects. So if I turn off the eyeball on the stroke, it go away. We just temporarily disabled the stroke feature. I turned the eyeball back on by clicking where the eyeball used to show up right here and it'll turn on again. I could turn off the drop shadow or the word of facts means all of those things. So if I click on this one, it collects really turns them off. But here's what's cool. I can click on the word of fax in, drag it onto a different layer, and we'll move it to that layer. Click on the word effects and drag it to a different layer, and I'll move it there. There is a keyboard shortcut and photo shop where one of the things that this key does is like a standard is it duplicates things depending on what it is you drag on, you're gonna duplicate whatever it is you drag. And that is the option key Ultima Windows. And we'll get used to that throughout the day because we'll use it a bunch. But one of the things we get hold it down and drag are these effects. So right now, I'm gonna hold down the option key Ultima windows and keep it held down, and I'm just gonna drag the word effects to the bottom layer. Then I'm gonna drag the word effects to whatever layers doesn't already have it. You see how I have it in all of them now? All right, now zoom out here we have the checkerboard, which to me is distracting. The checkerboard simply means it's empty and I'd rather have something There just white would be fine, just so it doesn't look distracting. So I want to put something in there. There are many different ways I can do that, but there's a special kind of layer we can have. It's a layer that's just full of a solid color, and it fills your entire document. And if your document ever gets bigger for some reason, it expands to fill the space. And to get one of those special layers, you go to this icon right here. Usually that's where you apply adjustments, actually, but at the very top of the menu, there's a choice called solid color. That means create something called a solid color layer. I'll choose it, and when I do, it'll ask me what color I'd like to use and I'll choose white. So now what I have is a layer full of white. The problem is the layers at the top of the layers stack, and it's a ziff. We're standing at the top of layers stack looking down in that layer full of white is blocking our view of everything that's under it. So what I need to do is drag that layer down. I'll drag it down below the first layer. And now if you're at the top of the layers panel, you could see that for a slayer. Before you saw the white stuff that's below it. I just need to continue dragging it down further in further until I get it all the way to the bottom so that now it's the pictures that are on top that air, obscuring our view of the white thing. Now I see one problem with my image at the bottom and on the right edge. Do you see where the drop shadows are? Don't they go beyond the edge of the picture? So I need to do something to make my document larger. So we have room for Thou drop shadow that we have added. There's a bunch of different ways you can do that. You can actually use the crop tool and pull it. Instead of making your image smaller by pulling the cropping rectangle in, you can pull it out beyond the edge of your document ad space or enough Photoshopped do it for me. I could go to the image menu, and there's a choice called Reveal All. What reveal all means is if I move any part of my document, anything in it so it extends beyond the bounds of this document. Make my document bigger so I can see anything that's going beyond the edge. So when I choose, reveal all watch what happens. But they're just added spaceport just enough space for so we did a bunch to this image and before we really analyze it. Let's take a look in the layers panel and let's try to simplify because right now, the layers I have to scroll up and down to see the whole thing. So if I look at one of my layers, you remember we have the effects. We added. We added a stroke in a drop shadow in the place we got those from was at the bottom of the layers panel. We clicked on a layer. We went down to the bottom of the layers panel, where we found the letters F X click there, and that's where you found stroke in drop shadow and those air called layer effects or layer styles. They used those two words interchangeably. Whatever you add those, you also have the word effects here, And that means collectively, all of those effects you've applied, you could turn them off all at once, where he could turn them off individually. Well, to me, the problem is this is cluttering my layers panel, so there's another indicator that these effects are being applied, and that is when we went to the bottom of the Layers panel. You remember that icon that's there that says FX will look at that icon and you notice the same icon. It's right there. That's a little badge to say. This layer has some of those applied, and you see the triangle next to it. If you click that, it'll collapse the list of effects. Click it again. It expands it. But when it's collapsed, that icon indicates there's some of those there. You just need to expand the list to see him. Uh, so I'm going to collapse it on each one by clicking on the little triangle on each one. So now if we look at our layers panel, what do we got? Well, at base, we have something called a solid color layer, and that means it's a layer that doesn't contain a picture. It contains a color. What's cool about a solid color layer is this thing right here tells you the color. It shows you what color is being used. And if you double click on that, it brings up the color picker. Then you can change it Any color you want. At any time, I'll make a something more like that. Click OK, and all he did is I clicked right here. He actually had a double click in that brought up the color picker. So at any time, we can change that, Then above that, we have our layers which were in there. They were put together by doing the photo merge command. And the main thing is, we turned off a check box that was called something like blend images together, something that was at the bottom and that caused it to keep them a separate, uh, images. Where you they're not seamless. And to make it more obvious where the edges were, we added layer effects, a stroke in a drop shadow. Uh, so now we have these layers, we pretty much have our complete image. So I'll come over here, choose save as, and I need to choose a file format that supports layers, usually tiff for photo shop. Lately, I've been more stand arising on tiff. Um, I'll just use default sightings in there most of time. All right, Any questions about what we did there, A bunch of stuff. But the main thing is, we did photo merge, but we turned off a check box that usually makes it seamless because we wanted to seems, and also when we did photo merge. We told it toe Onley scale and rotate. That was the choice called collage. And then we just made it more obvious where those edges were batting strokes and drop shadows. All right, No questions, All right? Thought Roman, grab the mic. You know, I was going to make a pretty swooped, you know? I had no idea, really no idea whatsoever. I just happened to want to demonstrate how to do this in a class. And I was searching through my pictures, going what might work. And I happened to grab this one so that I could have just as easily been really random. Yeah, I, uh I wish I could claim that kind of knowledge is when I was in the field. And nowadays, now that I've done this, I might think about it. And when I'm doing the panorama instead of going straight, I might slightly rotate on each one if I really wanted it pronounced image like this. But to be honest, I wasn't thinking of it when I was in the field. All right, thanks. I wish I could claim that, but no, but it's a nice thing to think about. If you're in the field. Why not rotate the camera slightly between shots? Because you want to splay amount like that? Yeah, I presume that before you did the panorama, you optimized each image. Yeah, I would usually optimize each image together. Yeah. Any time I sent you a panorama, ever. I've predigested the images.

Class Description


Adobe® Photoshop® lets you bring out the best in your photographs – learn how to navigate the powerful software in Adobe Photoshop 101 with Ben Willmore.

Ben will show you how to use the most important features of Adobe Photoshop by working through common, real-world projects and explaining the process. You’ll get to know the Adobe Photoshop interface and learn about the features you’ll use the most. 

Ben will teach you how to:

  • Enhance hair, eyes, and lips in portraits
  • Merge multiple images into a panorama
  • Fix bright reflections on glasses and closed eyes in a group shot
  • Correct photos that are under or overexposed
  • Create a collage of multiple images


You’ll learn how layers, selections, masks, and filters help you make a great image and find out why resolution, file formats, and color profiles matter. Ben will break down commonly-heard technical jargon so you know what others are saying and you’ll learn keyboard commands that will make your work easier.

By the end this class you’ll be confident and comfortable working in Adobe Photoshop and know how to troubleshoot when problems arise. 

This course is part of the Photoshop Tutorials series


Software Used: Adobe Photoshop CC 2014

Reviews

a Creativelive Student
 

Ben, thanks again for this course. I have taken and purchased quite a few of your courses to date. I keep thinking I will only watch to make sure I am on the right track and you always bring more to the table than the last course. Your teaching methods are the best, sorry to all the other instructors from Creative Live, but you are very easy to understand and you speak in layman's terms so we all can understand. I am following your instructions and working along with your files and it is the best! It is hard to keep up with you even when I watch you on one computer and work with the same files on another computer, to do what you are doing...impossible but I gain so much by trying. You provide so much info on each topic, it is amazing. Thanks to Karen for the PDFs, she does a fantastic job and also, for her templates/layout documents. Thanks again and to anyone who thinks this is too much money for all the videos, the exercise files and the instruction PDF, I am sorry to say but you are mistaken.

John Taylor
 

Like all of the Creative Live courses, excellent training. Ben does a great job of explaining the entry part of Photoshop. A lot of things cleared up in my head and i like his easy pace into this complex program. Thanks Ben.

Cecily
 

I had several "lightbulb" moments with this class, after many years of photography and when you think you know it all, you don't :) Ben Willmore is an excellent tutor, with his many years of experience teaching PS, he obviously knows the types of things a lot of us struggle to understand. I learnt a lot about Bridge, and have since implemented these things into my everyday workflow, so much easier to sort out what I want to keep etc.. Thanks so much Ben and Creative Live. Thanks also to Ben's wife for her amazing work creating the Guide etc. Even though being in Australia, I pay more for the courses (the conversion rate, the aussie dollar is low at the moment) it's very worth it to me. I have paid more for courses here, and learnt next to nothing. Thanks again.