Adobe® Photoshop®: Productivity

Lesson 1/13 - Automation & Productivity Part 1


Adobe® Photoshop®: Productivity


Lesson Info

Automation & Productivity Part 1

One note before we start the handout, that pdf is actually kind of the course notes it's a thirty something page pdf I put together with as many of the techniques I'm going to be covering, because when it's a two days of techniques and much if you're like me, I take my own notes and then I go back later and it just says press shift and you're like, I don't really know what that means. So tryingto write everything down becomes a challenge. That's why put together that pdf and then there's also a bonus? Pdf, which is fifty of my favorite little's just techniques and tricks and tips and shortcuts, so those are for people who decide they want to purchase this for the long run. So this class is in fact called productivity and automation, and I have a different kind of a take on that. I think that most people, when I talked to a lot of photo shop instructors and they have to teach a class on automation that instantly means actions, which is one of the main ways that people automate in photo ...

shop and we're going talk about actions today, but the main thing that I I view automation and productivity is anything that makes my job easier. So if it's a tool that is faster than some other tools, if it's ah technique there are some things that I'll talk about that are most probably wouldn't think of his productivity because it's just some tool but it in my way of looking at as anything that makes my life easier that's fits into this category of productivity, so I'm going talk about some things that probably I'm going to guess and say some other photo shop instructors might not include because it's not technically considered on automated command the other thing that I always say at the beginning of any class on productivity and automation is I talked to a lot of people about things like actions and being more productive, and quite often people say one of the reasons they don't use things like actions is because they couldn't automate the entire process they could only do part of it and that therefore they gave up on my philosophy is if you can automate even a small part that's still better than not so if you can't do the whole a dizzy or ada said is I would say in canada then even a decay is good, so if you could do part of it and then do the rest that's still better and the phrase that I'd like to plant in your minds when you're thinking about being more productive is the phrase compared to the alternative so if you look at a tool and say well this speed things up if you think well compared to the alternative of me manually using the clone stamp tool for twenty five minutes yes this would still be faster so that's that's kind of the recurring theme we'll see is the reason I use this is because compared to the alternative me doing the whole thing by myself it takes a lot less time so that's kind of the main thing I want to talk about the other reality of photo shop of course is there's always multiple ways to do the same thing and very often people ask the question what's the best way to do something and photo shop and that's that's like asking someone with what's the best car I should buy you know there's a very broad question so my responses any method that gets the job done is good but my hope is I can show people ways that that this is a little more a little quicker or perhaps more flexible because one of things that that often people find as they get the job done but then they have to change their mind they can't and I'm all about working and flexible ways and working in this whole non destructive way because to me part of the advantages and we'll talk about this later today is one of the reasons toe work non destructively is because it's faster so you're not stuck into some situation where you can't change your mind, so I'm of course, using the photo shop c s six, and I also make heavy use of bridge because bridges where I can go and find my files visually, and that brings up the first point that I would say about we're going talk first of all, about built in automation, so where you don't have to do anything, you don't have to create anything, these air all functions that air just built into photo shop, which is great, because it means you don't have to go, for example, when we talk about actions, actions are great, but they require some work on your part to create something here. These are all things that are built in, so for example, I've got a folder filled with camera raw files, and I want to take some of these and turn them into j peg so I can send them to my client, for example, to show them, you know, this is what I've done so far, so there's a couple of ways I could do that, the long way would be to pick eight images, open them all in camera, click ok, and then in photo shop, go save as for each one, and that is fine if you're you know, being paid by the hour, but most photographers aren't. They need to get the work done quickly so we want to find a way where we can get through it faster. I could in photo shop let's, go back to photo shop for second. There is actually a whole series of these automated commands and these scripts and these air find the on ly problem with most of these is it either wants to do to it, do the function to the entire contents of a folder or all you see his file names. So you have to look through, you know, four, seven three to underscore something, dot any f and figure out which one is that so to me that that never worked very well. So even though you can access most of these arctic made it commands from within photo shop for most people, the problem with it is trying to pick your files that's why I tend to use bridge because now I can look at them. In fact, I currently and deliberately have bridge set up, so I can't even see the file names just to make a point that I'm doing this completely visually, so I want to say, ok, these air, all raw files. I've already gone in and made minor tweaks to them, so at this point, I just want to turn them into j peg files, so I'm going to hold down my commander control key because I just wanted selectively say these were the ones that I want now, rather than opening them, which would open in camera raw instead, I want to use some command that says just turned them into j pic that's all I want to anything else, we'll enbridge we go to the tools menu, and here this is where we see under photoshopped here's all the options that are available to me, and this goes without saying, or at least it should that it's almost like it's saying to the files, I just selected so it won't do it to everything will say which files that I click on, and I'm going to use this one called image processor, and this actually switches me back to photo shop because the work is done and photoshopped, but I selected them in bridge, so I was able to visually choose the ones I want. Now I'm back in photo shop, where the work will actually be done so one of things I love about this command called image processor is its simplicity there's not a lot to it and that's what makes it good because we don't have to look through everything to figure out what's going on what it's going to look at it and say ok, what do you want to do here and it's saying automatically process the files from bridge so it says I picked five files then I have to decide where I wantto put my files normally I'd be reluctant to anything that says save in same location because you might be worried about like overriding your files but because the whole purpose of this technique is to save as j peg in effect it's going to create a folder automatically so I'm ok with choosing saving same location because when I go back in a moment to show you what it's done, you'll see a folder that says j p and that's where my files would be and that's assuming of course that I choose save this j p so as you can see here now I could pick one or two or all three file type so for some reason I wanted to save a j peg and a psd and a tiff I would just check all three boxes in this case I only wanted j peg and I want to use image quality of twelve which is the highest quality because in this case I'm just tryingto resize them down to a smaller size, but I want to lose any quality, so if I didn't do anything else, it would take whatever the full size of my raw files and just save them a j fix that j picks they'd still be big files, I want to make them smaller, and this is one of the only confusing parts of this dialogue box resized to fit, and then it has width and height. So I'm gonna put nine hundred for both of these, which at first glance, might make it look like I'm going to resize my photos to a square, but I'm not. This is just the way this works is you have to imagine this says resize, the longest measurement to fit. So if it's a landscape orientation, the with will be nine hundred pixels and the height will be whatever the math works up to and vice versa. So this way, if you want to make sure that neither the wit their height there's nine hundred, you put whatever number that is in both, which is a little bit confusing at first when you run it the first time you realized ok, it's, not squishing everything into a square is just saying I will do the longest measurement for you. Down the bottom, we have the option of running an action when we'll talk about actions later on, so if I had any, I could choose one, and we could also just put a copyright notice or something like that. But for now, all I want to do is just hit, run, and all it's going to do is go through. But again, when you use that phrase compared to the alternative, look at how fast this is compared to me going open that in camera raw click ok to open and photoshopped save as j p I have to do that every time, and this has already done so now if I go back to bridge there's a folder that wasn't there before, and when I look inside it there's my j pigs so quick, easy, simple and that's the beauty of it is it doesn't take any work on my part it's already built in, I just choose it and say, this is what I want now. One of the things you'll hear me say multiple times throughout my time here is whenever I talk about photo shop and the way things work, as I tend to use the word theoretically a whole lot, because theoretically, is this example every time I go back to image processor, it should remember what I last used so you shouldn't have to change it, but occasionally it may change on you. So it's one of those things where it's supposed to remember what settings I last used and I would say most the time it does, but don't be shocked if one time to go into image processor like wide, where did my measurements go? Is that that can happen? So image processor is one way to do it, and it has its advantages, there's another way to do the same thing within bridge, and it offers an advantage one advantage and one sort of slight downside, I think that's why there are two choices here, because some people say, why don't they just pick one of the other? So and that's in bridge there's, a tab here called export and the advantage of this is part of the reason you might be saving your files as j pegs to put them in your on your facebook page to show examples of your photography well, using this, you can hook right into your facebook account and upload directly so instead of doing it as a two step process where you say export is j pegs now upload to facebook, you would go in here and set up your facebook account and either upload to existing galleries or make your own if you have a flicker account you could do the same thing at the moment there's a nop shin to upload to something all photoshopped dot com which I believe it will be just announced it is going away so that option will go away soon too. But the other reason that I use this a lot is if I open this up a little bit you can see one of the options says save two hard drive I remember thinking the first time I saw this why would I want to save to my hard drive there already on my hard drive? So if it was me if I was designed this it would say save as a different format really save as j peg to my hard drive because that's really what this button is doing so if I do the same kind of thing where I go through and say let's, just pick a bunch of images now I dragged them on top of this and now when I double click on it it looks kind of like image processor but it has a couple of slight differences so I can do the same thing export to the original file location but when I look at the image options there's a couple things that will better here for example if I choose to manually resize now I just have to put in one number like nine hundred, because it just assumes it's going to be the same for the width and height, kind of like it wasn't image processor, then I can choose quality, but the other thing that people seem to like about this one, and I, I'm one of them, is depending on where you're putting your photos. Some people like to upload a photograph and include all the meta data so people can look at it, for example, on flicker and say, was taken with this type of lens. With this focal distance, you have these settings and all the information that's captured when you take the photo on other people again, not so much. I just want people to know this is my photo it's copyright me kind of thing. So here you have the option in metadata of deciding what you want to include. So do you want include everything so people can look through every single setting, or just want to have on lee your copyright and cock that information and that's up to you? I'm not suggesting one way or the other that's a personal preference, but it's built in any way this way, you can have the choice, there's also something called a meta data template, which you can create in various places, including bridge, where you can already have your copyright and contact information so if it isn't associated with the photo, you could apply it at this point so you can see that's it's slightly different than image processor has a few advantages, but the biggest advantage for this one to me is this but in the very bottom and says save that means save a preset so if you have a setting where you're always going to need to make them nine hundred pixels with maximum size at this quality with this kind of meta data you just say that as a pre set and then from then on enbridge export you'll see I wouldn't frankly just call it my preset because that wouldn't really be very helpful to tell you later on call it something that I like nine hundred with metadata or something so you know what it is but it means from now on I can just drag onto that preset and he'd go and I know it's ready to go so the reason there's both because some people will say why wouldn't you just use this? Well the biggest reason is there was you may have noticed and if you didn't know pointed out there was no option ist of file format this is j peg so on image processor I could choose and say do I want tift? I want psd dough I want j peg with this bridge export it's almost like bridge export as j p it doesn't give you the choice of saying, well, what file form I do? I want it's just this is where I wanted to go with this size so that's, why I had both, because sometimes I wantto the control of file format, sometimes I want to cut to the chase and say already, I know where I have a preset let'sjust drag and hit gold, so those air both just built in and again that the advantages I didn't have to do anything to get to that point, I just said, I just want to do something, so when I looked inside, it was already there, ok? So that was one example of something that was completely built in I didn't have to do any work at all. Now let's, look at a slightly different example, because here is an example of something where we're going to get photoshopped to do some of the work for us, and we're still going to end up having to do some work at the end. But again compared to the alternative using that old phrase again, I'd much rather do have photoshopped do as much as it can rather me do the whole thing so here's the situation where I've taken a siri's of photographs and all I'm doing is a enbridge I hit the space bar so I can show you full screen and I wanted to take a photograph of this church through this archway this was in italy, and it was a very busy spot and I didn't have a tripod, so I'm going toe say that when I was taking these actually did think of taking these specifically to use in a tutorial, and I'm goingto say that I deliberately moved my camera slightly between each photo, because to really accentuate this, I'm going to say I deliberately demonstrated my inability to hold my camera still, so as I go through them, you can see there's a slight difference. We need to one and there's people moving in each one. Now, if I had a tripod, I would have waited thirty seconds or more between each photo, because the more time you give the more chance there is of movement, because the whole point of this working is you want to keep your main subject in this case, the church static, and then have other things move, so if you have a tripod and do this over a greater period of time, you will have a better chance of success. But my case, I didn't, so I ended up with these five photographs, and my theory would be if I could get them all into one photo shop document that I could start doing things like masking and so on to end up with on image that had as few people in there as possible so these air all camera files and again if I did it the long way I would open them all on camera open the miss five separate files, dragged them into one document and try to somehow align them altogether luckily I don't have to do that part manually enbridge I can also do this from within photo shop again I as always I select my files I go to tools photo shop and then you'll see there's an option called node files into photoshopped layers and what that's going to do is make a new document the size of the fight first file and then load the rest and I have to do anything it's just going in and loading them all in into one documents what will happen is that each photograph will be a separate layer so the instead of me having to all that part it's done automatically so you can see there they are and if I look you can see the good news is it brought them all into one document. Unfortunately it didn't do anything about the fact that I can't hold my camera straight so you can see there's some movement but again I all kidding aside I kind of did this deliberately to show off another photo shopped function that will fix that for me so instead of if you don't have a tripod and frankly, if you do, even with a tripod, there could still be slight movements between photographs on a tripod, especially over time. So I want to let photo shop now help me put these together so there, nicely aligned with each other. So the way I do that, I got there already. In one document, the top layer is selected. I hold down the shift key and I click on the bottom layer and now you see all the layers or highlighted, which means they're all selected. Now I want to have photo shop, align them instead of me doing that work. I go to a function called auto align layers. And in one of my very few complaints, I have about photoshopped. Ha ha, he said jokingly, this is a layer function, right auto align layer. So, just as you would expect, probably it's under the edit menu, even though there is a menu called layers and you might they could be under there. It is not it's under the edit menu. Remember playing this out to adobe the first time they showed us that kind of went. Oh, anyway, it's under office under edit because that's just where they put it. This dialog box pops up and it says, how would you like me to attempt to auto align your layers? And I'm a big fan of always first trying anything with the word auto in it for this kind of thing, because if it can do it automatically, why would you want to? And I would say, for things like this, a lot of the time it works really well, and if it doesn't, you can just undoing trying again now anyone who's ever used the photo merge command and photo shop will recognize this because it's the same dialogue box, but we're doing it for layers instead of four like panoramic images, and I click ok, and it takes a matter of just a few moments and it's magically somehow looking at what is consistent between every photograph and moving or transforming every other one to fit. So now, this time, watch the church in the background to see. As I start hiding layers, you can see that each photo was having to shift a little bit, but the church is in exactly the same place, so as long as you have some main element that's in the same location, then this does a really good job if you don't, then it's. You're going to end up having to go in and tweak it yourself quick, quick clarification question before you move on the chat room is curious what versions of finish up your tutorial applies to so far I would say well certainly image processor was been around for quite a long time probably see us oh I didn't know csrc is to the bridge export was probably c s five and this auto line layers will see us foresee is five so I try as much as possible show things that air at least the last two or three versions but there are a few things and see a six specifically that we will touch on this world. So this is an example to me of something where now I still have some work ahead of me I still have to do some cloning and masking, but at least getting it set up that part was done automatically so this totally bypassed a cr correct because now I had already gone into camera and tweet the photo the way I want to look visually but when I said load files that just said take the raw files and make them layers okay so it cut out that step so you would have to first have gone in and just gone into camera adjusted then hit done to say there look the way I want now let's get them in as separate layers thank you so I need to tell you a quick little story about this because I've used this photograph for a while and about a year ago is in vancouver and I thought I need a new photo new set of photographs to use for this technique so I went down to where the olympic flame from the when the olympics were in calgary whenever that was cleared to go and there's it's right in the middle of this very busy spot and they're all these people going by and once again I didn't have my tripod with me so I sat there with my camera and I thought I'm gonna take a photograph you know every twenty seconds while people are going by so I can do the same thing with the limp the claim so I didn't have my tripod so I sat there on this bench with my camera trying to keep it really still and I'm looking to view finder and nobody is walking in front of the camera and I'm like where did everyone go and after about a minute of waiting I put my camera down and all these people are saying they're going are you finished yet and they were being so polite they deliberately weren't walking in front of the camera like no actually wanted you to but being polite canadians they were just all standing like a whole bunch of them were like on either side all going like what? Taking him so long to take these photos and I'm like, okay, thanks anyway, so that's, why I still use this photo? Because I never did get photos with people walking in front of the the olympic flames that's the only downside about the politeness of canadians is they didn't want to get in my way, which was really nice of them but didn't help my tutorial. So at this point, I'm not going to do the next part because this classes on automation and this part is an automatic. At this point, I'd have to go okay on this layer, I want to add a layer mask and trying to get rid of these people. So this is where there's still work involved and that's, I want to make that point that he when we're talking about things like productivity, there still comes a point where photo shop is not magical, so it can't do everything but at least it got me very close to where I want to go now. I do want to show one thing for those people that have the extended version of photoshopped this has been in the last, I would say probably two or three versions of photo shop is an interesting thing, unfortunately, it's only in the extended version. And what you can do when you have a situation like this and you have all these layers have already loaded the men is as layers we've already auto aligned them, I've got them all selected, and I just control or right click and shoes convert to smart object, and that takes these layers and turns them into this thing called a smart object which will be talking about later in this class. But the reason for doing that is built in here if you had it again, and I feel like I should apologize on behalf of adobe that it's only in the extended version, even though that was their choice under smart objects there these things called stack modes, and I remember when I first saw these, I thought, how silly of me to not realize I could use entropy or curto sis on my photo because, you know, we all know what that does, but for me, like I do because I'm a scientist or what you know about the rest of us are like, I have no idea what that is, and then as I was going through, I just started trying things, and I'd seen an article where someone said, try using this mold called maximum now, before I let go, let me review what's happened here we took those separate photographs, loaded them his layers auto aligned them and then made these thing called a smart object and when I choose maximum it does some kind of analysis and it basically goes through and says let me see if I just can't take out most of the people for you now it's sometimes it works really well like this it's it's a little bit of an illusion because when I say it removes the people if we look closer you can see there's a like a couple of heads floating there in some appendage of some kind but again compared to the alternative me doing everything myself now you could try that maximum stack mode five times and three times that will fail miserably but to me it's still worth a try because if it can do that and I could get that close that quickly and then just do some cloning on top of that then that would be great. Unfortunately you said this was a in cs four I think it was they introduced the's stack modes basically for medical and scientific purposes and then some clever person went through and went hey, look at this and it's used so often for this purpose that now many people this has the nickname of the tourist removal tool because that's what people use it for it if you know you're going to be doing that you set up your tripod you take a serious of shots every minute and then when you, if you have enough and if you can actually see that russell brown did a great example where he has probably the only photo of the golden gate bridge with no cars on it because he took enough photos over a period of time with the car's moving in the bridge staying still that when he did this control this maximum thing, it ended up looking like there were no cars on the bridge at all now to do that it took quite a few photographs taken over a period of time, but that's one of those things where, if you know this is available to you assuming you have the extended version, then it's just another thing to try. Like I said, I tried this a number of times where I was I was disappointed where it didn't really help in other times like this was like, wow, that just did ninety percent of the work for me and that's kind of the thing is, why? Why wouldn't you try that? You know, if you can do something where it gets you that close that quickly to me it's worth the twenty five seconds it takes to try and at the end of a gun, if I did that didn't work off to undo and try something else now my hope is that in the not too distant future there, maybe I don't know, say, a new version of photoshopped that perhaps might have stacked modes in it. I'm just saying, who knows? I don't know if I did, I couldn't say, but I'm guessing that there's enough people talking about it, that perhaps they'll just make it part of photo shop because it wasn't designed for photographers. But that's, the beauty of photo shop is someone discovered and went, wow, that's really good works really well. I saw another great example recently, actually, where someone there was a really beautiful old building and there was a no parking sign right in front of it, and they just took three angles with just a slight variation, and when they did that stack motive basically took eighty percent of the no parking sign out automatically and it's that do a little bit of work on top of that. So it's one of those things where being realistic it doesn't work all the time, no question about it, but hey, if it works, even part of the time, that's a good thing, you know, if it saves you the trouble of having to do it question, dave is exposure compensated for it all? Well and that's it isn't that's one of those things where what ideally if you knew especially into it over a period of time I would shoot on like auto mode so it wasn't changing on the fly because if you did do it over a course of time where for example you know the clouds came and went and then it would change a little bit so if I knew I was going to use it for extended period of time then I would just make sure that I had said everything sort of manually so that my exposure wouldn't be changing constantly because it won't it just looks at visually what's consistent what changes but that's a good point because that will help and that's really for anything if you'd even when people do panoramic photos setting your exposure so it's not changing on the fly is going to help out a whole lot so here's our first example of something that I'm guessing there's probably not a lot of total shop instructors that include this in a productivity slash automation class because it's a functions been around for a long long time and photo shop it's very well hidden let's just say it's kind of ironic cause adobe has this term they use where they say every version of photo shop we want things to be more discoverable so you will go unused um and up until recently this was about as un discoverable as you could imagine because unless you happen to click on it so I'm going to demonstrate it first I always start this way with a layer that just has a shape that's gotta grating on it and that's not to suggest this is all we would use it for because it would be fairly limited, but it helps I think demonstrate kind of what this technique does and then we'll see a couple of examples how you can apply it in practicality and the way you get to it is you double click to the side of the layer and when you do that opens the layer style dialog box that most people know layers style for things like drop shadow and stroll khun doubled in boss this is a different part of this dialogue box I didn't click on any one of the styles. What I did was I just opened this dialog box and you see there's all these options including down the bottom here it says blend if now just to clarify something I chose for the purpose of demonstration tohave a grady in't that goes from black to white that's not why these blended sliders look this way they always look that way so you think this was like a red box? You would see these blend of sliders looking the same way this just helps illustrate what it does before we look at actual examples and you'll see in the blended sliders there are two options this layer which is a layer I'm on an underlying layer, which is any layer underneath it. So for example, if I said I would like anything on this layer that's lightly colored to appear transparent, I would take this triangle on this end as I move it in you see what's happening is anything that's lighter than that? In other words, to the right of it starts to appear transparent. Now I'm very carefully saying, appear transparent, it's not deleting the pixels it's making them look, see through and that's important as well, see, or I could pull that back and say, what if I went to the other end and started to move the black triangle in it's, saying everything to the left of that appears transparent, everything right is opaque, and of course I can do both. So if you had some object on a layer that you were trying to set of spending forever masking, this is something I would try. First, I'll show you again examples of why we use this, but this is just to kind of cover the theory of what blend if does the on ly kind of problem that you may encounter and it specifically noticeable here because I have just a a graphic look at the edge of it now that I move that triangle see how the edge looks kind of jagged that's because this triangle is so pixel specific that it's saying everything the left of this is see through having the right is opaque and it stops at a very specific pixel and there is a solution to it it's just another one of those let's just say it's not as discoverable is adobe might want it to be if you look really closely at this little black triangle there's a little even smaller white line in the middle and that's adobes way of telling you apparently if you hold down the option or all key you can split the triangle into two halfs which most people would just gets that from the little you know, white line in the middle. Karen I'm sure that's what it would do and now look what's happened has changed slightly. Everything to the left of this half is see through having the right of this half is opaque and this middle area to use one of my favorite technical terms is kind of it's kind of see through kind of not so you can decide how much you want that to be so this kind of changes the rules a little bit in terms of how it's applied so we could do that on either and and get the result that we want now there are some people that wish this would happen automatically that by default it would split into house. But unfortunately that's not the case. So you just have to remember option or alters the little key that's going to pull those two halfs apart now let's pretend for the sake of argument that I thought that was great and I clicked okay, new and c s six this has actually been around for a long, long time, but the thing that they change in c s sixty that little symbol that's appeared beside that top layer that didn't used to be there. So if you use blend of sliders and like c s five earlier, you just have to remember I did that because there's no visual clue to remind you that's what this is for. So you know, if you open this file later oh yes, I did something there now let's, go back to it for a second, it's nondestructive, which means I could come back later and go ok, I don't really like that. Let me put that back. The other option would be to go the other way around. Say what if I take the underlying layer and move that triangle? See what's happening now that the pixels on the layer below are starting to kind of push through the gray box on top? So that's, another way to take advantage of these sliders is by moving one of these, and of course you could do both. You could say, I want to have this look this way, and so lots of different options there and again, I'll show you some more practical uses in a moment. The one thing you have to be careful of with this command is again it's just an illusion you haven't deleted or mass the pixels, they're still there, we just chosen to make them not visible. So for example, if you did this and said that looks perfect now let's, add a stroke around the outside, you see as faras photo shops concerned, the rest of the rectangle is still there. So doesn't add a stroke on this line down here because, as faras photoshopped, concerned that those pixels air still there. Now there is a way around that I'll talk about in a moment, but that's one thing to be aware of is that if you started doing these blended, that looks perfect now let's add a drop shadow, it wouldn't work the way you wanted to, because we're going to see everything so that's kind of the theory behind it it's been around since photo shop three, not cs three, but three and there's a lot of people there still like what is that new? No it's just very well hidden because here's the thing guys, a lot of people, if they're looking at something and they look a dialog box like this and it looks really complicated, many people reaction is, well, I'm not going to try it in case I mess up. Well, I've always felt that if you see two things in a dialogue box, you should be free to experiment preview and cancel because we see preview that means you're just previewing the result if you don't like it hit, cancel because that way, anything, you're not sure what does this do? Just try it. The worst thing can happen is you'll hit cancel because you don't like it, ok, the worse thing that happened is flames will start pouring out of the side of your computer, but that's relatively where so that means why wouldn't you try it? Here's another little side trip, by the way, just before I forget let's say I was experimenting and I move sliders everywhere, and I thought, I just want to get right back to square one instead of having a put everything back, whenever you see a cancel button in just about every dialog box and photo shop, if you hold down the option, all key changes to reset and you could just put everything right back to square one so that way it'll any changes you've made it will automatically change everything now in the case the blended sliders that's the one exception but every other setting but my point is don't be afraid to experiment because you can always say you know what that's not working let's just cancel that okay? All right so that's kind of the theory of what the blended sliders do how would I actually use it? One of the ways that I use it all the time is where I have an idea for example we're pretending we're mocking up some magazine cover for someone and you know how a lot of magazines they put the person partially in front of the name of the magazine that's a very popular thing to do well that takes a lot of effort because if I wanted to take her you can see she's on a background layer she's not extracted anyway so I really want to put her in front I had to do all kinds of selecting and extracting and masking and my theory is so I really want to do that if I'm not even sure if it's going to look good or not so in the good old days when I first started in print we do things called a mock up where you just kind of really quickly do something to go this is the rough idea to give you an idea of whether we should go down this path or not so this is my equivalent of that is I want to very quickly do almost like a test run of what would it look like if she was in front of the word hair without going to too much effort? And I know this is worth trying because the other thing about the blend of sliders is there has to be some kind of contrast. In other words, if the word hair was brown and her hair was brown, it probably wouldn't work because there's not enough difference but I'm looking at it here and thinking there's a enough of a contrast it'll probably work so I go to the text layer this that has the hair on it the word hair and all I do is I go to this underlying layer because I want to make her hair pushed through the word hair frank the eight so just look at the bottom of the h here as I move this underlying layer slider you can see it starts to gradually right about there that's pretty good, not great, but that's the point is it's good enough for me to evaluate? Do I like the look of it or not? So instead of spending conservatively twenty five minutes, forty minutes making a really careful extraction just to go and never mind that's one of the reasons I use the blended sliders because sometimes it will work perfectly in this case I wouldn't call it perfect but it's more than good enough for me to at least evaluate and say do I like that and I could send this ajay peg version of my client say here's a mock up do you you want me to go down this path or would you prefer just not tohave that look at all and give him a couple of options but that's one of those things where you using that compared to the alternate expression that we're taking me a whole lot longer to go in and do some kind of masking kind of method to get to this point so I would say that for me the blend of sliders air kind of one of those hold it do it really quickly to see if it's in a work or not and then you can decide if it's going to really help you're not so let me show you another couple of examples of where I'd use the blend of sliders so here's an example of something that may have happened to some of you out there when you're working with a client and they say oh I'll email you my logo you're like wow that's awesome because generally it's too small and it's j peg on a white background you're like that's great thanks a lot appreciate your help so like in this case, this woman sent me her logo and it's a beautiful j peg and she says, you know, I just I don't know this I always interrupt myself, but this always strikes me find an overt people ask you do things and photoshopped, they always start with the word just can you just write e don't just say put milo was taken years put the logo on and take out the white and add a drop shadow like it's going to take you three minutes. My favorite examples when someone sends you a photograph and they're wearing glasses and they say it, can you just take my glasses off? Oh sure that'll take like three minutes using the new remove eyewear filter anyway, so I want to put her logo on here and I don't want the white in there. The problem is how do why quickly remove the white without taking a lot of effort now? One way you could try could be depending on the logo a blend mode like multiply the problem is see how it's even the red is becoming kind of semi see either. I don't want that I want the read to be read but no white so multiply mode is not going to help me and I could go through and try every blend mode the chances are they're not going to work I could try a selection tool like the magic wand, but that's a lot of effort to go through and make sure you got every single little piece, so the way I look at is I look at a design, I go white, everything behind it is not white, so to me that suggests maybe the blend of sliders would have a shot at working because there's enough contrast, so I double click on this one, I go to this layer and all I do is barely touch I mean, I hardly even move that white trying to look at that the white is almost all gone, I can move it pretty far and make sure I don't leave any little traces a little tiny specks of white and in like twenty seconds I've got exactly what I wanted, which was all the white gone, but I didn't change the appearance of the color of red by trying using a blend mode. Now the on ly reason this work is because it was pretty much pure white. If it was a scan that wasn't done very well, it might be a little more challenging, but that's an example of where half the time in the blend of sliders will go and maybe but the other half is like, ok, that just saved me a bunch of time I do want to remind you, though this is an illusion that's been created that says let me make the white pixels look like they're not there and what I mean by that is if I showed apparently amanda this now and she said, why can you put one of those drop shadow things you know that you have a photo shop so I go to my layer style and I choose drop shadow and as faras for herself concern is putting a drop shot around the whole rectangle, not her logo and that's. One of the downsides to the blend of sliders is it is just an illusion a trick to say make it look like the pixels are see through if you decide you've used the blended slides that I one hundred percent sure now I don't want the white anymore so I want to make the blended sliders permanent there's a trick to do it? Excuse me have no idea why this works but that's one of those things in my response is who cares? I don't need to know why it works I just know it works. What you do is you want to add a blank layer below this layer and a simple way to do that normally when you click on the new layer button it goes a little air goes above but if you want to cut to the chase of you command or control click on the layer it automatically goes below so that's just a shortcut to get but doesn't really matter ultimately just put a layer below then you go up back up to this top layer and use a command called merged down and somehow by doing that I don't know why it basically is says now the blend of sliders are permanent and now you can see the drop shadow is exactly the way I want but the key to that is you don't merge down unless you're one hundred percent sure I don't want to go back and change that, but this is like I've removed the white I want to make it permanent that's when you do this and again I was teaching class one someone said, well why does that work? I'm like who cares? Seriously? I mean, why would you want to know as well? Because he's one of those technical people like you know sometimes just don't ask just accept it for what it's worth and say okay, now that I know that I will do that now up until now I've been deliberately trying to use on lee things that are built in the photo shop. This next thing I want to show you is not built in, but the good news is you can go and get it for free and I'll show you the it's actually created by a gentleman named russell brown this is his website russell brown dot com for its last scripts, or if you just go to russell brown dot com, you'll see at the bottom, it says scripts. Russell works for adobe, and he works very closely with the engineers and often comes up with some little ad on that builds on what's already there and in this case, the idea of this thing it's called adobe watermark and there is a version for cs four I think is still there. See us five and c six so we have an early version that sorry you're out of luck, but what this does is it automates the process of saying, I want to add my watermark toe a whole series of photographs and the advantage of this little ad on is, let me say it the other way. The challenge of adding water marks is you have tall photos, you have wide photos, you have big, you have small. How do you create something that's gonna work equally well, regardless of the orientation and the file size? And that was always the problem. Previously to this ad on is it was very difficult to do, and people ended up making multiple actions that had, you know, one for tall, one for wide, one for big one, for small. So this is a script that you download it's free it's has a self installer, so when you download it, you just double click and it launches this thing called the adobe extension manager and then it loads up for you what that will do once you have it loaded any of these add ons you will see will appear here under the window menu extensions, so if you hadn't downloaded, you wouldn't see it, but since I did you see there's, the extension called adobe watermark and the beauty of this command is even though you've never seen it before, I could have one of you come up and do this right now because it's very straightforward, it basically tells you what to do and the way I usually suggests doing it is I want to apply this to say, ah folder full of thirty images, but I'm going to test it on one first so open one and then you just basically follow the steps in this dialog box and step one it says use logo file or use text so you can either use some kind of a logo you have like a png or tip for a photo shop, file an illustrator file or something or you could just click the button says use text entry and put copyright me whatever I'm going to go find a file that I have and you just take me a second because you have to do this away. Uh, see where my in this big long list of people I know, I'm here somewhere there I am, and here this is actually the hardest part of the whole thing is finding here file so I haven't illustrator filing I deliberately I'm using that as an example, because when you make an illustrator file one of their its advantages it's very scaleable, but as a result, frankly, I have no idea how big it is. I can't remember as I create this so long ago that I don't remember is it is a really big is it really small? So that's why I'm using this as an example, and it also gives me the advantage where now if I do end up using this on larger photos that will still work, so then step to it says select the folder you want to apply it to what I suggest doing first as a test is just use one, so I open one and I click the checkbox says use open images. What it will do is when I in the next step, when I'm trying to figure out sizing, it'll do a preview just on this one. Once I know it works then all apply to all of them so this is the most important part and the best part of this whole thing is now you say where you want to put it you have all this list of center center tops in her bottom so we'll go center bottom in terms of size I have no idea so I put seventy five hundred percent opacity and hit preview and then it goes through and says there you go I'm like it's a little big so let's try forty percent and maybe eighty percent of passing of course your numbers will vary it depends on what your local looks like but the whole point of it is you don't have to guess because every time he had preview it re does it goes that's where it is with those settings and once you're happy with and you okay, I like that I like that combination again theoretically every time you use this command it should remember and say we hear you're setting from last time it might now what I would do now that I know this preview works I would uncheck use open images and now select the entire folder I won't bother doing that because you don't want to just watch it run but I mean that's that's the process I would do it is use one sample image make sure it looks the way you want once you're happy then you go back to this step choose the folder and then the final step is how do you want to save your jpeg files so we will create a new folder with all these j pegs with the watermark in and even though that's not built in it is effectively built in because it's free to download you know it's not like a purchase plug in or anything you just go and get it russell has ah bunch of really cool ad on extensions to photo shop for things like learning how to do turn your photos into paintings and all kind of cool stuff and most of them come with a little movie that shows how to do it so that's that's they the hardest part of that is going and downloading and then when asked you to find your local file sometimes like in my case it took a moment to find it. But once you've done that if I was to run that again on a new series of photographs it would remember this is where you the logo file you last use I would not do that every time if I was using the same local all the time ok, so here's a little productivity enhancer fact let me do this from from within photoshopped cam photo shop has question okay, so back to automation so you had a bunch of any f files you want tio batch process into j pegs, right? Can you use that action as part of your batch processing so that when the j pegs are saved, you have your watermark on have to do it in two steps? You have to say, export all the j pegs and then run the watermark to those j peg so it would be automatic with you having to do this in between, they do this first, then do that second. So one of the ways that I often working photo shop is I used many bridge instead of full grown bridge that's a big application, but many bridge was introduced a couple of versions go on now, I can see my files as kind of like a little film strip across the bottom, which is kind of need, but the problem with it is if I'm trying to choose between photographs, for example, here's some photos from a photo shoot and you can tell they're all head shots of the same person if I'm trying to choose which one do I want to work on it's kind of hard to tell because their little small thumbnails and this works in both bridge and many bridge, but I think more affected to show it here just because of the difference in size, so I'm in photo shop, I've got many bridge open and I just tap on the first line don't open it I just click on it and then press the space bar and in photoshopped it goes full screen so I'm still in photo shop but now I'm looking at the image full screen now use the arrow keys and I could look through the mall and decide which one is that I want to open so instead of looking at little tiny thumbnails and going I can't really tell which expression I like I can look through them and go I think I want this one so I press space bar toe look at this kind of slide show now once I say yes, this is the one I want I just press the letter o for open and then it actually opens in photo shop so that's just a really quick way when you're tryingto look from these little tiny thumbnails and gold between these ones which one do I want? And again you can do that either in many bridge or bridge either way it doesn't matter same idea so here I am in bridge doing the same thing and this works for any kind could be raw files, anything you want there's another option which is also interesting if you're tryingto doom or of a comparison and kind of pare down and say between these which is the one that I want one of the options is called review mode when I choose that again, I can get you from bridge or many bridge, it changes it slightly because now as I'm looking, you see there's one big image, but as I pressed the arrow keys now, it's almost like a slide carousel where it's going through and saying, which one do I want? And I get to a certain point ago, I don't like that one, so I just pressed the down arrow key. It doesn't delete the file, but it takes it out of the equation, so I'm not looking at on the mall now when I use the arrow key. It's a little hard to see, but you look really close to see hellman. The file name has got highlighted that showing me which one I'm actually looking at, and then I can start doing that and pressing the down arrow key and eventually getting the planners say, that's, the one I want over open hey, dave, how do we turn on many bridge? Many bridges a panel. So if it's not showing the first time, you'd have to go and choose, browse in many bridge, and then it becomes a panel where you khun put it wherever you want it normally it's at the bottom, I have it collapsed down by double clicking until I needed, and then I open it back up again just so you know that was asked by canadian in chicago awesome here's our canadian in tampa or seattle um let's see here if you say that file is ajay paige referring back to when you have the blend if option will retain the transparent qualities when using the option well, that's one of the things that I sort of semi jokingly say that almost every question and fuller shot could be answered with the preface it depends because if we're talking about like the layer that I made transparent than saved is jay payton that what was on that layer would be transparent but if it's just for using it to say remove the white from a background j pegs can't have transparency from that respect so if you save us a j peg is going to put we'll pick this back in if you wanted to have like a person on a see through background if you use the blend of slides but you have to say there's a png file to be able to preserve the transparency to put it into some other program so by nature j pay can't have transparency in it now that one thing with that review mode that I was in before it stays in there until I hit the escape key to say I'm finished reviewing all my review mode stuff now this point um that one of the things that came out too much great fanfare in photo shop cs five was content aware phil and again some people kind of do a double take when I'm talking about content where phil in an automation productivity class but using that same philosophy of its saving the time than content where phil definitely fits into that category because it has the potential to save me time now back when it first came out something you may remember this adobe released kind of a the first of several sneak peek videos that showed here's this new technology we're working on and their video was of ah white horse in a field and I remember the video of the guy I know the guy who did it I kind of kidded him because he was like imagine you took this photograph of the horse and a white field and now you wish it wasn't there it's like why, yes, that happens to me quite often that I wished my white horse so I thought that's kind of impractical example so I thought my example is much more practical imagine you had a man with the megaphone in the middle of the desert and you wish he wasn't there so the way content where phil works is it's going toe look in your selection and I'm doing a very broad vague selection because I'm on the lock background lyric in his press delete or back space to open the phil command and nights it use it content aware, okay. And it looks around and says, let me try and cover him up now it often like in this case, it does an ok job, it's, somewhat random. So if you don't like it, you can undo it and try it again. And maybe the next time that will do a better job, maybe not, but sometimes it will what's likely to happen is you have to kind of do and staged. Ok, now you have to fix this part and eventually doing enough times you will get to the point where it's working fairly well, it excels at things that are organic, you know, like sand and sky and clouds and things like that. If you have people standing in front of brick walls, it's a lot harder to get it to work because of its random kind of nature and the other problem with it. And I showed it this way, but very quickly want to say, don't do it this way is I did it directly on the background layer, which means I've just covered up pixels if I saved it, that would be permanent and that's not. Such a good idea but I want to show that's kind of how content where phil works if I was to really do it on this image that I would have duplicated the background layer and now I'm at least working on a copy so anything I do with that kind of thing will give me the opportunity to tweak it and try different things. So in c s five content where phil was getting better and c s six there's been a significant enough change that now I don't use content where phil anymore, I use a different method that applies the same result, but there's a very significant difference and that is it lets me choose where I want the content were filled to come from so in the past and c s five you would just make a selection like I did before hip phil and it would just say, let me randomly do that for you here's how it works and see a six and this is if people who don't have c s six to me this is one of the most compelling reasons to get c s six this has saved me so much time, this one function, so what I would do is add a new layer and it's going to make a very rough selection again, but what I do instead of using phil, I go to the new improved patch tool, normally the pashto looks like this, says patch normal source destination that's the way it's always worked. But in cs sicknesses of a subtle thing, unless you ever happen to click on this, you wouldn't see the fact now it has the option, says content aware when you choose that there's one other very significant addition, and that is now I can put the results on a blank layer. Instead of worrying about messing up my background layer, I added a blank layer and the options bar I have it set too content aware and sample all layers. Now the differences instead of me waiting for content where phil to go, I will randomly put something somewhere and hope that it works. Now I can choose you see as I move it, I'm getting a preview to say, I'm in front of line up like the the line of horizon there a little bit and say, how about right there and in no time, flat it's already pretty darn good. So I can just sort of choose the area I want and the results are on the separate layer. So this gives me the opportunity to make it look like the person was never there. In this case, but because on a separate layer, it gives me also the option to tweak the results. So then, if it ends up, you want to have a halloween party and you want to make them a ghost, then you just partially show but this is the whole point. Is it's opening up more opportunities so content where phil to a blank layer is huge because it's really changed everything. This is probably one of the c s six functions I used more than any else just because of the opportunities that gives me. So let me show you another example. This one was the one where it really blew me away when I considered the alternative. So there's this guy down the road for me that makes custom motorcycles and he wheels literally wheels him down the road and says, take a photograph of them so I can sell them two people and I think it was this one was actually all I remember is after I took the photos, he put them on the web site and he said this bike was actually bought by a group that your kids would know like a musical group, because if he told me the name, I was like, ok, when I told them they were like, wow, really and I camera who it was, but it was some one that the kids today would be anyway so for some reason I know why he saw this back when I thought it would look really cool to put the bike on this background I was like ok because you know the customer is always right problem was as you can see the size of the bike and the size of the backdrop I've got you concede background stand polls and reflectors and if I tried to crop it it would be so tight to this wheel it wouldn't look very good so in the past I would have undertaken probably doing cloning for like the next forever trying to get it to match up right and look right and I could do it but it would take a long time now my first thought is patch tool with content where phil because for the same reasons add a new layer I still got the patch tool it's set to content aware and by the way you know it's up at the top it says adaptation and there's a bunch of choices I would generally I start on medium and then if I don't like it you can change it on the fly as you'll see so I'm just going to pick a little chunk and say let's, just try this first part here and I've got it said sample all layers which again is a dough before put the results on the blank layer now is I drag I can actually line it up quite easily with the pattern that's already there and go right about there and then it just fixes it I mean, what I think about how long that would have taken me to use the clone stamp tool to try and line it up, and I'm sure anyone who's ever used the clone stamp tool. I only semi jokingly say that the official way to use the clone stamp was your finger poised above the undo key generally every second or third cloner like nope so with this it doesn't matter because you just go in and say, ok, well, I'm going toe move and I'm just confine a spot right there now here's, where this adaptation if you look at you say that didn't quite work. This is actually quite unique to c s six most tools you set the tool options before use the tool this new improved pasha was one of the few where's long you don't do anything else, you can go back and say what if I change into a different adaptation, it will redo the patch and try and make it better so it's one the on ly tools where you can change tool options on the fly and see if you can improve upon it, but when you consider the alternative of tryingto somehow clone in relation to the original that's what I think that makes this content where passion also amazing question do you have any idea if there's going to be options at some point like within the clone tool stamp you can flip it um and if there's a way to do that with this like patching well there is there is a way to that with the clone stamp tool but it's it's kind of tricky in the sense that unless you put it on a separate layer and flipped it afterwards the clone stamped will actually does have on option called the clone source panel where you can do things like angle it and flip it but then you have to get the angle right to clone it on the fly so with this one because it's on a separate layer not that would make sense in this case but of course theoretically I could after the fact tweak the results will but if I needed to so that's why the advantage of this is that any time you can put cloning or healing are patching onto a separate layer then it means you have the option of going I need toe in should that way as a hair or rotated slightly and you couldn't do that because it's on a separate layer for newbies is there a source that someone could go to that would actually be ableto learn all these underlying in depth hidden techniques because there seems to be, well a lot of them without being facetious, I'd say by this course no, but I mean that's a good question and I just finished teaching a beginner's class last week a photo shop world and one of the first things I did to kind of make a new important point is I had an illustration of every single tool and photoshopped kind of exploded out there was no sixty two and then in the second slide and say and here's, how many tools I use every day and I was like eleven and that's part of the problem is people look at photo shop and go oh my, how my gun ever learn all of these and the answers you don't you know you just have but the challenge is for things like the patch tool that content aware thing does not pop up automatically unless someone said, oh, go and change the patch tool to content aware and unfortunately that's the challenging part of photo shop is knowing where to look and that's why there are I always have to carefully say it photoshopped if it'll be made photoshopped too easy to use, I wouldn't have a job so I can't complain too much about the fact that they make things hidden because that's how I have a job to show people but dance your question I mean there's it's a matter of finding some source that that you like whether it's a book cora video or an online class that goes through and says here's what you need to know I wouldn't look for a book that says I'm a teacher every single tool because frankly you don't need that right away you can learn tools on the fly it's more the concepts of why layers important howto work non destructively here's kind of the process I would use to say click on a tool look for settings that kind of thing yeah the challenge I find is for newbie that obviously is not familiar with a lot of the terminologies let alone all the tricks and features that it contains I tend to work from from re engineering it reverse or knowing that it exists and what it exists for and then when it comes to that time that I can use it sure I know how to get in there and that's I mean that's that's a good process well but course any reference book or material I would look for something that doesn't attempt to teach you every single tool a menu because realistically most people don't use them all adobe just has this philosophy and I understand why that they don't often take things out of photo shop because atmore so when you look under any menu you see a bunch of choices and some of which you just may never use but because it's there it makes you think maybe I should learn this and the reality is for the most part you don't really have to yeah the paint bucket still their minds all rusted and got cobwebs because I haven't used it I don't know I mean there's so many other options I usedto jokingly say that my when my daughter was young she used the pain can choose to scan in cartoons and she clicked with the paint bucket to fill in all the colors but so one of things I'll always throw in any discussion of content aware is to say don't overlook the fact that I wouldn't change my photography to go oh well I can fix that later in content aware so if you're the one taking the photograph so is example if you want to take a photograph and there's people in the way just wait like thirty seconds take another photograph you know honestly sometimes that's just so much easier than doing old content aware kind of things so if you have the opportunity to take photographs without people in them even better now having said that I had a wedding photographer talk to me you had one of these typical problems where he taken a group portrait and now uncle joe on the end was no longer in favor so they were like to the photographer just take him out you know the typical just remove him from the photograph and he was like good lord how do I do that and I said ok this is not gonna help you right now but going forward before you start taking the formal photos always take one with no one there because now you have the entire backdrop that you can much more easily steal from if all you have is a photograph with someone in them it's really tough to remove someone completely so now is a rule any time doing a photo should always make sure I have a least one or two background on ly photos just in case I need to quote take something out because that makes life a whole lot simpler just so you know the spot healing brushes another very nice tool for certain things like a nice photograph it has a wire going across the middle of it that I want to try to removed because obvious I would again do it to a new layer so I have the option of changing things and then I've got spot healing brush and I'm going to make sure it says content aware and sample all layers now I want to make this brush as small as I can right now it's just you can see visually it's too big the left bracket key is a quick way to reduce the size I want to make it just slightly larger than the size of my wire instead of me trying to paint all the way across all I do is I click once at one and hold down the shift key and clicked another time, and it goes across and I missed a little bit, so let's, try it again. I think my brush is probably a little too small in this case and let's, just see, I think I might have yes, I do. I don't want penn pressure in this case. I don't want my brush to change size, so click on one and shift click on the other and then it kind of goes across now you're very likely to get little bits and pieces where, like this middle part looks a little off, but that's, the whole reason I did on a separate layer is because now I can go over that part and fix it up a little bit, so we'll talk more detail later on today about the whole why do we work non destructively and that's? Part of the reason where you can let the tool do the work for you, but then the same time if you need to do further tweaking, you still can. And one other example, I just like to show this one of content where, phil, because it's just amazing, so I tried taking a panoramic awhile ago, and sometimes when you photo emerged, this is what you get. When you're not on a tripod and it says, well, in order to get the keep the line of horizon straight, I'll give you this wonky edges around the outside, so if I took the crop tool, I'd have to crop out a lot of information because that's the only way be ableto work so here's where I would try something like this, use the magic one tool, select all the transparent area now in order to make sure I get a better result. One of things I found works if I did content well from the content. Where, phil, right now, I probably see a little hairline between the existing pickles of the new one. So I like to use a command that's called modify expand, and I just expand the selection just by about four five pixels. So what kind of bites into the original photo? But now, if I do content aware phil, check this out. I mean, every time I do this, it still amazes me and what it could shop it does when you compare to the alternative. I mean, someone walking in right now might go. Ok, there's, something weird down here with this wood, but overall, I mean, you look at what it just did that's a pretty amazing result, is it perfect? No but I could easily build on that and say, let me fix up that little bit of the sky or fix up that would but again get back that same expression compared to the other alternative me, I don't know cloning for the next three days or something to get to that end result so content where phil is definitely a why not try it? Because it's going to do most of the time better than you could, even the time where it quote unquote fails, it's usually still pretty good. So it's one of those commands that when they first, they'll be first introduced content where phil I was like, and I took it with a grain of salt, I got to say, honestly, it's pretty darn good. I mean, it works well, a lot of the time, it really does, okay, I lied. One more example so here's, the way I work when one adobe introduces something new, I look at it with a big, huge grain assault because I'm thinking, ok, they very carefully chosen a photograph that's going to make this new things look really good. So the first time I saw content where phil, I was lying here, right? So this is the photo that I tried it on, you're actually looking at the after photograph that before was this so imagine when those cases where someone says just take out the lamppost because that people say that all the time just remove the lamp was well, realistically that would be an hour or two of cloning to make it look realistic so just to save time I just made a selection ahead of time that I say but just so you can see what looks like next I should do this way first of all it's duplicate the background layer so I can show you then we'll get our selection hundreds commander control clicking on a there's no trick here I'm just saving times that of you watching me take my last so to angle all around this that's all I've done but then at this point I just go to the phil command content aware click ok and the matter of like two seconds I mean let's look closer it's still pretty darn good I mean that's pretty remarkable when you look at it all the stuff it had to cover up where the lamppost was and it filled in the blanks there's a cup places here and there we might go ok, I need to tweak that a bit, but overall so that was my first example where I looked at it went okay it's true, it really does work very well and when you look at it it from a perspective of getting you most of the way there in this case I'd go in and fix it up a little bit here and there but overall huge timesaver so anything in photoshopped that has the word content aware attached to it is good in fact it's really good a lot of things that say auto something and maybe maybe not but content where technology is proving to be really, really good in fact let me show you the other content aware tool which was this is also on lian photo shop cia six so I'm going to open this file so here's another unfortunately typical scenario where you've taken this photograph and you think either you think or your client things can you just move is over a bit and I wish we were standing over more to the right and like one sure photo shops magic let me just do that for you that up until recently my response has been no no not really just now or how big is your budget for me to do it now with cia six I can actually give it a shot this is one of the new tools in c s six is called the content aware moved tool now you can do this with any selection tool I'm just using the content where move tool doesn't matter though could be a lasso selection you could see I'm not even trying to be terribly accurate I've got a blank layer, so in the content away removed tool, I've got it set to move because there's also the option to extend the photograph that I've set to move, I've got the adaptation set to medium for now and very importantly, sample all layers anytime you see you have a blank layer sample all layers means put the results of this onto the blank layer, and I thought I would wish they were over here. Now it does two very important things. First of all, it moves them, but then it also covers up where they used to be. Now, when you think about how long this would have taken us to do ourselves, I mean thinking probably if you're really good at cloning, maybe an hour, maybe a little less, but for some people even more now this is a big file, but so is taking a second and you can see in a second what it's going to do? I'm also going to make sure I don't click anything yet, because depending on how it looks, I may choose to change the adaptation slightly now. So you see, in this case it was okay, but her face looks a little scrunched and put a window in kind of a bad place, so if I go back and change the adaptation, it will redo it and honestly, I don't have a problem with that little bit of the window there because that I could cover up not so happy that it's scratched her face a little bit so I'd be more worried about that now again, this is taking a few moments because it's eye opening as a large file but again when you compare like, how long would that take me to go zoom in and clone this and try and line things up? So my expectation for this is I expected to be very good to expect it to be perfect hardly ever ok that's much better when you look at them this part's still needs some work, so this is where I would probably go back to my patch tool and just say I would like that to be passed with maybe I don't know something like that so cue moodley between the two commands and really didn't take very long and I've got something where part of the issue here is you all just saw me do this so you're looking at it with a very different critical eye that someone just walked in right now and be like, ok there's people standing over there because they don't have the before and after to compare and that's an important point to know what I think too, because sometimes we're our own worst critics because we're looking at the comparison of what we did whereas realistically, you have to look at it sometimes for the eyes of someone who has never seen the original photograph. That's why I tell people don't ever show a before and after because no matter how good your after is, people's ice will spot the difference. So if anything do on after and before julie after first, if they're really impressed and say, oh, by the way, it looked like this and they're like, wow, railing that's awesome! So here's, the way I look at, if you showing after photographing someone goes co what's wrong with his nose that's not good, it still needs some work, but if you show the after photo, they kind of go that's nice and nothing jumps out of them. That tells you I've done a good job with my retouching, moving whatever it is and then if they really want to see, you could show them the original after the fact david question on this does the size of your selection, the area around the subject that you want to move or remove make a difference like if you did it tighter, would it be better? Well, it's hard to say, and again, without beating a dead horse, I'm gonna always say, it depends I have found that for the most part, I haven't seen the advantage and being more accurate I don't want to take more time to make a really accurate selection by just going roughly around and leading a little bit of the background for the most part it works well but that's one of those things where my response would be to say if you tried and went ok, that didn't work, that it might be worth the effort of saying what if I make a more accurate selection and see because on that particular image or working on it might make a difference. Now the two important notes again that I keep one of stress about this is that both the content away removed tool and the contour patched will have that sample all layers function and that's why? Frankly, I don't use content where phil that much anymore because that a doesn't go on a blank layer and b it randomly chooses for me where it's going to fill from from where it's going to fill from my grammar anyway, you know what if I say, whereas with both of these tools it's on a separate layer so I can say ok, that didn't work at all and or I can have more control because I'm picking toe a, largely especially with the patch to, of course, where it is I'm cloning from okay, we have a couple questions from charles and from barney alan photography similar showing david you show had a limit the area that photo shop uses with a selection to fill with content where I can never figure it out and then charles asked show how to use a mask to limit the area content where uses for replacements of pretty similar yep um ok, so let's say in this example when I was trying to do that content where phil and it was using like mountains where I didn't want them, I want to just limit it let's say I was trying to remove this area down here now frankly, this is where I would just I would use the content where patch tool because it eliminates the worry of where will it pic from, but just so you can see the difference let's just do it to a copy here. So what I want to be able to say is when you're doing this content where phil, I want youto on ly use the these areas here so I'm basically eliminating the mountains, but at this point I don't want to do content where phil what I'm really doing is I want to add a mask to say now since those the only as you can see those are the only areas the content where phil can use so now when I go back to the image layer and make a selection and do fill content aware it can't fill with the mountains because they're not there the problem is in this this case here was so restricted that it said, well, ok, since I can use that let's use his legs to cover his body so it didn't work quite so well, but the theory is if you mask out the parts you don't want content were felt oh use then that's that's kind of what they're asking is that's how you can eliminate some of that worried the problem in this case I just don't have much left, but I've done it for cases like uh let's go back to this one for example, if I didn't have the patch tool, one of things that I could do would be to mask out some of the areas of the motorcycles they don't use those for content where phil even then honestly, it the chances of the pattern matching up are pretty slim. So that's why? If you have cia six the content where patch tools a much easier solution if you don't have it frankly, it's one of the main reasons for upgrading to see a six in my opinion because it's just such a time saver but the bottom line is if there's something where content where phil is using an area don't want just add a layer masters stay basically stopped doing that don't use those areas anymore all right, let's see what else we got in here. One of the other things I just want to touch on briefly there's this wonderful program they're called light room a lot of photographers use it because it won the advantage that has is making global adjustments very quickly. I want to make the point that if you choose to use bridge and camera raw, you can do a lot of the same things for some people like it is a great tool has a great advantages but for certain situations to me it's just quicker and here I have a bunch of photographs I want to adjust them I don't want to load them into a catalog or anything of ad I just want to say just a justice and so here's a I was actually at a workshop and I thought I should deliberately take a bunch of photographs with the wrong white balance so I can show how to fix it and I gotta remember next time I'm doing that to tell the people behind me that I'm deliberately taking such bad photos because people were like railing knows this for a workshop and I'm sure it is, but I got a bunch of photos here that are the wrong white balance they're all raw files, so I opened one of them in camera awe and I changed the white balance whoever I want if I just you know, change it here or in this case I probably used the white balance tool and try and get it to look a little different and while I'm at it I could change the exposure the main thing I'm trying to hear show that I'm making some changes but whatever it is it doesn't matter but the important thing to note is instead of clicking open image I've got another whatever it is forty eight e one hundred them I want to also fix so I really want to do is tell camera slash bridge just in effect remember or record these settings so when I clicked done is just goes away I go back to bridge and what you'll see is the first one has changed the rest haven't so now I click on the next one hold down the shift key and select the rest of this could be the rest meaning fifteen or five hundred in this folder then I right click on any one of them or in the mac control click I just used right click and I choose develop settings previous conversion and that means whatever you just did do it to these two and it goes through it was all done so now the next time open any one of these it already has those raw settings applied now here's where you could also take this another direction I work with a photographer who does high school volleyball photography and because it's high school, very often his photographs are always dark because he's, an old high school gyms he's not allowed to use a flash. So in order to capture the action, he has to kind of live with the fact that his photos, or a little under exposed to make sure that the shutter speed is good, but it happens every time, so every time he has to deal with photographs that are a little too dark and a little noisy because of the gear he has. So I suggested this would be another case of camera. So what I suggest is due this open one of the photographs and fix it changed exposure, do whatever you want, go into the noise and say, remove the noise, all that kind of stuff, but when you're finished the win to this second last area called presets, and use the option here to create a new preset and call it like, you know, I don't know st james, jim, because that's, where the problem happens, what is going ignore the bad spelling, typing there and hit done now, the differences in this case now, the next time he comes back from one of those valuable shoots taken at that bad gymnasium, he doesn't have to open one first, he just select all of them and right clicks and shoes develop settings and then down the bottom there's all your presets so now he this well, you won't see a big difference this case I didn't change anything but in that scenario that's one of the other advantages you khun apply a preset from a developed on standpoint you don't have to always be opening one and that's when you know every thursday I go to this gym and the photos are going to look like this, I'm prepared instead of adjusting each one visually I'm just applying it right in bridge as a preset means any one of these I open we'll have those settings applied which I can still edit so I'm not stuck with a well that's the way it is then it gives me that opportunity just apply either my last settings or development settings and later on today and talk even maura about presets process to me or one of the best things ever invent invented from a productivity standpoint, so I deliberately left sometime at the end here for questions, so we have some more perfect thank you. Ok, so first question this is from rick in denver what is the best way to fill patterns in perspective such as hardwood floors or tile that expands and as it approaches the photographer? I don't really have an example photo that I can show, but we sort of talk through the the technique to use it was actually introduced to fairly great fanfare from a doe v a few years ago, and then it's one of those things where it's on lee kind of used for that purpose, but it's called vanishing point. Now, if I had a better photograph in perspective, I could show you, but what it allows you to do is so use your vivid imaginations that this is a hardwood floor here I would take this little grid tool, and I would draw a grid that follows whatever outline of the tiles or the wood that I saw. It will create this little grid thing, and it will give you feedback to say that's, a really horrible grid because it shouldn't be read it should be like blue, but because I'm not actually follow anything, it doesn't quite know what I'm doing here. Normally you would see ah, blue grid, that would say, ok, here's, the perspective angles of whatever you're trying to do. Once you do that, there is a clone stamp tool that actually clones in perspective, so this would be a much better demonstration if I had a photograph that had something in perspective, I just don't happen to have anything but it's called vanishing point, I would usually myself make a new layer first, so the results of vanishing point go onto that layer and it has a very specific purpose. But that's it it's to say I have something with angles of perspective I would like to expand upon or clone and that's what that vanishing point filter does we have a question from patrick brown haze? Do you have any suggestions on the best way to change someone's let's, say a white shirt to a black one, the color of a sure using content aware fell he saturation levels or exposure? I would say the thing that I would probably try in that case would definitely be an adjustment layer, and there is one that is called channel mixer, and again, I don't have the best example here, but if you go in here, you will see there's all these options where you can say, make it a monochrome and then adjust now I would have made a selection first of the person's shirt, so which is it doing it toe one area but here's a good example of something where you have to be willing to kind of think outside the box because this channel mixer function is its purpose usually is to convert a colorful or the black and white, but and because of that, usually the rule of thumb is make these three numbers red, green, blue at up to one hundred, but if you change the constant slider you can change things quite dramatically, and I found for things like making a black shirt white or vice versa usually it's that slider that's going to make the difference? And as long as you're doing as an adjustment layer, that means you continue to tweet the results. I wouldn't advise doing anything under the image menu because here any change you make is fairly permanent by doing it as an adjustment layer means you can continue to tweak it and try different results and like I said, if you first made a selection and I'll just make a really rough selection to give you the idea here huge brush there for some reason, so this is not a great selection, but just to make the point now, if I went to something like channel mixer, you will see as I start to do it it's only going to affect the selected area. So now as I start making adjustments, I'd obviously make a better selection have a better mass but that's kind of the path I would go down and be willing to say, I don't know what this slider does let me try it, especially when you're in an adjustment layer it's like you're always in preview, moz, you can try things to see what happens and we'll talk more about that also today, and we talked about working with flexibility and stuff like that back back to when you were doing the the sinking of your preset now that's again nondestructive it's just writing the data to an ex mp five exactly so is doing is saying these air raw files and at the moment I want you to apply these settings so the priest that is just a collection of whatever you've chosen it to be you know exposure vibrance whatever but it never is permanent by nature camera files are nondestructive so applying a priest that is just in effect saying for now make these look this way and then if you decide you double on anyone, you could put it right back the way it was captured and make any and there's a side car that okay thank called david another question from the internet leah from new jersey asked this question and I know this comes a lot from us art directors as well she asked, can you expand the background using content aware and for print uses like to expand your bleed let's say for prince yeah, in fact that's that's ah one of them or interesting options so like in this case I would weigh need more room on one side whether it's for bleed or they need some put some text over it or something like that so we would first of all need to make our canvas size larger so I'm going to say add some with to the left hand side so let's make this four point five inches and now you see, I've got this extra room on the side here and there's a couple of options you could try content where phil even before content where phil in fact, the first content aware it was an interesting one is probably gonna probably push little bit much in this case. But there is an option called content aware scale that unlike free transform that would just stretch the pixels this will attempt to it's still kind of stretches it but is looking more for seems where it can kind of fill in the blank, so this one looks like it probably is not going to be the best one. So this is where I tried to see a six the content where move tool has an option called extend that says, let me just move this over and then it will try to kind of blended together and see if my high that's it's a good start but still needs some work but that's one of the simplest ways these days just kind of move a piece and it kind of blends and you move it again and then wherever you see obvious kind of seems overlaps that's where you do your little bit of cloning or healing on top of that to make it less obvious. The giveaways usually stuff like this. You, that little bit of sand is, like exact, duplicate that's what your eyes are drawn to. So I'd be going back in to make sure I don't see a definite repeating pattern like that.

Class Description

Time means money. If you can work quickly and efficiently in the competitive world of professional photography, your dream of turning your passion for photography into a lucrative business are always within reach.

Adobe® Photoshop® master Dave Cross is teaming up with creativeLIVE to teach you practical techniques that you can use every day to be more productive, giving you more time to focus on interacting with and finding new paying clients. During this 2-day course, you will learn how to use built-in automated features in Adobe® Bridge and Adobe® Photoshop® and timesavers such as Layer Comps, Adjustment Layer Presets and Tool Presets. Dave will simplify all of the Adobe® Photoshop® Actions and show you easy ways to utilize this powerful automation tool. You’ll also get tips on how to take advantage of many outside the box methods in Adobe® Photoshop® that will give you additional ways to streamline your photo editing.

If you are spending too much time on laborious Adobe® Photoshop® processes, you won't want to miss this comprehensive, 2-day course with Dave Cross.

Software Used: Adobe Photoshop CS6