Adobe® Photoshop®: Productivity

 

Adobe® Photoshop®: Productivity

 

Lesson Info

General Q&A

Big red dog clifford clifford thank you asked are there limits to the quantity of variables or number of output? Images from the variable image merged just wondering if you do this for several hundred merged outputs, would you run out of memory or buffer capacity in photo shop? I would think that the biggest issue would be it all comes down to its starting with a layer document and it's creating layer documents, so if you have a very large poster size with many, many layers and then you're out exporting our whole bunch of those, I would say there's a good chance that you'd be worried about storage space, but it all comes down to that factor of how big a follow your starting with and how many of those air you're creating because by default when you export those variables it's going to make a psd each time so it's duplicating the same psd files so it's a big file to start with it's going to community a big file. So I guess in some level comes down to math where you know size of file mult...

iplied by number of images you may or may not run into some issues there, and if that was the case, it may be a matter of cutting in half of doing half first make sure those work and then the second half all right, great so from my bell when transforming an image and lining up the details, is it possible to view a zoomed in part of the image that I'm trying to line up correctly while dragging the corners to transform the layer? The corners aren't visible when I'm zoomed in, okay, I'm not sure about that last part is I'm till then I was completely on board with the fact he was saying they're ok, hold on a second, let me go thiss one that's probably the best example I have of that, so I'm tryingto transform this to fit, so I do free, transform and I would lower the opacity and start to get close in a certain point, this is where one of the important reasons for knowing keyboard shortcuts and photo shop is for times like this, because if I'm in the middle of free, transforming it's harder for me to do things like zoom in and out through other methods, whereas if I know the keyboard shortcuts like control, our command space bar, that allows me to zoom in and then I can continue to work and now at this point, I can start toe, get in closer to get to the point of seeing how that handle works and then continue to do that. Every so often you'll get kind of a screen redraw thing which might cause you'd have to pause for a second but at least here you're getting closer and then you can use keyboard shortcuts like fit and window to zoom back out and keep working. The one cautionary note I would say is use a little bit of caution of zooming in too far because photo shop would let you zoom into sixteen hundred percent so you're going down to like pixel level stuff but then it could be a little misleading because it looks like oh no the quality lesson look is good that's because I'm zoomed in way too far so a certain point that's not going to help you to zoom in that close I mean you could but take it with a grain of salt that when you're looking at it it's not the most accurate display because the pixel ization starting to happen so one of the temptations for people is to zoom in really far to do detail work and they zoom back out again and realized the human eye cannot detect what you just did because you zoomed in to close if I can build on that for a second I'm quite to anyway whether you say yes or no that's why I had no comment so there's still a point at which zooming in can help but I would say here's how I would balance that I want to zoom in to see what I'm doing, but I still want to kind of make sure I'm staying in context I'm not distracting myself by zooming in too far so as a general rule, I liketo work at one hundred percent or maybe a little more, but sometimes you might be tempted to zoom into what does that say? Four hundred twenty three percent? Well, if that's the case, then here's my suggestion give yourself a second window that stays at the smaller size so what I mean by as you'll have one window that you're zoomed in another view of it where your zoom down and the way you do that is to go to the window menu to arrange and you choose new window for whatever the name your file list so it's a new window for my filing that's not duplicating the document is creating a second window. Once you've done that, then you go the arrangement you back to our little friend tile so now what's happening is on the left hand side. I have this zoomed in view, but as soon as I make any change at all, you'll see it updates in the other view, so that means it's giving you the context of don't be distracted by zooming into a million percent and then realizing it's such a subtle change, you would never notice it this is particularly useful for things like people read zoom in really close to retouch someone's eyeball and they're making these tiny little changes but in the regular size you can't even see it so this this method of creating a second window and you have one zoomed in one not I think is really beneficial to help us determined do I need to make that kind of detailed adjustment or not? Sometimes the answer might be yes but a lot of the time you realize I can't even see them I'm basically obsessing over this the accuracy of this corner but when I look at it in real size it's not really that important especially if you include things like oh I've got this in multiply mode or things that may change its appearance so for any situation where you're tempted to zoom in I would suggest this is a nice option is to make a second view second window of the same document and then tile them so you're zooming in on one keeping the other one mohr like the actual output size thank you so let's see frank german ass what is the best way to create a new breast set out of existing ones? I want to take two brushes from one set and three branches from another existing set and give it a new name set three so I can combine my favorite ones into a new brush set okay well everything to do with presets revolves around the preset manager so what I would probably suggest you'd have to do in that case is as much as I don't like to have an enormous brushes panel all the time I would probably load in whatever set of brushes I want into the precept manager so if I have any other I don't know that I do but let's quickly see probably not okay, so I don't know if I did I would load in whatever other brushes in this case I'll just pick some from here and add those on so now I have so this way you could temporarily load those set number one and set number two once you've done that then within this you go ok I want this one I'm going down the commander control key so I can selectively choose brushes and then she was safe set now you're creating a new set out of other sets once you've done all that and this is to me key this is important I would choose save, set and name it once I've done that then I would reset this two regular just reset brushes because I don't want all those brushes in there that was just a temporary step so I could generate a new set of brushes from the existing ones now it's a personal choice some people like having a big long like every brush they have available personally, I found after a while just became a little overwhelming I had so many choices I could never find the one that I wanted, especially I had like tomorrow we'll see howto make brushes out of smoke will eventually you might have fifteen of them, so I'd rather low just those fifteen smoke brush instead of having eight hundred brushes and somewhere in there some smoke brushes so that that's like a lot of things, this is more of a personal preference is how do you want to organize but to me that's the way I prefer to do it, just load him as I need him and then make sets out of those if necessary. All right, we have a question that arlene in our seal, arlene who's there in the chat rooms passed along about scratched discs, she said there are a number of people having conversation around wanting to know where to find them on the computer and any tips for optimizing photoshopped performance in preferences. That's actually an interesting question because I used to use the word scratch this a whole lot more ten years ago arm or I mean, that was a hot topic of conversation because as photo shop got bigger and our hard drives still weren't all that big and we didn't have that much ram scratch, this was a much more important conversation that it is now so to me it's it comes up a little bit but not as much usually the whole concept of scratched disk is almost like virtual ram if you run out of real ram and says let me use some of your computer's hard drive as fake ram and any time you have to use fake graham it's not as good as really ramp so number one solution will be load up your computer with his much ramez you can afford because that photo shop it really does make a difference having said that I'm gonna let photo shop use seventy percent of my ram because I know I want occasionally have more than one application running of the same time but I'm gonna give photoshopped a fair bit of my ramps I'm doing that in preferences there was actually an option called performance so I'm telling it yes I want to allocate I would say a typical number it seems to be fifty to seventy percent that's going to have one influence on how much ram is used now I'm going to be controversial at this point because some people like what could you do that and that's history a lot of people rely on their history panel so they take this history states and they bump it up to say I want photoshopped remember mohr states of history I either have minded twenty or less because to me structuring or document using nondestructive layer techniques is history so not that often. I can't remember the last time I ever win step backward, step backwards. Oh no, I've run out of step backwards to me. That doesn't happen that often because my layers and my mask and my smart object in effect is like history. So the more history states you have, the more ran a chews up cause has to remember all those steps. Now, if you're the kind of person where you love to experiment, they were able to undo eighteen, fifty times in a row. That's okay too, I suppose. But to me experimenting is done using layers, so therefore history states is not as important down here is where it saying this is where your scratched this are. You can you can use an external scratch disk if it's nice and fast, that will help, but to me, ram is a bigger issue than scratched. This used to be up until recently, optimizing your hard drive would be an important factor to all the time that tends to happen mohr automatically than it used to so it's less of an issue, however there's nothing wrong with getting some software toe. Look at seeing if that will help you a little bit, but I would say the biggest issues are ram allocation and keeping the history states and look and see what you know if you do have a nice big hard drive than the scratch this will come into play if necessary but I'd like it to be a much more secondary choice than on every time I'm using photo shot kind of situation great thank you and don in ottawa along the same lines I like to use the history brush as an alternative to burning and dodging how can I continue to use the history brush with smart objects well and that's that's one of things that may cause people to change their approach little bit the history brushes like is a way of saying undo a certain part of my image so you've made some change then you say but over here I don't I want to I want to change that by painting back in a previous state which is fine my worry about that is and I say this every time I talk about history is anything to do with history history state's history brush it's today's history soon as you close your file history is gone and if you're ok with that I mean that's fine if you're just saying right now I want to go back a little bit in my history that's okay but my thinking is I would rather say but if I had a layer with a mask I can use the mask to in effect go back a little bit in history but then it's still there tomorrow so history for me is something when it first came out I lived and died with the history panel I used it extensively now for me history panel is a couple of steps backwards maybe history brush not so much, but to answer the question if you do have smart objects and you're looking in the history you have to see well, at what point in this history do I have the option? So I couldn't for example, if I converted something to a smart object and then tried to go back to a step before it was a smart object, it might run into problems because now I'm kind of out of whack in terms of order I'm doing things so that's where some people use history snapshots to say let me make a snapshot since I've made this a smart object and again that's no way saying is anything wrong with that? But as long as everyone understands that the one drawback to history is it's temporary history, I'd much prefer to have ongoing history and to me that's smart objects and layer functions like mask because I can change it tomorrow or next year, whereas history goes away. So if you close a document, histories gone so it's a personal preference, but as long as you understand that part that history is very temporary that's why I don't have a problem with keeping my number of history states low to save on ram because I rarely feel like I need to go back fifteen steps why did you do that? I would just do it through the layers panel another question about that file sizes and ram and such andrew from facebook if I make two or more smart objects out of the same base image, does the file size get larger each time or is the base image just saved once and I without in any way trying to sound facetious? I have no idea and I don't care and I don't want to say that in terms of trying to make the point that yes, it's probably a bigger file size and yes, that becomes a concern if you start getting messages saying I can't do that because the follow size is so big I have rarely seen that message and I don't have like some crazy loaded up machine I have a laptop that's got a bit more ran that it came with but it's not some crazy machine and I've yet to run a situation where it says sorry you can't do that because now the file size is so huge certainly some people do there's a few people out there that make ridiculously large I mean in a good way like huge files with many, many layers and it's enormous and starting with a camera that creates huge files and so that's fair enough you then that's more of a concern, but answer the question honestly, I never really looked and said, let me take a photo making a smart job to play it now see the file size I mean, someone could do that and see I'm I'm guessing that the more you have the bigger against but I that's just sort of a guess and I would say the other way look at it is storages cheap these days. So go buy a nice big fast external hard drive and a lot of that issue get goes away unless you have a d eight hundred or something where the file size is ridiculously big then that's a little bit different, but thank you so my bell asks, can history repeat itself question mark? I mean, can you repeat steps from the history panel? Well, really, what history panel is doing is just keeping track of first you did this, then you did this. Now you did that so photoshopped technically does not have multiple on news that has stepped backwards, which is kind of going back through that list. So if you do fifteen things in their history panel, you can go back those number of steps in terms of repeating there's, probably some way where you could take the history brush to paint a previous step or something, but to me that becomes more of a brain teaser than just going, you know, if I had a layer that I could duplicate the layer and so I don't want to sound like a broken record, but on a battle between history and layers and smart objects, history goes away quickly for me, it's just doesn't have anywhere near the control and the benefits that layers and all that productivity's smartness we've been talking about does I want to continue? Don wrote, um what I'm doing with the history brush, I used the original pixels to enhance the existing pixels as a localized way of multiplying images, for example, well, and I see what they're saying is that let's say you have just find something other to look at there might be. So if you wanted to say this part of the image here, I want to multiply just that I want to use that as the area because I feel like I need to dark in that area. One way to do it would be too dark and everything used the history brush and on ly paint where you want it and that's certainly find that that works my question would be, what if tomorrow I say now dark and more of it? Your kind of luck because history goes away when you close the document so I would look at it this way even is going to take a little more memory I would duplicate the layer and change the blend mode to multiply was going dark and everything and then option or old add a layer mass to make it all go away. So now I have a complete duplicate layer that's going dark and because of multiple I mode that's currently hidden now if I left it like that, it would be kind of pointless because what would be the point of duplicating and hiding everything? Well, the point is now I would take the brush tool and paint with white to say dark in this area, which is kind of the equipment I think of what they're saying about history brush but the difference is tomorrow it looks just like that, so if I go oops, I should've darken this part two or I shouldn't have dark in this part is much I can continue two tweak it because it's a mask, not the history brush, which is a one shot deal. So history brush for me I mean, it was a very valuable tool and I hate to say that this way in its day, but I'm going to say that because I think the time for the history brush it's one of those I don't know five or six years ago gosh, I lived and died with the history brush because it was a really good way to work soon as I realized boy, if the lair mass could do that that's history that never ends, you know, unlimited changed history kind of thing so when we had the discussion before about we are creatures of habit that's a good example nothing wrong with the history brush but there are ways that I think give you more options, so as long as you go in with a clear open mind about why do history brush? It'll help me right now but tomorrow it won't close this document then I would explore methods whether it's, smart object, smart filters or even something like this is duplicate the layer and adam mask gives you more choices so again not want to dissuade anyone from using the history brush, but I kind of do I mean it's I'm saying not saying don't use the history brush, but I kind of am you know what I mean? I'm not saying you're making a mistake but you're a bit of a tightrope without a net because if something tomorrow you go oops I should have done that groups too late history does not carry forward all these other options do all right this is ah opening up a can of worms perhaps happens happens with photo shop but a si m eighty three what color workspace should we generally work in? And then secondly, janice says hello from new brunswick, canada, my workflow usually consists of working in lab libby and adjusting the a and b channels. Is there a way to do this with smart objects? I've tried, but it wants me no flattened or rast arise, so considering using smart objects what's here with your college face work well and color space is a whole, you know, can of worms unto itself, and I'm a very non technical guy when it comes to color space, and I I know a couple of color management people, probably whatever the quilt of rolling over your in your gravest when I started saying, we just do this and they're like, oh god, but let's look at the baby thing for a moment it has some really nice capabilities but it's its own mode, which is doesn't things differently. So to try and implement smart objects, there probably be a little bit harder, still a possibility, but, um let's just see, try something never tried this before. This is live see what happens so convert to smart object and I'm going to edit the contents and then changed the mode to l a be color and clothes and save it, so this is a rgb file but when I double click on it it's in l a be color so the contents of my smart object is l a be color what let's think about this for a second so this is an rgb file which is regular way of working but I want to take advantage of some of those leiby color things so when I made it a smart object and looked at the contents the contents of the smart object are in l a b mode so to a degree that means I can edit things like someone said, you know, doing things and the l a b functionality of the a and the b channels but when I save it it's saving it inside an rgb container so I hope that kind and I don't want to spend a whole bunch of times saying ok here's how I would use that because this is assuming someone who's already got kind of an l a b workflow and just wants to see can I do this in some kind of smart way that's one way that at least opens the door a little crack can go I wonder if this would work for what I do okay I mean leiby mo is a whole nother can it warms the same theory could be applied I think to any kind of color profiling color management thing is to say what I want to use overall but because of the way smart objects work in theory at least you could have a container that's one mode and the contents something else the one thing I would say because they get a lot of questions about the concept of saying um I need to prepare this for prince will eventually need c m y que so at some point when should I change the mode to see em like a color and my response usually is as latest possible however the downside doing that is you might work away at the very end convert to see m y can go well my colors just changed so one of the solutions has been around for quite a while but kind of semi hidden is under the view menu there's an option called proof colors when you choose that if you can see this but up at the top of saying rgb slash cm like a so that means technically it's an rgb file but it's previewing what the colors will look like excuse me looked like in cm like a so just to make that easier to see let's do this at a new layer and I'm gonna pick a color which I deliberately no on lee looks good in rgb really nice bright blue lovely so now if I go and change that preview see what's happening look at the difference when I turned that on this is rgb this is the cm like a preview so it's showing me you've chosen a color that cnn y que cannot reproduce, so what it lets me do is still take advantage of the fact that I'm working in rgb mode so all the filters work and everything else but it's constantly preview in for me a fairly good representation of what will eventually happen when I do change the mode to seem like a so what that lets me do is take advantage of both the main reason for doing this if you just convert the mode to see m y k some filters don't work in c m y k some other photos help operations don't work at all if you're in cm like a moat, so even though you need to end up in that mode for print, this is a way to work around it and you do that by going to prove set up and deciding what it is you're gonna do in here. It's c m y k is what it's previewing you can also pick other ones, including different monitor settings for web sites and there's even new things for tryingto meet with some regulation about colors that work properly for different types of color blindness is that's a fairly new feature of photo shop but day today this is a good solution for people there saying I really want to work in one mode, but I end up in another like sam wyche a or whatever might be saying so back to the original question. Yes, it appears as though you can have l a b mode inside a smart object and still continue to do your editing leiby with ways, but when you say save the smart object contents, it ends up back in your rgb container. Great thank you, sir. Okay, so and waste the photo asks if I have a flyer with different photos and text on layers, can I go in retroactively and make all of those layers smart objects to make it into a template? Yes, um now the only thing about that is me here, let's pretend a lot of these air probably already smart but let's pretend they're not. So the on ly drawback to make saying africa why should make that smart is if you're going to replace the contents, it does it based on the original size of the photograph. So if I took one of these small layers and said, convert to smart object and then said replace contents, the chances are of the size and be way off. What I want to do ideally is have here's my original size layer, make it smart, then scale it down because that way, when I replaced contents, it'll take an equally large one and scale it down so while there's nothing to stop you from at this point saying that they make that small little layer smart it doesn't the one thing it wouldn't help you with is the whole replace contents part it would give you the ability to say like kid as long as I know I have a similar photo or its camera raw or something like that or with type ability to changed the look of the type those things you could all do retroactively, but in an ideal world you'd be awaiting this might even have the possibility of becoming a template let me start off with ah full size photo, make it smart then scale it down because that's the one part that kind of throws a bit of a curve at people and actually that reminds me and one other thing to say this one really surprised me because normally and photo shop when you see very much when you look at the image size command if you're working and pixels it doesn't really matter whether this says to forty or three hundred seventy two because it's still this many pixels but I did find that there is one place where it does make a difference because I had a situation where I had created a template and I knew the original photograph was let's just say three thousand by two thousand pixels on when I too was replaced contents I had already I looked at it like oh that's also three thousand by two thousand pixels when I replaced it it was way smaller and I was like, how can that be it's the same size? Because the resolution resolution is the one place in smart obvious where that actually has an impact because I realized the first one was three thousand by two thousand pixels at seventy two and the other one was three hundred so normally when you're opening files and photo shop it's all relative doesn't matter smart objects that is one case where it could present a problem, so if you know you're going to be replacing contents within smart objects, you have to explore that to make sure not just the physical dimensions are the same. But the resolution is if not the same close enough that you're not going to notice a difference which is weird because normally and photoshopped people say I don't really worry about that that's just for print. So what would you say is for print parenthesis and smart object sometimes because that can enter into the equation and smart objects which it doesn't anywhere else? So if you ever do replace contest and I understand why it's not working they're the same size they may be the same size, but they may not be the same resolution so that's one of those little gutches that's hidden away in there that I only discovered because I like how is that not working doesn't make any sense and I went to check on my oh that's weird I changed the resolution then it worked, betty conklin brooks says is there a way to print out a chart of what all your brushes look like along with their names? I did this with all my fonts and it saves a lot of search eyes that's something I actually would love and there was a small little company years ago that it was only for windows and it was called I don't remember it was called like pre set I don't know, but what it did was in their little software you clicked on a thing that said my brushes dot a b r and I went here they are and this show your thumbnail so it's like that brilliant that should be in photo shop that should be in bridge that should be somewhere or you can browse inside a set of presets especially things like brushes. Unfortunately it was a one and a half person show now the a fellow wrote the software and his wife helped them and they just I don't think they're still around they may be, but first of all for me didn't help because there wasn't one for the macintosh I'm ever having a lengthy conversation with a photo photoshopped project product managers saying it'll be really cool and bridge because bridge could look inside. Pdf so everything else why not brushes any kind of went? Yeah and then never heard it again which is frustrating because I thought that's a great idea then you could also do print that or make a pdf that brilliant so actually talked to a guy that did scripting and asked him if he could write that for me and he was like, oh gosh, that's much I was, you know, what's funny, I always joke about people asking me and they say, can you just do this and photo shop? I was like, you just write a script that does that and he was like because to me it was just like, just write a script, look inside brushes like no, no, no that's much more complicated like really can't just do that so unfortunately, the answer is no, I wish there was and it's one of my lifelong dreams to make that happen, but I did all that ever will because it sure would be nice. Well, dave, we have a handful of people in the audience asking about advanced selections, one fellow wrote about maybe selecting the windows inside of the house are channels the best, best method or they're better ones and you want to give us some of your thoughts are and maybe a little demo sure, see what we got here. So a couple things about that the first thing I usually start up by saying with selections is you want to I always think of ending up with a good selection I'm just trying to find something I can use that's remotely useful here okay, here we go so equal time here's my daughter because I showed my son earlier so stephanie's her moment of in the limelight as well. So one of things that the first thing I think that what I'm trying to make a good selection is making the life of my selection tool easier. So for example, when I took this photograph, my intention I wanted it to look dark because I wanted to put her on two like a dark street or something like that. However, I've made my life more difficult because there's not a lot of contrast between her and the background, so it's going to be hard for any selection tool to kind of see what I'm doing. So this is where even though this is we're talking about selections. It reverts back to our main theory about make your life simpler through automation and being smart I still have that camera smart object thing turned on as I always do, so first thing I'm going to do is say let's just look at the edges of her to try and make a better selection I recognize that I'm doing a horrible job of blowing out her face, but right now I'm not worried about that because I'm looking at the edges of the thing I'm trying to select, which is her body, her hair and because it's smart when I hit open object is going toe open it and say, well, there you got it for now so member if you were with us before I earlier on had a white box and I said temporarily wrecked the white box, you can make a selection this is the same theory is temporarily changed whatever you need to so that the tools you're using do a better job, so channels, I would say our good backup plan if you having a really hard time making a selection than channels do have their place but some of the newer tools today the quick selection tool is one of my favorites because it usually does a really good job and the only thing we have to think about with the quick selection tool is the fact that it's called the quick selection tool but I would much prefer to think of it as the edge detection selection tool because that's really what it's doing is looking for edges so with that in mind what I'm trying to do with this over adjustment in camera raw is to make the job of the selection to a leisure by finding the edges so now I can take this tool and all the on ly option and turn on here is auto enhance and just as an aside perhaps it's only me but I thought it was odd that auto enhance was optional what you think you want to auto enhance like all the time I just thought that was weird that was an option I finally asked and they said, well the reason it's an option if you have a really really big file with a quick selection tool auto enhance will slow you down and you'll see a little progress bar going trying to make a selection so I guess that's the reason why it's optional I would just personally have it on by default as opposed to off but now as I'm starting to drag and I just can't stay inside you see it's automatically looking and finding edges when it comes to hair I'm not going to try to get it all I'm going to try and get close so my main philosophy is end up with a good selection so we're getting closer let's see down here and that's actually pretty good option or all will take away from this election the quick selection who by the way is the on ly selecting tool and photo shop where you do not have to hold down the shift key to add more to this election every other tool you have to this is the one exception so another one of my favorite tips is when you're working a selection sometimes you see as some people call the marching answer you're trying to see did I get everything but it's kind of hard to tell, so my favorite little shortcut is a letter q for quick mask and quick mask enters this mode where puts a colored overlay where you can see your selection as color and no color so for example, right here again oops! I missed the whole bit and you notice that in the same with part of her arm soap rescue again to get out of quick mask and then I can add the parts that I didn't get so instead of staring at these marching answer, trying to figure out did I get everything or not? That little quick mask is a real bonus so overall it's looking fairly good her I'm still missing a bit of her hair so that's where one of the best inventions in the last little bit of photo shop is called refine edge and what this allows me to do is to try and make the edge a little better and I want to make sure I didn't miss any little bits of hair here so I just kind of paint where I think there might be a bit more hair at first it might not look like much is happening because I really want this to be subtle so the other thing to do and refined edge is there's all these different views normally I want to view it on layers so I can see the background element but if you switch to black and white it's kind of previewing what your layer mask would look like so if I see little wisps of hair, I'm ok with that because that's a really good start, so I know I'm close and if I see bits like this where it missed a bit of her jacket, I can deal with that later on so I really tend to focus on edges to the edges look good because you're missing a chunk in the middle of her body you can get that easily it's the edges that air the challenge, so once I've done all that, then I would make sure the output is layer mask when I click ok it's goingto take that layer and add the layer mask I just created. Once I've done that now, I can look at and say we don't really want her to be that overexposed in her face or anywhere else. So now I go back to camera and say let's, put this more back to the way I shot this photograph and then click ok to have an update so I still have that kind of dramatically lit look that I was going for, but I've made my life easier temporarily so even making a selection, we can take advantage of the flexible, edible nature of camera smart objects now, there's one other tip I would give you that I didn't do here, but this is what I would actually do if I was going to a lot of the reason people want to select people these days is to do compositing. We're talking about that and more detail and the next class, but here's a quick little overview of the main things that I would do, so I'm going to just close this, so if I wanted, the reason I was extracting her was to put her on this new background instead of opening that document, spending all the time trying to make a good selection, the first thing I would do is get her into that photograph, so place into photo shop still got it set to that kind of overexposed look, so I can see what I'm doing now. Aiken make her size that I want, and at this point that I would do the same kind of thing, and I was doing this part quickly because I'm not really worried so much about making it incredibly accurate for this demonstration, but the difference is now want to go to refine edge, and I choose on layers now every decision I make is in context to the new background. I realized a long time ago what I was doing was obsessing over every little single part of a person who say their hair and everything else and then when I put them on the new background eventually realized I didn't need to do all that work, so I put on background first every single decision you make is in the context of the new background, so in this particular case again I would assume that I've done all the work I need to layer mask and then again doubleclick to go back to camera and say let's, put this back the way I wanted it so it matches our photograph a little better this is but a little too dark, but that's the point is now now you have the ability to go and say let's, make this kind of match this background is also a smart object, so that means I can also endit if it's easier to say, maybe this whole photo should also be darker that's okay too, so smart objects are everywhere even in making selections mark objects are everywhere now that it's important to note that in the part of the next two days on the creative side, I'm going to spend a whole section just on that whole selecting a composite so that was a little foreshadowing of the whole section we're going to do because that's a very a key element of things people want to do creatively to try and enhance their photographs okay great great this question dave is a little bit of a review from yesterday but julian the julianna d how do I add a stop and a pop up window when recording and action just wanting it maybe could review that sure um and really what it is is your technically you're adding it after the fact so that's really the part that's the important note is when your record your action with whatever steps you want and then let's see what I've got here these actions have reappear that weren't there before so somewhere in here gosh there's a lot of these okay so apparently minor gone completely so that's all right so I make an action and I whatever it is I hit record and I say duplicate this and converted to a smart object and applied some filter click ok and then stop recording so once I have the action recording I want to tell people before this step some message some stop that I so I do the action stopped recording and then I go to the menu and choose insert stop and you can type in whenever you want lobbying law ever notice by the way and people make fake type their letters that words are always like enormously long compared to real tax like yes let me just put forty seven character words in there yeah I do that all the time click ok so now it's in the wrong place because I wasn't paying very close to him so I just move it up they put it right before that step so the key to this is you don't insert the stop as your recording you inserted after you finish recording and then your position it wherever you want and by default on insert stops gonna have that little interrupt mode thing because you that's the whole point of it is to interrupt the flow of the action so there you have it quick review of insert stop okay, thank you do we have a couple of people asking about how the process is that you've been going through the last day would work with nick software specifically clifford martin how well you're smart objects workflow work with a third party filter products such as the knicks software filters that come into photo shop as a layer okay if it depends entirely on who's who the filter manufacturers some of them very nicely embraced smart objects very quickly so you run there plug in and it comes in as a smart filter others it says we might have had a smart object but when I bring it back in it will be a duplicate rast arise layer so it depends entirely on who has made the plug in my hope is at some point they'll be able to all be completely editable and smart. I honestly don't use a lot of plug ins, mostly because I'm gonna probably tell by now I'm just very honest about everything I hate going to a workshop where someone says, now I'll just launched this plug in and do these five seven I don't have that plug in don't show me that the answer to a solution and don't get me wrong plug ins or great I love plug ins, but I don't use them, david aches I don't want to rely on them, I want to show techniques without them. Having said that, plug ins are wonderful, so the best answer I have to that question is, try it with your plug in to see convert later to a smart object, see what happens when you run that plug in. Chances are, it'll still work, but it'll be a work around slightly where it says I'll make a duplicate layer or something. Hopefully with each new version of these plug ins, they'll find more and more ways to take advantage of smart filters and incorporate them, even though there are third party plug it. I think part of the challenge is as much as adobe supports third party plug ins to a degree they haven't opened the doors to every possible thing that those plug ins khun do. Well, I just wantto say thanks again again to the people who are on facebook, we've got some people answering other people's questions there as well, and some of them I'm actually notated ing some of the answers. It's pretty fun, so question quick question for design for life in photo shop cs six the f one shortcut key got disabled? Is there a way to bring it back? Um, well, first of all, I don't know what f one did, maybe do I make my own shortcuts? So it must have been something important, I think it was maybe the ability to select it as a short cut function key potentially it could be I don't know, I mean, the first thing I would check us to see, go into keyboard shortcuts and see if I can just try putting something like, uh, where's my function tes on here have one, so apparently it just doesn't want to let me use that a short that it must be reserved for something I'm not running to that I frankly have always give my own shortcuts as opposed to f keys, so I don't sure what the reason is, but so unfortunately looks like f one may not be an option, thank you, and I know that sometimes on the macintosh, all I'll go into the apple keyboard shortcuts and check that it's not my exclusive for apple and sometimes you can turn those on and on and I'm glad you mentioned because that actually brings up an important point when you first install a new version of photo shop, for example, and I use a keyboard shortcut commander control h for hiding things and photoshopped the first time you do it, a new version says we don't want that to be photoshopped or you want that to be apple, so on a macintosh it'll often say this shortcut is used by both you decide and if they won't let you decide then you're right he could go into the apple allocation they used to be one of forget what it was was something really weird that apple is using it for like change the keyboard language or something for something that was an everyday photoshopped functions like yeah, I think I'd rather have the photo shop one then changed my language to swedish thank you very much so but that it could be something like that where it's a system conflict that you have to try and resolve cool thank you and you guys can always feel free down there to jump in at any time so rob ron robertson asks kind of fun question the color of the interface area of csx was now the dark version changed from light to dark gray and or even a custom color but can you do you know if you can use an image um you mean I guess he's a meaning the area around this image uh no I mean I don't I can't think of a way I can think of that there's a way to do it be I think that'd be terribly confusing if you did unless you're doing someone else's machine than to be hilarious you know going to someone else's machine and you know do something crazy which reminds ok I have to show you this one thing because this is the funniest thing don't ever do this because it's terribly mean but on april fool's this is like the funniest thing I ever saw because we had photoshopped world there's this friend called midnight madness which is just stupid stuff there you don't learn anything it's just craziness and we decide to have this one thing called photoshopped pranks and it was things you could do and things like changing keyboard shortcuts but the best one it was so funny you take a screen capture of something in photo shop so the entire screen big between capture I know if that worked or not but we'll see what this is all good so then so you have things set up to have a document open you have layers you take a screen capture of the whole thing and of course you do this on someone else's machine not your own well, they're away at lunch perhaps and then you open at in photo shop so it opens now you make sure you do it in this case the for learning purpose we have the screen the keyboard shortcut showing you wouldn't want that because that would give away the trick but pretend that part isn't there and then you do this tab hides the floating panels f f goes into full screen mode phil screen so now it looks like you're in photo shop but it's a still picture of photo shop and what's particularly useful if you pick some tool like I don't know the clone stamp tool as your active tool so then people think they're doing something and no matter what they do they keep getting these weird error messes like clone stamp tool I'm on this something tool and you could of course take it once that further and do free transform and trump's home free transform why is it not coming? Okay let's do it this way all right she's still it seemed doing it to me oh yes I know thank you so that see what's happening I'm trying to go to like, why can't I go? You know, because it's not the image menu it's a picture so it just really freaks people out so don't ever do that because it's mean but it's also pretty hilarious if only on april fools on don't ever say that they've told you that so you came up with that commitment really was todd so I can't remember what the original question was that led me to say that but thank you may have just thought of that after you answer the question, you have to do that background of the interfaith oh yeah right which does remind me to say by the way, casey or even discover this if you're just not a big fan of the new photo shop dark interface there is light and later so you could go the preferences and do that and there's also some keyboard shortcut which I never remember but it's something like uh maybe it's turned off here now I can't get it there's one where you can actually turn instead of seeing these black or different shades of squares you actually see toast so it's some really weird a easter egg thing but I can't I can't get it to work it's not important, but you really want to throw someone off the glow of their purpose that will see different shades of toast, which is actually what they were saying we're going to do it and they said, yeah, people just go with shaded boxes instead all right, dave, this question had multiple likes on facebook someone ask it marie see belliard austin sin says is there a way to put the brushes and a custom order for example watermark watermark brush first I'm not sure if you addressed that yesterday already did, but it was I think was one of the many passing things I mentioned a lot of information point about the preset manager but first step our point I would make is as soon as you have a question about things like brushes and do with them that usually suggests preset manager because that's the controller of all things preset so if you say things like I want to change the order, go with the precept manager and then you could start manually dragging around say I would like this one to be first I like this one to be next so you khun manually adjust when you get done then that's your new order if you ever decide later I wish I hadn't done that then you have at least the possibility of choosing reset brushes and see if it'll put it back to the way it wass which it should but it just depends on how you the order which you did it but this means that when you make custom little sets of brushes, you may decide to put them in a particular order because that just makes sense to you to go from small toe larger because by default it will be the order which you created them so if it makes better sense for you to go smaller bigger bigger bigger than you can reorganize them this way and in a totally semi related shortcut this is the most bizarre shortcut ever but I think it's it's one of those ones if you know this you can really impress your friends and co workers because it's like really odd so you're working away let's just get a layer here okay I'm working way with the brush too and I have this particular brush and I know that the one I want it's on the constanta awesome okay so the one I really want is the next one over but I'm painting way over here so instead of going all the way over I used the period key and it goes to the next brush and the comic he goes to the previous brush so it's not like you can you see what's happening it's actually scrolling through the brushes panel one of the time without me having to go back up there but the most bizarre thing and the only way I remember it yes as I don't look at the period and comma I look at the greater than and left and symbol and that reminds me next brush previous brush or in your way you know so when it was really weird shortcuts that someone invented like actually somewhat useful if you know that is there ok so here's another cookie one george says hi from mexico are ola he says I know this may be out of topic but I've been playing with adobe configuration er but my question is a day's knows how to load a creative live video feed into a photoshopped panel well I'll answer that by saying so here's what I know about configure I did try it a little bit it's a cool little program you can get which allows you to build your own panel whatever you want in it so for example some people say there's seventy five tools and photoshopped I just used these eight so you could make your own little pop up panel that has just the tools you want in it as an example you can also include other things including html and other things so in answer that question I'd say I'm sure you can do it but the key is I'm sure you can do it because you because I don't know how but I mean I remember seeing yes you can draw a little square and say what is the source for this video and you can put in you know, creative live dot com slash live and chances are it would works you could actually watch quite apply from within foolish up and be pretty cool well that's pretty cool because a lot of people watch could apply when they're editing and people who don't have two monitors I mean we see people post photos of they're set ups all the time when the editing and this but if you just have one and what would be even better is if you then put a button that said boss is coming so then if you're supposed to be working, he has hit the button and collapses the panel like no, I'm working away, I'm just working oh that's funny, but then you can watch the creative lime and be working on at the same time I like it that's tough, smart out there. Okay there's a question from alfredo race esparza on facebook is there a way of using a group of adjustment layers as a photo shop style? Many times? I can't make styles from kurds adjustment layers unfortunately, I mean I can't see a way of doing it technically as something that's like a one click style, but you could put ah a series of adjusting layers in a group and then just dragged that group into another photograph so any time you have layers or smart objects or adjustment layers in one document they are by nature dragon drop a ble into another document, so if you had a combination you liked of these settings in these four three adjustment layers in a group, then you could drive that group another photograph it would automatically affect the layers and below wherever you drag it in so it's not exactly a zizi they're saying make it one pre set but it's a close second because you've already done the work and then there's dragging into new document I just you are front of shop macgyver that's what you are dave photoshopped my god time yeah going right back to that for an organizational input would you then created dummy document with that style and then put it neck in a presets fold or something? So you're not hunting around for that original and and that's a good point I mean one of things will talk about in the next section on creativity talked about why work non destructively one of the ways I use that is for example I create this cool edge effect I think I'm use that all the time so I put it in a document that's called my effects and each layer is a different effect that I could just drag another document and I put that somewhere that makes sense to me for exactly that reason why won't even edge let me go to my collection of things that I previously created that could be like lens flares that you already done or adjustments or that vignette effect we did yesterday all those things could be saved as little psd files that are containers off reusable effects so for sure putting it somewhere logically name would help considerably for that cool thank you so question from yesterday this is cc nine eleven asked when you make a smart object in a smart object, can you go back to the first smart object and adjust the mask? Yes, anything and and the easy way to answer that is, any smart object is a container, and you can always access its contents, so if they're buried three deep, if you have to double click three times, eventually, you can get to the original content that includes whatever it is, masks, adjustments, camera, whatever, and that's the whole beauty of smart objects is, you're never apply where? Oh, I can't get to that unless you applied the mask or deleted it that's different, but if you've got that mask in there, make it smart, you can get to the mask. And just just because of the nature of smart object in their contents, just a quick workflow question, how often do you save your work while you're retouching? Not as much as I should, okay, yeah, but that brings up a really important point. So any time someone's looking a new version of photo shop, usually what you do is you go and look somewhere where someone says here's, the great new features of photos show, and the unfortunate reality of that is people talk about a look at content where phil the contents were moved to a one all kind of the big what some people call killer features, but usually there's so many other ones that are really important, and a lot of people completely missed this one and it's one of my favorite is things for exactly that reason. It's a preference in general notes on general it's in foul handling automatically save recovery information every ten minutes. Yes, please. So if you forget to save every so often now finally in photo shop was never there before you have automatically safe now I'm going to be a little bit honest and say, I've had a couple times where I like, oh no photo shop crash, let me just open that one, it automatically saved, but it didn't I don't know why, but at least having this on is better than not so don't be shocked if you have a system problem and you go where's that thing, it said it was going to recovered, it did that happens rarely. Most of time, I've been extremely happy to relaunch photo shop and go a look it just opened three files I had open with the layers, so at worst I've got to go ten minutes back some people would be saying make it five, some people would be more, you know, a little adventurous and say an hour that's important and equally important is this little check box saved in background. Here's. A really nice little productivity enhancer in the past. If you had a big file and you hit save all work stopped until it's finished saving. Now you could hit save swiss another document. Keep working because it keeps saving in the background while you're working on other documents off people to do big files. That's a godsend because it used to be okay. I gotta wait ten minutes till this file finished. Now you can hit, save and continue working. And the first time this was demonstrated me by adobe, I thought, well, it must slow everything down to demonstrate that it doesn't. They took a huge file it saved switched to liquefy. And we're liquefying real time really fast while this huge file was saving in the background about that's very impressive and a huge time saver. So those two little check box is new and photo shop cs six of the kind of things we need to look beyond the big killer features everyone talks about, say, what else did they do? And you find things like that, like, well, that take advantage of every single day. So to go back the original question I don't save as often as I should, but at least I know I have this backup thing happening on my behalf in the background if you turn it on I want to say this has not turned on by default so when you first install photoshopped, those preferences are not turned on so you'd have to go in and turn them on yourself. Thank you. So, dave, what would be your dessert island? Pick your on a desert island and you only have one productivity tip that you've shown us in the last two days and you only have one which would what's the one that's gonna be on your island. Well, it's gonna have some of them smart in a way. One way or another, I would say I mean smart objects because that encompasses so much. I mean, actions are great because they can help but ultimately actions do can do quite a few things. Smart objects are khun be anything you want is I think you've seen it can be templates that can be kamerad can be whatever. So I would do that because it's so light and portable I'd say and learn keyboard shortcuts so keyboard shortcuts to me and I know well, let me say this is going to sound weird, but I think it's true someone say it's I have asked me because I'm kind of I think known for knowing a bunch of keyboard shortcuts but I always quickly say I don't really know but my fingers do because someone asked me what's the keyboard shortcut I go and I let my fingers do the talking because I don't remember them but my fingers no and that just comes from time so the more you do it becomes second nature and it really speeds up your works if you're not a keyboard shortcut kind of person I'd say start learning them and that's what that little tips one of things and that tips thing I put together is my ten favorite if you going to start using keyboard shortcuts here's a good place to start what's the one thing that you don't quite know yet that you're working on perfecting um I don't use light room so for me I get questions about light room and I want to know I'm not intending to suddenly start becoming a light from user but because they're so closely tied I'd liketo b'more efficient and answering questions someone says when I'm starting and light room insula go oh gosh because I just I don't spend enough time in there now over that little while I will be because for example I'm teaching a class called foolish up in light room in a few months so guess what I'll be working on that a little while but so, yeah, that's. The one thing is, I know light room for many people is a great piece of software just for me. It never fit with my style. Especially only do the class. On sunday, talk about shooting for a photo shop light room would even come into the equation for what? The way I'm using it. I'm taking photographs with the intention out, putting together and photo shop, so light room wouldn't be of any great help to me in that particular case.

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