Smart Objects Part 2


Adobe® Photoshop®: Productivity


Lesson Info

Smart Objects Part 2

The thought process of smart objects and how they work and the level of edit ability it gives you so this is a photo of my son you several photos of him and I'm sure he takes a great pleasure knowing I still can use these photos years later, especially since this one has a very large pimple on his chin and I'm sure that makes him extremely happy to know that I continue to use this photograph of him all these years later but it's a good example I think of how we can start to put these things together so I have several photos I took during us I want to create this kind of little layout with one main portrait and then some other ones down the side so I took the first one with a bit of space on the side that these other photos that I've already gone into camera edit them a little bit and crop them so that's why in many bridge you can see two symbols that show that's been done so I want to add these three camera files into this photo so that from many bridge I had the great advantage that's...

why I'm not doing it from regular bridge because here I can select all three and just drag all three and at the same time now photos off camera are so smart that because it's cameras as well first let me launch kamerad and then I could make any adjustments if I want in this case I'm not going to click ok then it's all right, let me bring that one in there and I'm going to scale it down a smaller size in this case I'm gonna probably go a little smaller just in case but here's what's really cool about this suze I hit enter it goes oh, you're finished with that one how about the next one automatically says camera so I can tweet this one a bit it ok and then transform this one down and for now I'm not gonna worry about being exactly same, so I just want to get them in there and then the third one so each case is doing the same thing so that saves me the effort of having to go open open, open copy, copy garbage it does this automatic so that's brought them in and what it's also done is it's made smart objects out of them camera raw, smart objects ok, so I want to try to do is kind of put them in here and get this kind of little layout thing happening. And I think now that I've done that I can afford to make them all a little bit bigger so select all three trying to take advantage of all this room I have available and I probably would also make sure they're kind of nicely aligned with each other and all that kind of stuff. So this would be the part that I would normally spend my time making sure they're all the same size and all that kind of stuff in that for our the purpose of this demonstration that's less important than the concept of getting them in there. So once I'm happy with it now, I want to move on and do something else. So for example, maybe I want to apply a filter to everything. Well, as we talked about it some length yesterday, I don't want ever flatten this, but at a certain point, if I want to move on to do something else, I have to usually least think of creating a layer that's flatten so I can do things like apply a filter on what I used to do was command has been around for a long time when people call it stamp visible, where you basically the keyboard shortcuts, the entire left side of your keyboard e so command option shift your control all shift ae and that's going to put a new layer on top with kind of like a flattened version of everything. So basically what we're doing is a version of this command called merge visible with the option all key held down that adds this new version on top, which is the equivalent of a flattened version but it preserves all the layers below in this up until for me up until recently was the way that everything because that way it preserves all the layers but gives me this flat copy thie on ly downside to this method always was, and I just worked around it that that was like a snapshot of that moment in time. In other words, if I now decide I really don't like that middle layer if I hide it, this top layer doesn't change because that was the moment that I used that shortcut it took like a snapshot, so I'd have to delete that layer and then do that keyboard shortcut again and that's just the way it worked because that merged visible stand visible thing wasn't live it was like a capture, so I kind of live with that because the longest time I was like, well, what's the alternative then I suddenly realized one day the alternative is a smart object, so I took my background layer thes three camera smart objects selected them all and then converted all of these to a smart object so it's just this now when you look at it visually it looks like it's flattened but it's not it's the container that contains all this information, so now it means I can continue working so for example and I always do this example because it's not a great filter, but at least it's obvious I want you to see I'm clearly doing something very obviously so I just sharpened it would just be so don't ever use this filter actually here's one evangel smart filters that takes a filter like find edges from really horrible too possibly remotely useful if you start lowering the opacity or something it's still weird, but at least it's not quite as weird but I deliberately doing this so you can see what's happening now so I do this wonderful effect I'm thinking yes, I'm ready to show that to my client then I think actually I think I need to move this middle graphic up a little bit it's not quite what I want to be well, how do I do that? Because it's not there it's in the container so I double click toe open other window with the contents I take this and do whatever I want let's just make it obvious that some I save it now it updates over here. So if I do that tile windows thing now here on the left is my quote unquote finished version and here are the contents, so now I can do whatever I want I can hide something hits, save looking it update I can show it again and move it over here and make it it's bigger or smaller whatever I want you know any change I want soon as I say it's going update on the left and if we take it a step further these three layers are all smart object going back to camera raw so if I could say you know what I think this middle one is a little too dark I just double click on it comes back here I changed the exposure it's going to update their I save it it's gonna update here so it's a very different thought process but when you start looking at it this way it's like everything is available to me I can change the individual camera smart objects I can update the overall layout I can apply the filter on the other side I can even start doing things like you know when I when I look at these I realize that they're not all the same size so maybe I should have taken this one and add a layer mass to it so it's the same size of the one above so I could just keep building on it as soon as I make a change I had saved as going update over here reapplying whatever else I've got in terms of filters now clearly hopefully you would not apply find edges as your filter but this is just to make it really obvious you can see something has happened but it could be subtle sharpening but now you're sharpening what appears like one object but you still have access to all the other objects inside of it. So the concept of that merge all or stamp visible or the claw or whatever people call that shortcut is still fine except for that one thing that bothers me in that it's a snapshot it's not live this is life so on this document when I look at it I have what looks like a quote unquote flat or merge document but it isn't really it's the smart object container that when I look inside I still have access to everything including all these cameras smart objects now this one wasn't but this could also have been a camera smart off I have access to every single aspect of it and I could apply filters to these which would then have filters applied over here so I mean the mind boggles at the possibilities, but it's all comes down to that recurring theme of control where I don't want to ever feel like well, I guess I have to live with that because I can't change that one thing I want to be able to change everything and when we talked briefly yesterday about why work non destructively to me part of the reason is you just never know I mean it's fine people say I'm not going change my mind well today but maybe your client comes back six months later, remember that thing you did? Can you just rearrange this? You're like, and no and no client don't want to say no to the client you want to say, certainly for my minimum charge of a thousand dollars, I'd be happy to redo that for you, because then you just go into your based information and rearrange and make this later and change that and anything you want. So it's the first time I did this, it was kind of like, wait, let me think this out and what I think really helped to me was this having nothing else open and tiling to windows, because by seeing them side by side, I think there's a better connection between smart object and contents that then you're seeing them side by side once you get used to it. Now, I don't do that as much because I know if I saved this one, it will update the other one automatically, so it depends on the situation, but this concept is they keep everything live, you know, each one of these is a smart object that goes back to camera raw, I can add filters of these aiken mask aiken anything I mean there's, just so many possibilities that we're looking at this today from a productivity standpoint, but for a moment let's switch gears and said thinking from a creativity standpoint, now I'm getting the production out of the way, so like an experiment say, what happens if I make this really dark and make this light apply this filter? Because I'm able to experiment with my creative side because I know nothing I do is gonna damage anything at any point because they ok, never mind this was a bad choice. Let me go back to camera and put it back the way I took the photograph to begin with an update that and so even though it looks like you're making rather permanent decisions, you aren't because you're just structuring it in a way that everything's flexible and in this case, we're not but just to make the point, I could also on top of this have regular layer stuff like strokes and adjustment layers and all those things so that's still part of the whole package, this is this example adjust basically just smart objects, but of course I could also say and a stroke and a drop shadow and all those things, so when you build those together, it means you're building something that always looks like final art, but it's never really final and once again, even though I didn't do anything differently in this case, if I wanted to, I had other photos, this is also a template so I could say I love everything about that except that middle photo I think I have a better one soul replaced that with a different photograph now here's the part that my son loves the best about this when he's watching me he actually said was really weird I came to one of my semi's sat like right there in the whole time I was like because I'm like using his photo he kind of got used because he used to be known as the kid with the hair he had some major league hair going on I mean big curly hair so after a while you see I didn't want to be that anymore but I used his photo for years as if you ever want a real challenge of selections of hair here it is and you just sit there in the front row going gosh anyway, so this case mike has unfortunately when this photo was taken a little bit of a pimple going on so normally at this point I'd be like, well, I've already finished that over here so let's zoom in on this one as well as you can see it looks even better and find edges mo doesn't enhance awesome so a bit of a problem so I need to fix that well I would just use normal to me photoshopped editing modes of at a blank layer take my spot healing brush and update that little blemish save it and it's going toe fix it over there so at any point even after you've saved and gone I'm finished you're never really finished because you can always go back in and I on ly semi joking to say the great thing about smart object as you're never finished the bad part is you're never finished so he might just keep going oh, I could try this but that's where you have to look at it more from a productivity standpoint to go get the job done and then if you decide to go off on the experiments you know you can because everything is open to further experimentation can always go back and change your mind so that examples that I like to show it because I know for many people that merge stamped visible thing was the one solution to say keep my layers but can keep working I still do that occasionally if it works a little better but for the most part to me this is a better approach because everything is completely life I'm never stuck with a well I have to merge visible at this moment in time it's I just need to keep going and try things and see what happens so there will be many people who look and say yeah I've got such a habit of doing that stand visible I still will and that's okay too but it's this to me is mohr flexible with more options? This one hint here worth the price of admission? This is like a religious experience to me right now I am so habitual with stamp as was I you were talking about earlier people would hesitate before they would draft rise they just sit and look that's me with stanford I I'll go get a drink of water and come back and I'm like should I do it? You know this is going just gonna change everything it really doesn't it and it's is we talked about before the break is that whole break your habits kind of thing and this is the challenge that I put out there to people is the next time your fingers automatically go to stand visible stop and go wait a minute let's try this other alternate there may be still time for you decide personally yet on this case stand visible is ok, but I know so many people that stamp visible kept working through it away made a new stamp visible because they needed to hear the stamp visible is life you don't have to do anything because it's smart you make change of the contents of automatically updates so it's like you're constantly updating that equivalent of stand visible yet better and on top of that as an added bonus we've got by nature smart filters you know all those other possibilities as well so for many people this is one of the reason I show this example it's for exactly that reason people kind of go wow, I do that all the time and for years it was a great technique I mean I usedto advocated as they do this don't flatten now I've thrown that away because this works better and again I don't I don't quickly say things like this is better because I think everyone has their own techniques but I really think this is better because compared to that alternative you stamp visible in a certain point you said you gotta go well I'll do it now and then hope that nothing changes and all of a sudden you realize have to edit the types have to throw away the stand visible out of the type and do it again and this way you know let's actually do that I didn't hear I go you know what? I probably should put his name in here so we'll just add some techs in here so we could have something and everyone knows this is mike courses his mother air say it's michael because that's what mothers say so once I've done that I just can close it and save it and it up it's so even things like that it's still live text it's just not you don't see it here and that's the mindset you have to go is you have to think this is my container I can't edit that text right there have to get to it by double clicking toe open that separate file and say ah there it is now I can work on it that makes sense this is probably the prime example of old habits die hard so for many people they have to really force themselves to not their fingers are already pressing that shortcut before they're going wait wait wait let me think do I really want to do that so that's one of the ones where it does take a bit of practice that kind of go hold on a second let me really think about this for the person that can't commit it's great ex ability well, it really is and that's why? You know, yesterday we talked about the flexibility of layers this is layers on steroids because it has all the benefits of layers and even mohr because we're still never in the early days of photos of people always find a certain point they kind of painted themselves into a corner with like, well, I'm kind of committed now but here you never really are even you can be if you want to say I'm done but the same time you don't have to and one more on this same line day from the internet topi asks from ontario canada what's the difference between going with either the flight image to the top or the smart object versus layer calms would you use this and well the difference that layer comes is really I want to look at different combinations of layers so that's where I'm saying show these high those that's kind of to me almost little bit separate you could still use smart objects as part of layer constant layer comes as more of an organizational viewing kind of function to me flatten is just out of the equation should just not flat unless it's in the save as command were saying make a flattened copy that's the only time I would ever use that f word is in save a flattened copy the merge visible thing is very permanent the smart object is flexible so on a scale of usability smart object is at the top slaton is way at the bottom in the bad part you don't use section so before the break someone asked about what about coming from another source like illustrator well here's how that works so I during the break designed the world's most fabulous logo that anyone has ever seen it's just so fantastic so this is a illustrator file all vector all editable and the simplest way to do it is an illustrator I just select everything and hit copy them she's in the keyboard shortcut for copy I switched back to photo shop with a document open and hit paste and says how would you like to paste it and it gives you all these options in the past it was these bottom three which were ok but the problem was it had to convert the nice vector high quality graphic into pixel so that you would lose the edit ability now one of the options is paced as a smart object so it says okay, let me do that for you how big would you like it? And I'm gonna say, well, I'd like it big and here's one case and only one where I can actually scale it bigger because it's really vector until I hit enter its scaleable vector graphic so I could bring a tiny little graphic again and scale it really big and that's no problem because it's vector inside a photo shop I hit enter and now my smart object says vector smart object so now I could do photo shop type things to it like perhaps doubling the boss I don't know let's just see what that you lovely okay let's pretend this is looking awesome because once again it's questionable as to how awesome it's really looking but let's just do it anyway so I'm taking advantage of like photoshopped style things and then someone says, oh it's not really supposed be red I can't change that because I can't click on the umbrella it's not in photo shop so I double click on it and this time the contents goes back to illustrator because that's where it came from so now I could click on something and say it needs to be a different color or whatever I want. So have any other colors? Brantley this is I I didn't spend any time an illustrator first checking, so we'll just do it the hard way. So this is gonna be a rough example, but now same ideas before. How do you update it? You save it, then when I switch back to photo shop, it updates, but still reapplying whatever I've done in photo show. This is a game changer for illustrator users because in the past it was a rast arised paste and there was no longer any connection. So if someone said that logo needs to be blue, it was delete. Go back to illustrator, make another one and start again. So this is creating the same kind of live two way street between illustrator and photo shop, so we've got the advantage of it being the vector graphic in illustrator that I can an import or place or copy and paste into photo shop. So technically, this is still a pixel based document, but it's, referring to this vector graphic that it's very high quality and I can update it on the fly anytime, but still do all the photo shop stuff to it. Like this, like double in whatever I want to do is I'm still technically it's still a photoshopped layer, but I'm adding those photoshopped effects to ultimately a vector graphic. Do you know if that only works between adobe products or if if somebody's using carell draw, which is a a similar version like illustrator would it? I'm the same way is probably not because this is adobe taking advantage of their family and ability pace this smart object now I've never tried it. So perhaps if it's there's something vector in the clipboard, no matter what the source is, when you pace, it may well say smart object, I haven't open coral drawn about ten years, so I don't really know it's possible I mean it's, it's definitely the process is really built on the concept of adobe products and that's why they do that for people have like the creative, sweeter, the creative cloud where it's like I've got all these applications, I want them to work together, so that's has the advantage where I can again take advantage of the vector added ability but still do photoshopped things to it and the on ly kind of trick to this one this one's a little bit different over here, I initially just copied and pasted from this original graphic look at how the ritual one hasn't changed and that's kind of a cool thing because you don't necessarily want the original to change when I double clicked on, it opened this separate document called vector smart object so it's allowing me to edit the contents of what's in my photo shop talking, but not influence the original and that's, because I copied and pasted ok, so here's another example of where challenges we face and solutions that you may come into so it was working with someone and they said, what I really want to do is I have a bunch of text and I want to make it look like it's wrapped around a three dimensional globe well, photo shop has three d capabilities, and I know about seven people in the world that actually know how to use it properly, and the rest of us are like, I don't get that it's just like a whole they said, this is easy three d a mike, if this is easy than I'm an idiot because I just I've tried and it's just like way too difficult, so I told him right up front, I don't use the three d stuff in photo shop, so do you really do need the ability to, like, move the globe around? It was no, I just need it to look like the texas on a globe, ok, I can do that so I'm here is just a bunch of random text that I brought in as an example and I'm going to take my elliptical marquis tool with the shift key held down so I make a perfect circle and then on this type player I'm going to add a mask said there you go text on a globe like that's not quite what I had mike so at this point now here's where you have to you kind of have to experiment because the first time I tried this I made the text into a smart object and then master and I realized that's not gonna work because I need that shape to be a smart object, so I took this type player with the mask and I converted it and then it becomes a smart object, so now I've got what amounts to circuit or text that I can start playing with. So with that in mind, then I said, ok let's use a filter that I've always wanted to use and never been able to and that's for your eyes not high on most people's daily use because when do you ever want to see your eyes? Something on this case that's exactly what I want to do so when I hit ok, you see, it starts to give that illusion of globe ish but here's the interesting thing and this is one the other little byproduct advantages of smart filters is if you want to apply the same filter more than once and photoshopped normal you can but of course you can't edit them here I already have sphere eyes, but I could go back and add a second one, so I want a sphere rises for your eyes they want to make it more so I'm going to make this one a little bit less than one hundred percent, so now I'm just making it more so any time you apply some filter and you're like I want a bit maur, one of the ways to do that is to build up another version of the same one, so now I've gotten kind of along the lines of what I want, I've got the nice sphere eyes thing happening and it's starting look the way I want, but I'm thinking to really make this look the way I want I would love it if the very outer edges were a little blurry, as if they're a little further away, so I thought, well, I couldn't do that, so add a gaussian blur and initially of course going to blur everything, but I know, okay? That's okay, because I'm gonna mask everything, so I'm taking you through my original thought process until I ran into a roadblock, so I'm deliberately showing you away that's not gonna work now that I know that but this is the thought process you would go through say ok I'm so I have to blur the whole thing but then I can paint on the mask to not make the middle part blurry that was my theory but then I realized we had this discussion earlier there's only one filter mask for all my smart filters so think about this for a second if I took my paintbrush and started saying don't blur that part it also doesn't sphere isat so now I've got a problem because when I'm asked the blur it's also masking this for your eyes I'm like aboard undo undue so this was like go back a couple of steps before I did the blur so then the thought becomes well how do you apply make a new mask for the blur filter and the way is you take this smart object and make it into a smart object because with you know that same theory now we're starting fresh so now I can do my gods and blur and on this filter I could either paint manually or use a grady whenever I want that's kind of what I had in mind and now the only kind of quote unquote tricky part is when you show it to your client and they say yeah you should never capitalize question marks that just doesn't look good so you need to edit the type so I have to double click on the contents to get to that one which is still not the contents have to double clicks on our that dream within dream contained within container thing tio doubleclick up now there we go now there's my original text so now I can go in here and put in the correct text I just because as wild so wildly across so I close and save that so it updates the first one which I then close and saves what updates the final so a level of edit ability that we just did not have before and after I did this I quite seriously sat back and went how would I have done this five years ago and I don't know what the answer was I wouldn't have all right I would have made a sphere eyes type thing but it would be one I couldn't edit because there were there just was no other way to do it you know a three d person would go oh yeah but if he did it in three d yeah ok let's leave that to the people who get three d and can do all that cool stuff but I'm trying to create the illusion of three d but still be editable so any time you run into when you were working through it you go oh gosh I can't mass that because that would mask everything else my thought process well let's just smart object that and every time you make a new smart object it's like you're resetting now I can start again now I've got a fresh mask and there might be sometimes quite honestly if now someone said now I want to sharpen the whole thing well if I went to sharpen it, it wouldn't sharp in this area because its mass so I'd have to make another smart object so I could sharpen that so now we get several containers deepened when you first tell someone you'll probably end up with like four smart objects embedded inside they're like what? But when you work through it like this, I think you see it starts toe kind of make logical sense for like the only way I can sharpen this completely is if I start fresh and the only way to start fresh is put inside another container now seriously when I first are you smart objects in the first couple of times I put a smart job inside of smart albeit I was just like it was like really like what is going on here? But working through it logically it was like, ok, that kind of makes sense. Now I see why I need to do that because I want to have the ability at everything I don't want to ever be at the point where like oh well can't change that can't fix that I want to be always have that option to fix and change and edit and do all those things, and this is another example where the first times we talked about before the first time you do it, it's going to take a while you're going to like, hold on a second, let me work through this and it didn't quite work and you have to undo a couple steps, but like anything else and the next time, so now I go with the situations and I think, oh, this is this makes sense I can do this because, you know, I can treat it as another new object that I can keep working on so any time you're faced with a situation so let's, look at another one here's one this is a vector smart object, I think pressure it is with some text later, so it's four layers that I want to incorporate somewhere else. Now if I dragged all four of those over like I would normally do select the mall and then use my move tool, of course it'll drag over all those layers and I have to make sure that I treat them properly and group them or something else. So personally I would avoid that issue of what if I miss a layer and do this first over here, I would take these layers and convert them to a smart object or if I just placed it indirectly would automatically make smart either way but what that means is now when I drag it over here it comes in looking again like one object but embedded this one object is all the rest of it so if I need to change the font or change anything else so it's one of the advantages in the reason I take this approach is I usedto have layer panels that were just mind bogglingly complicated you know? There were like these seven layers they were part of this logo's I put those in a group and and that's okay too but if you could just say that's one layer but it really isn't because that one layer contains all the elements I need so I look at this now and go oops there's some white stuff that shouldn't be there I can't edit it here well actually I could because he was a smart object that you can do blood this lighters nothing was ever challenge um or I could double click on it and edit the original either way but the point is it's you know you've got it appears like it's one layer so now you say all right, so now I want to make this look like a logo on a brick wall and right now it doesn't so I might decide to use there's a wonderful filter and photoshopped called displace and it helps you make things kind of follow the contours of other things. The challenge with that filter has always been at a certain point. You'll see there's a dialogue box. It just says enter numbers. I'm not gonna give you a preview. Just have to guess that's just the way that filters always worked so away. A displacement, this place, one filter works. It needs something called a displacement map, which is the texture with which you're going to distort your graphic in this case, it's this brick wall. The way to do that is I duplicate the layer into a new document because I need to save just this as a file. Now, whenever you look at a texture like this there's so much going on in here, I'm concerned it might distort my logo too much. So I like to use a filter in here. That's actually called the speckle, which is kind of like a surface blurry sh filter where it's still preserves most of the detail but gets rid of some of the fine little details. And then we save this as a file somewhere is put on my desktop. And although it's absolutely not necessary, I have developed a habit over the years have always naming my file with the word map in it. Just cause I'm an idiot and I can never find it so if I see something dash map I know yeah that's the displaced with map I just made because otherwise I might just go on what is that? Ok, so back here I click on this remember this is already smart so smart filters will be in effect so I go filter and then distort and displace and here's where it was always a challenge because it would say how much she wanted to start I have no idea so this filter was always a guess because you go five twenty five so you're not going try it ok undo under one do about fifteen on okay, that didn't work so now it's a little bit better it's still not a preview but now at least I can go ok let's try twenty for both and I click ok this is what would you like to use as your displacement map? And I picked the one I just chose I click ok and now it distorts everything. Okay? I'm thinking that's a little much it's a little more distorted than I probably would like when I look at it although honestly the first thing I probably do is change the blend mode to something like overlay or multiply or something cause I want to see it sort of more in context of the wall it's still a little much so now, instead of starting over again our undoing multiple times I get it before I just double click and say, what if we try twelve and twelve and I don't know I'm just guessing I click ok and once again have to pick the map but now it's and that's a little more like I had in mind, so now I'm at the point where I'm like, ok it's starting to look what I was picturing I think might actually go overlay and then if I duplicated it kind of does overlay on top of overlays sometimes that might give you the effect that you want so it is distorting it slightly I'm trying to make it look like it was kind of painted on the wall a few years ago or something, so I start to do all those things and by the way, I could even here once again play more of the blended sliders saying let's, take the underlying layer, start toe, poke it through a bit so we get that kind of distorting everything knows how I kind of brought back in the blend if from yesterday I love blended sliders, so I've got this whole thing going on, I'm like that looks kind of like what I want except for one thing I can't really work read the word shop down there, I've done all this work that's unfortunate that I'm not happy with it because I need to start over again no I don't because of course this is a smart object so I just go in here and say where is that word there it is and I fill it with something close it and save it and then it updates on and it's better when I got to the point of doing what appears like a lot of fairly permanent work it's never permanent because it's smart well I like that one right there never permit because a smart guy make a teacher with that too because that's really what it's all about is everything you do where you get to a point of going out can't change my mind sure you can you know even at this point I could save her shirt is the wrong color or that this I don't like that font doesn't matter even I've done a displacement map and I've distorted it and made it to blend mode and see through underlying everything is still the original smart object that I could get and that's why if you start with this thought process I truly believe that opens up the both the productivity standpoint but also this kind of creative experimentation that what happens if I try this because you know you're never gonna be like oops that was bad I start over again you don't you just try something different? Do we have some questions ok, so let's start with, um like ton. Okay, so let's see here I saved nancy as I saved psd that has a smart object in the file and copied the psc to a flash drive and try to open the psd on another computer. And there was a problem opening the file. Can you tell us a little bit about how you deal with file management when you're moving all these well and that's? Not surprising, because usually if you have, if there's a smart object in the file it's embedded in there, so if you move to somewhere else, then there it should still be there because that's kind of the point of a smart object it's unlike, for example, the best comparison is a program like in design you're usually linking to a graphic, not embedding it, but a smart object is by nature embedding. So usually what should happen is when you copy the file, anything embedded inside there should be available, so that may just be more of one of those the follow got corrupted kind of things because by nature that's one of the benefits of smart optics is it does that automatically so it's probably more likely just on issue with, you know, copying files that didn't work properly or something of that nature great, okay, a question from kathy what do you do when you have a smart object layer and then add a new layer filled with fifty percent gray so that you can dodge and burn? I normally would stamp after that? How can I do this with the smart object concept? Well, and in almost every case, for every question astronaut on the answer could be make another smart object because, I mean, we're not being facetious, but that's, if you had a smart object and did at fifty percent gray layer to do dodging and burning, where you would normally stand visible, search and replace stand visible with make another smart object, so you would take the gray layer and the smart object make those in this part of it if you needed to, I mean, you might get to certain point go well, I'm ok, we're just leaving it as a separate gray overlay layer because it gives me the look that I want. I tend to probably go overboard on the side of just in case I'm going to make that smart just so I can keep editing, but there may be a certain point we go, I'm done, I don't need to make yet another smart object, but that would be the simple answer is any time where you would normally say stand visible or merged, just try smart object instead cool and guess sixty, eighty one asks, are you stamp visible all the time and never knew that could create a smart object? So thank you for that she's brilliant, however, is there a way to use filters such as liquefy with it? Um, as of, well, here's attracted to think about this for a second yesterday, we talk very briefly about the fact that there's this creative cloud version of photo shop that has a few little updates, and I can't remember I have this feeling that liquefy is smart, a smart filter in the creative cloud version. I think it was one of the little updates they brought out and that's one of the challenges with trying to teach photo shop when there's a creative cloud version. Because there's like three minor but fairly significant changes or updates, they made the photo shop in one of those more filters or smart. So in the four non cloud members, liquefy cannot be a smart filter because it's been updated in the creative cloud version. That means that whenever the next version of photoshopped comes out, it will be in there as well. So at the moment, if you try to do something and it's not available, it's great out, that means unfortunately, the moment that's. It's not a smart capability when you were doing the pictures of your son earlier and you were bringing in those three individual photographs is there a way to automatically resize them so they're the same would you potentially just remember well merrick lee if if they were my my problem having used those files before I knew they weren't starting out the same size so if they were all the same size one of the short cuts you can do and photoshopped but may go back here send okay so um I'm gonna do it without it'll be easier to show it because I know I can do it the same size so if I have some object on a layer and then have another one so the top one I do free trans I mean the bottom one I do free transform this much I don't have idea any idea what how much that is I just want it to be that big and I hit enter then if I go to the other one instead of just pressing commander control t for free transform I throw in the shift key command shift to your control shift he says scale the same out you just did so that way I don't have to know how much I scaled it but that only works if the originals were the same size I knew from having done this before that those three photos weren't didn't come in exactly the same, they were just cropped to be a square, but they weren't exactly the same dimensions, so in that case, that shortcut would have got close but not exact, but if you know you're bringing in things, they're exactly the same size command shift to your control shift to use a shortcut for scale, the same out you just did, so that way you can just do it real quickly to scale everything the same size. The man knows his photo shot fifteen six entry might be how much elaine in oregon can a folder of grouped objects be converted into a smart object? I don't see why not. I mean, for me, I've always done one or the other, but if it's there, then there should be no reason why you can't, you know, click on something and say, make it smart I mean, at worst it would say no, so you'd have to if you have things in a group um, there is an option that's on the pop up menu, I guess new group from layers see let's try it, that would be my suggestion was look about it works how about the person trying so that it does so it does work and and thankfully it names it group now here's, where you have the only challenge what that would be when you double clicked at the contents is going to say well there's your contents inside a group so you just have to remember that you've got a group inside a smart object which that that works too probably it's not quite as advantageous so jason e asks the only thing that keeps me from using smart objects is when you sharpen a full resolution and then resize it applies the same sharpening to the smaller resolution photo is there a way around this? Well there isn't, however the fact that it's smart means you can change the filter settings so for example, if I did a filter like uh oh and he's a member of the other one so I do my own sharp mass then I changed the image size that's going to keep the same sharpening but I would just double click on it and change the scharping settings to a lower resolution setting but it won't happen automatically that's the only thing is that you just have to remember what it wass so here's the other thing that I was going toe I mentioned that I thought was interesting because it's kind of it's weird but it's cool at the same time this is a weird cool thing there's a function photoshopped that's kind of interesting that some people like to use and it's under here and this is one of the only ones that it's not an adjustment layer so if you want to use this command called shadows highlights, which is an interesting way to adjust a photo. The problem is it's not available as an adjustment layer so by nature it's gonna want to apply directly to my photograph so what I used to do was duplicate the background layer and new shadow highlights, so at least I'd have the option of having original background and then I love when this kind of accident happens because I had converted a photograph to a smart object and then, for whatever reason, decided to come over here and lo and behold, I saw shadows highlights I was like, what? So apparently this is a little known fact shadows highlights is actually a filter, but it appears under the adjustment menu, so shadow highlight can be applied as a smart filter, so we know it's not another filter menu. Technically it's considered a filter, adobe has put it under adjustments because it makes better sense there, but it acts like a filter. So this is how you can go around the fact work around the fact that shadows highlights is not available it's an adjustment layer so you don't you apply it is a smart filter, so that means you've got the same advantage of the ongoing ability to adjust the settings and mask it and all those other things that smart filters do the one that so then I got really excited because I was like, well, cool look at this this is awesome because now this thing called hdr toning is also when something's not great out that suggests you can use it except in this case because it says you must flatten is like, oh, really? So even though it gave me hope that because it was there hdr toning unfortunately is for whatever reason one thing in the world that you can't do smartly and I hate that but that's just the way it is so don't be fooled by the fact that some things sometimes when it's not great out it's really just so they could give you a warning it's not gonna work, which is kind of weird but that's just the way it works all right, let's do another question we saw him a few minutes. This one is from f j h from the gold coast of australia you talked yesterday, but the layer filter system and fda just wondering if you could use the layer filter system to access inside nested smart objects. Um, I'm goingto I've never tried it, but my first record say probably not because that layer of filtering system is almost like a viewing system of what's in your layers panel and because technically you're not seeing all the nested nous you wouldn't it wouldn't see it either so if you dug down inside the contents and then said, now I want to filter those layers, but you have to actually see them in the layers panel first to be able to do that. Great. Thank you. Sure cool so sparked last asks, can I change the order of smart objects like layers? I want to put something in between the picture and the text. Yeah, I mean a said before one of the nice advantages of smart options. Once they're smart from that on, you could still think of them as regular layers so you can change order. You can change capacity and change blend modes they just happened to also be smart at the same time. So it's still in fact, they're called smart objects. I'm in my head. I'm thinking of them as smart object layer so it's still reminds me that it's still a layer it's just happens to also be this great advantage being smart so that means you can do everything hide show opacity, blend modes masking all things good normally with the layer you can also do with a smart object possum. Well, that's, pretty smart e I would say

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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.

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Software Used: Adobe Photoshop CS6