Adobe® Photoshop® Creative Effects

Lesson 1/1 - Adobe® Photoshop® Creative Effects


Adobe® Photoshop® Creative Effects


Lesson Info

Adobe® Photoshop® Creative Effects

Now it is time to welcome back, as I said earlier, one of our favorite instructors here, a creative life, she's, a true star. Not only is she a trekkie she's, an internationally acclaimed author and speaker she's, also a metal van, I want to learn more about later on she's really on a mission to teach the world better graphics. She's, the author of several books, including the best selling siri's photoshopped, the missing manual, and she's, the co author of I photo eleven. The missing manual. We're really excited to welcome her back to creative life. Welcome lisa snyder. Thesis that you are a vision in pink today. Welcome. You didn't get the memo. No, I did not thank you all so much for joining me before we dive into a superfund session on cem. Someone I think are the most practical and creative effects that you can create in photoshopped that you're going to use day in and day out. I want to show you how you can connect with me online. You can go to my website, which is photo lisa dot...

com be sure and sign up for the newsletter. If you want to interact with me on the internet, you can follow me on twitter at at photo lisa on facebook dot com slash photo lisa google plus pinterest and if you want to keep up with all that, I think thirty workshops that I have for creative life they I have a little uriel for you, lisa dot I am slash c ill videos also, my publisher, o'reilly, has given us a really nice discount that you can use. This discount does not expire. You can get any of my books for forty percent off the print version, fifty percent off of the e book version and that's a really good deal, because that photoshopped book is like forty dollars it a thousand pages of photoshopped goodness, so you do have to purchase from o'reilly dot com to get that discount and then enter the code off d you can think of that as author d s o a t h d I also have a siri's of skinny books just enough to get you up to speed on that particular program I've got three of them available right now on photo lisa dot com, so feel free to pick those that, if you like, we've got one on elements twelve and went on light room, and I also have some free goodies I like to bribe. I mean, I like to give my audience nice. Lots of nice gifts. So the good folks of fa tolia, which is a great stop photography stock imagery company to have in your bag of tricks royalty for you so you can download and use again and again, you get ten free images from it. Frittoli a. If you go to lisa dot I n slash fa tolia offer that does not expire, but it is for new customers. Only. The good folks that I stock photo have also given us a nice deal. You can get ten free images and a twenty percent discount on credits, at least it out I n slash I stock deal. All right, let's, have some fun and photoshopped, shall we? So we're going to start out with a fairly easy technique and where that kind of kind of build throughout the day a little bit more difficult, little bit more difficult, but I want to start you out with what I like to call the portrait popper, and what we're going to do is we're going to use one foot of shops, filters to create a really beautiful soft edge, then, yet so I've already done that for you in the exercise files and by the way, if he purchased the course you do get all of my layered files and that'll be really helpful as you're going back through this course and so you can play around on the same images yourself before we get started on this technique you might notice that I've got an interesting panel going on here at the bottom of my photoshopped screen that's the many bridge panel and that's what I'm going to be using tio open up the files it's really handy if you don't want to use that at home you would just tryto up to the window menu choose extensions in many bridge that's where that panelist what's real handy because you can also drag and drop files from the many bridge panel into your work space so it just keeps you from copying back and forth between slay finder windows okay, I'm gonna go ahead and hide that panel by double clicking it so what? Zoom into our image by pressing commands plus or control plus on a pc this is uncle george kahanamoku jr a grammy winning hawaiian slat key guitarist that I had the joy of photographing last year so let us so here's the before so you'll notice that the edges I've got a little bit of a distracting background going on it's not too distracting but I just really want to take the the viewer's eyes and make them go to george's face, so a great way to do that is to add a soft, dark edge of in yet so that's, what we're going to create right there, you notice just a little bit of a soft edge. I grew up in texas, which will become more evident the longer I talk, and I got trotted around olin mills, portrait studios once a year, and this effect is always what only mills would do it's like the quintessential olin mills effect, so I'm gonna go ahead and turn off the layer that I created for you, and when you're working on these files at home, do be sure not to save over the files because they will be helpful to you. So the first thing we're gonna do is we're going tio safeguard this layer, because we're going to use a filter to get this effect done, there's a couple of different ways you can do that. If you're dealing with a single layer document, then just go ahead and click to activate that layer in the layers panel and then trot up to the filter menu and choose convert for smart filters. What that's going to do is it's going to put a protective wrapper around that layer content, so the filter kind of happens to the rapper and not what inside the wrapper that way you can throw away the filter if you decide you don't like its effects, you also get some nice filter blending options, so we'll get a pass ity control for just the filter not layer opacity, filter rapacity and that's a real handy thing if you are dealing with a document that has multiple layers and you likely are go ahead and shift, click to activate all of them. So for example, if we had another layer almost make a levels adjustment layer here I'm not going to actually do a level lt's change, but now we've got two layers, so if you've got multiple layers, go ahead and shift, click toe, activate both of them, then trot up to the filter menu and choose convert for smart filters so that's how you would deal with the multilayer document ok, so now let's trot back up to the filter menu and let's come down to lens correction now I believe in photo shop see essex adobe put the lens correction filter root level in the filter menu here. If you're running a previous version, you might have to go down to the distort category and read around for it in there, so if you don't see it root level, just come down here to distort and then find it but this filter has been in the program for a million years so go ahead and cheese lin's correction and a hawk and big dialog box going to take over our screen so if you're running see a six and later you're going to see a custom tab if you're running the previous version, you're not going to see that custom tab, so if you see the custom tab, go ahead and give it a click and we're not going to worry about any of these options down here we're gonna go straight to the vignette section and this is real hard so you'll pay attention click and drag the amount slider all the way left. Ladies and gentlemen, it has been so much fun hanging out with you today, but we can all do that right? That was easy you'll notice another slider in journeys amount and that's midpoint you khun dragged that one slightly leftward if you wantto widen the vignette itself, somebody go ahead and do that because the next thing I want to show you is you'll notice that when I dragged that widened slider to the lifts, he had the other vigna starting tio be visible atop our subjects face we don't want that, but what we're going to do is we're going to use the automatic mask that tagged along with us creating a smart object so we could run the filter on we automatically got a layer mass so we can use that to hide just the effects of the filter, which is a really, really handy thing to know how to do so. And just so you know, we will repeat this technique again, so don't panic. All right, now, let's, take a peek at our layers panel over here, the right hand portion of our screen. If you don't see a layers panel, go ahead and try it up to the window mini and choose layers to open it. So what happened when we, uh, made both of those layers that we started out with as a smart object? Maybe, but we put a protective wrapper around them. They're smart filters the same thing as a smart object. So when we run the filter, it kind of stacks up in our laters panel a little bit like later styles, you know, when you had a drop shadow and so on and so forth, so your filters will stack up underneath the layer. Well, this big white thumbnail underneath our layer here that's a mask, and if we use that mask and we're gonna be hiding just the effects of the filter, which is different when you add a mask to two layer manually than you would be hiding the effects of the layer itself, but this one came right along with us, just turning that layer into a smart object by saying convert for smart filters and then running the filter we got this mask automatically so let's go ahead and click the mass to activate it and you know the mask is active because it has a white bracket around it see when I just click the thumbnail of the layer itself now that from now has the white bracket around it that lets you know that it's active so the next thing that you do is going to affect that thing that's active in the layers panel so let's go ahead and click that mask again now in the room of the layer mask painting with black conceals and painting with white reveals ok, so it's like digital masking tape I'm sure everybody here is used masking tape at one point or another teo mask off the baseboards or your fancy crown molding for you paint the wall right you're not going to take the molding offer the baseboard office that's too much trouble I just want to hide it so that when you paint the paint does not state does not get on to the a thing that you've hidden well that's exactly what we have here and photo shot we have digital masking tape and that's all a mask is the only other difference is that in the real world masking tape is typically beige or blue well in photo shop it's black and there's a rhyme that creatives came up with to help us remember which color to paint with win and I've been teaching photo shot for about fifteen years now and let me tell you I still have to run this rhyme through my head when I'm working on client work so in the rhyme is there any black conceals white reveals everybody black conceals why reveals that's going to be in your head for at least two weeks? You're welcome ok, so we have the mask active and we know that black conceal so what do we want to do here? I want to hide a little bit of that edge vignette from georgia's face so I need to paint with black you can use any tool that final shot has to lay down black paint, but I think it's really easy to steve's the regular old brush tool so I'm gonna press b to grab the regular brush tool lives over here in your tools panel and then you want to take a peek at the color chips at the bottom of your tools panel the color ship that's on the top is the one that the tool is going to call when you begin to paying with it so I need black is my foreground colored ship, so when I'm doing this kind of masking work, I typically press b to grab the brush tool and then I press d to reset my color chips to the default of black and white, and then you can press the ex key to flip flop your color chips so that black is now on top, so b for brush d, for color chips to default, and then the ex key will flip flop those color chips and those people short cuts are going to be really handy to make you faster in photo shop, and we're going to be using those all day today. So now that I have my brush to active black is my foreground colored ship, I'm going to come up here to the brush present picker in the options bar, and I just want to make sure that I have a soft brush active and either of these three fluffy circles here are the soft brushes, it doesn't matter which one you pick, just pick one of them because we're going to change breast size with keyboard shortcuts to so with one of those soft, fluffy brush is active. Now we're ready to mouse over to our image and the keyboard shortcuts that I like to use for brush size and their totals and gobs of them and photoshopped. But I like to use the left and right bracket keys, and those keys are next to the peaky on your keyboard for kate pierson of the b fifty two's or paul mccartney. Favorite beatle. So as you tap the right bracket key, your brush size gets larger and as you tap the left bracket key, your brush size gets smaller. So those are also very handy previews. So now let's, just go ahead and paint a little bit across george's face here. Can you see how that vignette was being hidden from that area? And you also see your brush strokes visible over here in the layers panel in that smart filter mass so that's how you can customizer vignette a little bit so let's, go ahead and open up another image and we'll do it again. I love this patriots one my favorite shots we got from from hawaii when we were there a few months ago. This lady's name is one on the aloha and she is an amazing who'll artist. So if I zoom back out a little bit by pressing command minus or control minus let's, take a look at our before and after. So I'll just toggle the visibility eyeball of the filter itself, which is another great thing about using smart filters. You get that before and after so let's, go ahead and click that eyeball so there's our before. It's not bad, but it's you know, I don't want people to be drawn to this area, the image I want them to look at. Why nani? So if I turn that filter back on, you can see that it's a subtle effect, but it's also very, very nice, so let's just do that one again, I'll turn off the visibility of the layer that I made for you let's start from scratch so again, if you're dealing with a single layer document, go ahead and click that layer trot up to the filter menu and she's convert for smart filters. If you are dealing with a multilayer document, I'll just go ahead and create another layer. Close that up, then you're going to press and hold the shift key, and you're going to click near the layers name to go ahead and activate both of those layers. So with both players active or however meaning exist in your document, come back up to the filter menu and choose convert convert for smart filters. Now let's, go back to the filter menu and choose lens correction, so if you're running cs five or earlier, that filter is going to be in the distort category. If you're running cia six or later, you're going to have a custom tab if you're not you're not going to have that tab you'll see the vigna slider right here on the first screen that you see but let's, go ahead and click custom and then we're going to come down to vignette and we're going to drag the slider all the way left in that beautiful I love that I do that on every portrait that I prepare for clients if you'd like, you can change the midpoint right to the left a little bit to widen that edge vignette, go ahead and click ok if you need tio clique within the smart filter mask here and painting with black conceals and white reveals so you can hide that edge vignette from the portions of the image that you don't want it to to come across. So you describe the breast chilled by pressing be make sure that your foreground color chip is black make sure you have a soft edge brush chosen from the brush preset picker at the top of your screen and then you would come over to the part of the image that you wanted to hide the vigna from so all this paint over here so you can kind of see the effects of it and I can press the ex key again and paint back over that area to bring it back because if white conceals or black conceals and white reveals right? If you end up hiding too much to that thing that you're trying to hide, you can bring it back by pressing the ex key and just painting over that area again. All right, now let's take a look at some of the special options we get throw this filter by using it with smart filters you'll notice this little cryptic microscopic icon to the right of the filters name and your layers panel that gives you access to the filters blending options which is where the filters opacity control is hidden so let's say that you like this edge vignette, but it was just a touch too strong then you can change it here so just double click that icon and this little dialogue box opens and there's our capacity control so perhaps you might like that then yet at a seventy five percent so lots of flexibility by using smart filters and if you wanted to have a whole lot of fun let's say a friday night you've got, you know your favorite frosty beverage. Then you could trot through all the blend modes and see how those changed the way that you're vignette appears atop your image so that's really all there is to that one so that's a nice easy one that you can have to use all the time the next thing I want to show you oh, incidentally, I am gonna load you up with a million keyboard shortcuts today, so I'm closing my windows by pressing command or control w for window, and then I'm triggering that don't save button by tapping the d key, so if you tap the first letter of each one of these buttons, you'll trigger that button. So if you've got a big honkin screen that could save you some mouse time, you know, if you've got a thirty inch screen, it takes a long time the mouse over there. The next thing I want to show you, also very practical, very, very easy are different ways to add color tints to your image, so I'm gonna open up that one right there close my panel when his name into the document little bit by pressing commander control plus so let's say that you need tio you've got this image that you shot in hawaii, but you really need to make it look vintage, because it's going to go on the cover of vintage tiki magazine? Well, you could add a color tend to that to make it look old to given a in agent feel. Of course, there are several different ways to add color tints in photo shop, and we're going to look at a whole bunch of them. Starting out with what I think is the easiest one known demand, which is a black and white adjustment layer adjustment layers air really handy because it's like you telling photo shop a photoshopped this next change or adjustment that I'm going to ask you to make to my image please put it on its own layer so it's in its own little space so you can change the opacity of the change that you made you can throw it away if you decide you don't like it and so on and so forth, so adjustment layers I think are the best thing since sliced bread to be honest, so a super easy way to add a color tint to your image is to click to activate the image layer or just the top of your layer stack if you're dealing with a multilayer document and let's trot down to the bottom of the layers pale to the half black, half white circle and choose black and white and depending upon what version of the program you've got this the options will either open in the properties panel or and cia six it was called the adjustments panel or previously would open in a dialogue box, but they will open one way or the other, so not only can you use this technique to create a customizable black and why you've got all these wonderful sliders here that she can use to change contrast but you've also got a tent check box, so when we turn on the tent checkbox, we get the most popular tent known to the human race at this point, which is the sepia, which is just a fancy shmancy way and saying brown overlay, your next question will be at least that what if I don't want a brown overlay? No problem simply single click that little color swatch to the right of the check box so give it a single click and up pops the color picker. From this point you can use thie vertical rainbow bar to tell footage shot what range of colors you want to use for your color tent. So if I wanted something the blue realm, I might stop there and then you can use this box right here to tell photoshopped how light or how dark you want that particular color to be. So if I wanted to really settle blue tent to my image, which I like to do a lot to black and whites just gives them a lot more depth and richness. So you get his keep clicking around so you get the right color and that's it in. The cool thing is, when you save this as a photoshopped document, you no, you choose file, save as and pick photo shot for the format that adjustment layer is gonna hang around forever so if I decide or if my client decides not so much on the blue is try a different color. All you have to do is pop open this document. Doubleclick, the layer thumbnail of that layer in those settings pop right back open so it's non destructive and let's say that you may like that blue but it's a little too strong, I can come appear to the top of the layers panel and drop that layer opacity so it's, incredibly flexible the's adjustment layers so I could just point my mouse cursor at the word opacity and it turns into a little scrubby bar so I can click and hold and then drag leftward to drop out some of that color. So now we're starting to get a little bit of an agent. Oh, vintage, look here another way to change the color. I'm gonna go ahead and delete that one, and that one is to use what's called a color look up adjustment layer so a color look up adjustment layer is really just a way for us to tell photoshopped hey, take these colors and remap them according to this other creative color chart, so take a green and using whichever chart I pick and there's oodles and gobs of process in the program, then that green becomes this other color, you know whatever green is supposed to be honest other chart this technique actually originated in the film business or movie business, so this adjustment layer was new and c s six so if you're in and see us five, you're not going to see it so let's come down to the half black, half white circle at the bottom of the layers panel and choose color look up when you do you get three poppet menus of tons of choices so let's just click the first one of these air all the different choices we have for color tins, so really interesting stuff here will just look at a couple of them I can do a bleach bypass sorry if that blinded anybody and edgy amber, you know, so all kinds of wonderful stuff built into the program you don't have to load these suckers, there's just they're waiting for you to use them, so feel free to trot through all three of them again friday, saturday night with your favorite beverage so there's all different kinds of interesting looks and you don't have to worry about turning one of them off. As soon as you start messing around with the next pop it many down, the other one shuts itself off on automatically so you can't go wrong well, maybe that would be wrong but really be wrong, but hey, whatever floats your boat right so all kinds of fun with the color look up adjustment layer again, and we access that by clicking the half black, half white circle, the bottom of our layers panel in choosing color, look up and again that came along in c s six so if you want to see us five, you won't see that. So now I'm gonna share with you, which was possibly one of my worst exposures of my photographic career thus far, but nevertheless, I love these canopy pined you see him all over rome in italy, and I just love them, and I saw that I had to have it was a really overcast day, so really hard, teo teo, save this exposure rather so what we can do to save it with the color tint that's, another reason to have the's techniques in your magic bag of tricks rather all right, so now we're going to use this color tent and a vignette, we're going to do both of them, okay to save this picture, so we're going to take what we have, and we're going to turn it into that which is arguably more visually pleasing than what we started out with. So just incidentally, here's, another keyboard shortcut for you, I'm pressing and holding the option chiana mac or altana pc and I'm using that to tell photoshopped to turn off a whole slew of layers at one time, so if you option or ault, click the visibility eyeball of a single layer than that's the on ly layer that photo shop is going to leave on now to turn all those layers back on again just option or all click that visibility eyeball again so that's a handy one for before and after she can kind of gauge the progress have you worked? I am incredibly lazy and I don't like starting over so all if my techniques you're gonna be nondestructive, you come back out of whatever the heck you did and they're riddled with keyboard shortcuts because I like to be fast so I can get into the outside you know where there's weather and stuff okay, so we'll go ahead and turn off all those layers and actually I'm going tio delete all those by shift clicking to activate them and impressing the delete key that was my favorite new feature of cs for deleting layers with the delete key okay, so for this technique if we want to do that edge vigna and we want it to be tented as well, then we need to do the vigna first before we do the color overlay so that's an important kind of procedural thing to remember, so activate the layers that you want to add the vignette too trot up to the filter menu and choose convert for smart filters. This is exact same thing we did at the top of the class trot back it to the filter menu. Choose lin's correction click the custom tab, go down to the vineyard slider, drag it all the way left, click ok, now we're ready for our colors him so we can come down here into the half black, half white circle she was black and why turn on c pia and we're done basically, we could fiddle around with the color, but basically that's it, so if you want to do the vignette and a color tint, do your vignette first and then go ahead and add the the adjustment layer. But even if you forget, because the adjustment layer is is its own entities not like you couldn't click back on the original layer in ad driven. Yet if you forget, you know if you end up with a with a black vigna and a cps, so but just know that that however you do, the color tinting needs toe live above the vigna in your layers panel, because when you're working with layers, whatever is at the top of your stack has the ability to cover up. Things that are underneath so we need that color tend to be a tw the top, or at least above rving yet so it filters down all right, you are like, who I'm glad she saved that image because it was ugly. Now, let's, take a look at another way to add a color tip, and I kind of like this way the best for color tips. Someone turn off the visibility eyeball of the layer that I made for you, and we're going to trot back down to the half black, half white circle at the bottom of the layers panel and this time we're going to choose hughes saturation so you can remember this one by okay color tint hughes, another word for pure color so you can memorize it that way. So a quick hugh and saturation and the key to using this one as ah color to enter, turn on the colorized checkbox. Now you've got all kinds of fun you can have because as you drag this hugh slider, see how the colors are softly changing in my image. This is kind of like making a duo tone where in your shadows or map to a color in your highlights your map to another color usually your shadows were map to a darker color and your highlights from that to a lighter color, and you can really make beautiful images is also another great way to save a bad exposure or perhaps an image that you can't color correct to your liking or your client's liking and these color tenants, you know, they evoke a different emotional feel from the artwork that you're making here, so they can be quite useful. So that's pretty easy, huh? And of course you can play around with a saturation saturation. Is this the intensity of the color? So as I dragged that rightward than my colors get more intense is I drag it to the lift, then I'm dropping out color. If I were to drag it all the way to the left, then we would completely de saturate the image and end up with a black and white, which is not what we want. You can also change the lightness, which you just think of his brightness, so if I want a lighter image overall, I can drag it to the right or if I want a darker image overall can drag it to the left, but the key to that one is again to turn on that colorize checkbox. I'll just go ahead and delete those, so here we are doesn't matter how many layers you've gotten your layers panel you just want this coloring layer to be at the top of your later stacked so let's click the half black half white circle the bottom of your layers panel choose who saturation and turn on the colorized check box and then at that point you can drag the hugh slider and get the color that you want now is easy peasy and of course you know there's no into the the variations on this technique because since we did that color shift on its own layer remember we've got opacity control so I could create something completely different just by adding a cullerton and then dropping the opacity down. So do you feel free to experiment with that now? The final color tent technique that I want to share with you is really, really special really, really special and there's about five people on the planet that know this exists in the program, but a doubie spent boo coos of bucks to some seriously nerdy high in color scientists and they came up with some of the most visually pleasing and emotionally provocative color combinations known demand there's probably one hundred dio tone presets in the program but you got to jump through some hoops to get to the darn things they're not really easily assessable, so that's what we're going to do now is to create a duo tone and the next question of course is going to be well, lisa, does that mean it's a true dio tone? Because trudeau tones in the print realm mean that you are dumping all of the colors in your image and what you end up with is a true grayscale document that doesn't have any color plates in it, so I don't have any color channels in it, so that is what this will create for you. So if you're in pre press, then this is a good one for you to watch. Okay, so let me just get you excited by showing me what we're going to make. So here's the original image not too bad, but the lighting in there was yellow, yellow, yellow, so kind of hard to get rid of that cast so we can create something. Looks like that and that beautiful or that that's. Another pre set in this one is absolutely fantastic in that a pretty black and white. Yeah, all right, let's, make all this. I'll go ahead and get rid of the layers that I made for you. Now, for this one, you do want to make sure that you you want to duplicate the document before you get started. Because this is a destructive technique. There's no way to get to these dual tone presets without getting rid of all of your color channels. So let's go up to the image menu and choose duplicate and photo shop is asking us what do you want to name the duplicate will this role with do atones copy there we go so now we've safeguarded I original image over here okay so now we're working with a copy so the first step in this technique is to create a black and white because photo shop is just going to de saturate the image and that is the most uninspiring uncontradicted t black and white known to man ugly ugly ugly so you want to control how the colors dropped out of the image so let's do that by my favorite personal way of making a black and white and the program is to use a grady at map adjustment layer in the grady at maps so great it is two colors you know one softly face to the other if I set my grady it colors to be black and white then the map part of it comes in so it's going to remap my shadows to the first color migraine ian and my highlights to the second color in my grade ian so if we set our grating colors black and why we end up with a really gorgeous super easy black and white so to do that we're going to set our color chips at the bottom of our tools panel to the default to black and white by pressing d and then we're going to take a peek at the color chips and make sure that black is on top because if they happen to be reversed you're going to create a film negative which might startle you so now let's come back over here to the adjustment layer menu and choose grady at math it's almost all the way to the bottom instantly we've got a freaking gorgeous black and white I love this if for any reason your color ships were anything other than black and white don't panic because the great map adjustment layer is going to call what you're colored ships are set to so you may end up with something unexpected but if you do just click the little downward pointing triangle next to the grady and preview that appears and you're going to click that third preset which is always going to be a black toe white grady and you'd have to try real hard to delete these things so that one that third one is always going to be black to white this first one is your color ships ok? So that's not that one will always be a black and white with third preset will so nice black and white there now we are ready tio drop the color out of our document which means our color channels they're going to be deleted so now let's trot up teo the image menu choose mode grayscale now for the shop is going to ask us some very scary questions here so all take a deep breath click flatten here's another scary when discard the color information oh my gosh are you sure? Yes that's why we did this on a duplicate image or duplicate document rather so here we are in a really great scale document if I click my channels panel you can see I don't have my rgb color channels anymore they are long gone now we can access our do atone presets so let's come back up here to the image menu choose mode and click deal tome scoot this out of the way so because this was the last to atone that I used actually this is a tri tone that's what automatically came up so you can play around you can set your own eight colors here put in your own colors but what I want to show you are the process you're not gonna believe this I'll just have a little sip can you even believe all that's in the program? I guess that five people know this stuff there but they're absolutely gorgeous so you can just trot down through the different ones and see what looks great for you this is really really beautiful I mean would you ever in a million years think tio add black orange and you know that awful looking green to your image now but it looks fantastic is your question, you know what you're doing to eat but sixteen, but be better or doesn't make a difference at this point. So the question is, I'm using an eight bit image with sixteen bit be better that this means they're going to be more color in the image for sixteen bit um, I haven't tried to do a do a tone on sixteen, but images, but it will probably work. I'm not sure because I haven't tried it, but if you're rolling with sixteen imagery to keep the maximum information in your images than you could certainly do that on that team. So all these amazing presets like that, I just want to show you one of these cps, which is where the scene my case, which is this really beautiful? Four different colors being added to that image gorgeous home all right, so let's, go ahead and close that document and let's do it again here so here's our original document what's the first thing we're going to do duplicate it so we don't screw up our original, so we'll come appear to the image menu and choose duplicate give it another name. Now we're ready to create are black and white because we don't want photoshopped to dis d saturate so we're going to come down here basically just use the black and white conversion method of your choice whether it's a black and wanted just innately or grady at math adjustment layer like I'm gonna make so we're gonna choose grady at map and if your color chips were black and white then you don't have anything else to do but if they weren't then you're going to click this downward pointing triangle next to the grady and preview and click the third pre set in that top row now that we've got a black and white now we're ready to shift color image moments suchard she's the image many mode grayscale take a deep breath flatten take another deep breath discard now we can access those dual tone presets so we'll try it up to the image menu choose mode do a tone and you can pick anything from this list so let's say that we like this one right here I can click ok now at this point if I really wanted to have that back in my r g b document all you do is copy paste so you can select all by choosing select all or using the keyboard shortcut which is commander control a and you get marching ants running all the way around your document now weakened issues comand see or control c on a pc to copy that to our computers clipboard and then come over to the other document and command or control v for paste so that's how you can get at those doing tone presets and then put the image back into your rgb document I love that technical odio times they're so pretty okay so next thing I want to show you is that we're gonna be building on some of the things we've learned today thus far to build this image right here so this is another handy one toe have in your bag of tricks so basically we're going to create the document at the size we want this to print we're going to use an eight by ten just because we're going to divide the document into three equal sections by taking the with and dividing by three we're going to set up a couple of guides and then we're going toe bring in these images and we're going to use layer masks tio mask the rest of the photo and then we're going to use our hugh saturation color tinting clipped to each individual photo layer so that's how I'm getting different colors on each panel? This is a real handy one to have in your bag of tricks and incidentally if you do have a lacking for hawaiian slack key guitar try on over to kahanamoku dot com and you can buy cds of all of these guys and we have about thirty of their cds there just fantastic I love that music lots of aloha in that music so here's my layers panel over here so you can kind of see what I've got going on I've got each image on its own individual layer using a layer mass to hide the rest that image so on lee so it's only visible in the panels that we want and then we've got a huge saturation adjustment later we learned how to do that just a minute ago a clipped tio each layer so that it only affects one layer down instead of all layers down because adjustment layers by their nature one affect everything that's underneath fan but we're going to make it effect only one layer down so that's what we're gonna build so we'll go ahead and close this document here we go so let's create a new document commander control in and for new and I'm just going to use a preset here we're going to go down to photo and we'll say eight by ten but I want this one to be actually ten by eight and if I were going to print this I could just let it roll with three hundred for resolution resolution is just how you tell the program how big or how small you want the pixels to be you just want I'm small enough where you don't see them when you print if you are going to print, so the higher the number, the smaller the pixels so three hundred is a good one just memorize if you want because normally that's all the resolution you need if you're printing from home unless you've got a printer that can actually take advantage of smaller dots and you might want to go higher or if you're having somebody else print this, you can ask them what resolution they want but three hundreds of good one to memorize if you are going to print if you're going tio just online, then you don't have to worry about it you could just enter seventy two because there's the pixel dimensions that matter not the size of pixels cause monitors control the size of the pixels that are being displayed or the projector or the tv screen so let's, go ahead and say, ok, we definitely don't want a grayscale color mode there, all right? So now we've got a new blank document that we're going to work with. Our next job is to create our guides because that's going to help us make sure that we've got equal panels or panels of equal with rather so since we've got a ten inches for with we divide that by three and we get three point three three which is easy so let's go ahead set our guys, we control it up to the view menu choose new guide and we're gonna have a vertical guy and you could do this technique horizontally to have strips instead of you know vertical so we're going to set our first guide at three point three three there we go now let's go back it to the view menu said another guide at double that so six point six six and I really just did this whole technique just to use six, six six of the osbournes my favorite singer ok, so now we've got gods and guns in really handy if you want to be precise now the next thing we want to do is we want to bring in our images but let's say that we weren't really sure what size are images we're going to be so in other words, if I want my subject all three of my subjects to be kind of the same size I might have to experiment with the free transform tool to resize layer content, right? If you do that two, three, four times on a layer, if you use free transform, you're going to get some quality loss with those pixels okay, so every time you resize pixels on a layer, they get a little bit softer and they get a little bit mushy, so if you want to preserve maximum quality, we're going to bring in our images as smart objects, which is basically how we put that protective wrapper around the layer that we ran the filter on earlier in the day so you can think of this as bringing in the image and then wrapping it with saran wrap that way, the re sizing kind of happens to the saran wrap instead of what's inside of it, so that way we preserve maximum quality when when we're having to experiment with size of our image, so we're going to try to up to the file men needed and choose place, then we're going to navigate toe where the image lous, so we're gonna go ahead and bring in the cleverly named first pale image put a shop assumes that you might need to do some re sizing, so we've already got the bounding mocks of free transform all the way around her image but arguably it's hard to resize that sucker if you can't see the dad gum corner and lt's, right, because they're hanging off the edges of the what I can see on my screen, this keyboard shortcut that I'm about to bequeath t is possibly worth the price of photo shot week completely, and that is when you summon free transformed like this and you can't see all of the handles around your image press command zero or control zero on a pc that is the, uh, view fit on screen keyboard shortcut, and did you see how photo shop automatically resized my window just in there where I can see all for corner handles because you can't grab him if you can't see him, so if you need to do some re sizing, you could do that. Now, if you want to keep your subject from being a happy dog, that is a really phrase in texas, it means squished or squash thing you're going to press and hold the shift key as you drag inward to decrease the size of the image or drag outward to increase the size. So we'll just call that good they need to press return or entered a left footed shot. No, you're finished because it has a one track mind and it will squawk it if you try to do something else while it's got active founding box handles going on, so now we need to scoot sterling sterling seton, great tourist over to the left hand panel, so let's, grab the move tool by pressing v v for move drag him over and I just want I want to center his face within the panel. Great! So now I can add a layer mass to hide this part of the image, but I don't want to delete it because what if I changed my mind and I need to reposition him in some way remember, I'm lazy, I don't want to have to start over, so I want to hide with our digital masking tape. So let's, go ahead and grab the tool that we can use to draw a rectangular selection, and then we'll add our layer mask so let's grab the rectangular marquis tool by pressing in for markeith, and now you see, my cursor is across here, so I'm gonna position it outside of the lift top edge of the document, click and drag downward, and when I do that flower shop is automatically snapping to those guides. I made another hand. The reason toe have those guys hanging around, so when she got a selection around the bit of the image that you want to remain visible disco ahead and add a layer mass by clicking the circle within a square icon at the bottom of your layers panel so there's our mask, I could throw away the mask, or I could alter the mask in my full photos. Still, there haven't deleted anything, so we haven't harmed a, uh nary a pixel on the photos head. So now let's, keep bringing in our imagery. She's filed place, second panel skit george over a little bit, make him a little larger by shift dragging. Press him to grab the rectangular marquis this time we're going to drag from the between the guides and at our layer mask repeat, you can, of course, do as many panels as you want. I'll give you a little tip from graphic design school you want to end up with odd numbers of panels odd members of things are always more visually pleasing than even numbers of things so if I wanted to add more images I would not want to end up with four panels I'd want five panels so just go for odd numbers of whatever it is that you're putting in your piece of art here so three or five or seven or not and that kind of thing you don't want to end up with even numbers I mean there's no you know photo shot police or design police but it looked better there we go so you can see here now that if I wanted to get my subjects face is all about the same size I would need to come in here and spend a little behind with free transform so that's why you would want to place these images of smart objects because you don't have to worry about re sizing is goingto reduce quality your qualities locked in because you put that protective rapper of a smart object and and you did that merely by choosing file place that automatically brings in the content as a smart object if you forgot to use file place and you just let's say you just brought in the other image by copy and paste or dragging and dropping then you could click to activate that layer and immediately either go up to the filter menu and choose convert for smart filters because that I wish it said or smart objects it's the same thing or you could control a right click to the right of the layers name and say convert to smart object so if you forget just turn it into a smart object before you start messing around with free transformed tio change the size ok, so let's go ahead and resize sterling a little bit here all shift drag to make his face a little bit larger there we go we'll call that good now do you want to tell you that as I'm using the move tool my mask and my images moving here if you want to reposition your subject within a mask that you've already added, you're going to need to unlock them by clicking that chain link icon that is between the two some nails and now since I unlock those if I grabbed the move tool, see how I'm on ly moving him around within the mask instead of moving the mask itself gets photo shop assumes that you want to move them together is a group that you may not want to so that's how you would do that's just click that chain link icon between them and if you want to when you get it just right click that to lock them back together if you're afraid about that moving toward us call this good for the moment there we go okay, so now we can start experimenting with color so let's, go ahead and click the first image that we want to add the color tint tio because arguably with a technique like this, we need to have cem cem common ground with color we've got all kinds of different color going on so let's, go ahead and click the first image so we've clicked to activate sterling on the lift, click the half black, half white circle and choose hugh saturation turned on the colorized button and we're gonna leave him set to somewhere around in the yellowy orange realm and let's clip that to the layer underneath. It doesn't really matter on the bottom lyrics. I don't have anything really underneath here, but the way to do it is to click that little icon at the bottom left of the panel. When you do, the icon darkens to let you know it's active and did you see how the thumbnail of that later kind of scooted over to the right? And then we've also got a downward pointing arrow and that's photoshopped saying, hey, I am attached to the thing that's underneath me so now it's click on the next layer and the only reason I'm clicking on the specific layers and I want to add this layer to is because photoshopped automatically adds layers above the currently active layer so just saves you the trouble of having to drag layers around if you just think for a second about oh I want apply it to this layer somebody click that layer to make it active okay so uncle george is active in the middle now so let's click the half black half white circle choose have hugh saturation turn on colorize see how now that that saturation adjustment layers affecting everything down on ly click that clipping icon now that one is on ly affecting george so that's how you can get different colors on each panel now instead of trying down to the bottom of the layers panel to add these layers each time you do this you could just duplicate that layer and drag it up so we can do that one now keyboard shortcuts for duplicating is command j on a mac or control j on a pc and I remember that one because I think of it as jumping that content up on another layer so that's how I there's so many keyboard shortcuts right? You gotta use whatever technique you can to remember him so I duplicated it drag it up now all I have to do is click that icon at the bottom left of that panel and colorize is already on cause I duplicated that layer so now I can distract the hugh slider to something else maybe something in the blues haider guides and that's how easy it is to create something like that. So I think these are fabulous products tohave in your photography business you know, because you can offer these as additional sellable items I really do believe that I mean, just think about the possibilities with weddings or portrait photography or sporting events anything like that you can use this technique on. Ok. So now let's move on to some fun edges now rounded corners are all the rage right now. Remember when I stopped photo first came out I was their chief of angeles for six years. They were one of the first web sites that had a rounded corners on every single piece of photography that has those royalty freestar photography so rounded corners is all the rage, but people have a hard time creating them in photo shop, so we're gonna learn how to do that today I want to go ahead and turn off the visibility I have all those layers so here's our original layer now people are really tempted tio grab the rectangular marquis tool, draw selection and then use the feather slider. All that does will create soft it is, they'll sort of be round, but they won't be crisp hard edges with rounded corners, so the rectangular marquis with the feather setting is not the way to you create this effect super easy way to create this effect is to use fun shots built in vector tools there is a rounded right tangle vector tool so let's come over here in our tools panel kind of near the bottom and depending upon which victor tool you used or shaped will rather you use last that's the icon you're going to see but what you want dagen tool tips what you want is this right rounded right tangled tool right here so you're going to go ahead and give it a click now the key to creating rounded edges is to use this radius option in the options bar and there's a couple of different ways that we can use this tool right? So photo shops victor tools, victor shaped tools, a pin tool all that kind of good stuff they work in three different kinds of drawing modes if you will and those modes are controlled by either a syriza buttons at the top left of your screen in the options bar if you're running see if five and earlier or a nice little tidy poppet many if you're running I think cs six and cc so if I put them in shape mode photo shop is going to create a new layer with that shape that I draw and once that happens we can use that layer we can clip our photo layer to the shape layer and photoshopped will shove whatever is on top of the layer stack through the shape of what's on the layer underneath it which is a sin super handy trick incidentally that's how you would push a photo through text or if you make a fancy brush rick with one of photo shops real world brushed tips then you could push a photo through the brush tip shape okay with this same technique so that's how we'll do it first but you can also put the tool in path mood and when you do that photo shop doesn't create a new layer just creates an outline of the shape that you've drawn and at that point you can add a vector mask okay? So political head and leaving in shape mood someone to come over here to my radius setting and that's what's going to control the roundness of our corners in depending upon the pixel dimensions of the image that you're working with. You may need to use higher numbers and what I'm going to use here in this class but for this particular image about fifty pixels is going to be good. It is a bit of a guessing game now in photo shops sisi we got the ability to change the radius of these corners after we draw the shape, but if you're running cia six you're going tohave tio undo a couple of times by pressing commander control lizzie for undue to back out of it and then change the radius and then draw the shape again but if you're running cc you can change the radius after you've drawn the shape so let's start with fifty now let's just come down to our image and click and drag to draw the shape now I not concerned at all about what my fill or stroke options are strokes is fancy way of saying outline their border because I'm not going to keep that shape really around I'm just going to use it as a mask for the photo to give the photo a rounded edges but nevertheless here in cc we had this new option called live shape properties so if you're not running cc you're not gonna see this but it gives us the ability to come in here and change the radius of those corners after we've drawn the shape now photo shop straight from the factory links those four settings together so if you change when they all changed but you don't have to roll that way you could click that little chain link icon to turn them off and then you could create you know a completely different look so now I've got a different radius on one corner than I do from the other so again a great reason to experiment on your own see what kind of look you want to get something to go ahead and click the changeling icon again to get them all back tio we'll say forty on all those there we go, okay, so now, at this point, we can use that shape player as a clipping mask or as a kind of a separate mask, but the key to doing that is layer positioning. You want the thing you want to shove through the shape to be on top of the shape, basically that's about it, so I'm gonna go ahead and double click to make our background layer editable cause photoshopped won't let you change layer positioning little squawk at you with a lot background layer, so I'm going to click and drag my photo above the shape that I want to shove it through. And now, with a keyboard shortcut option on a mac fault on a pc, we're going toe point our cursor at the dividing line between those two layers and see how my cursor changes tio, depending upon what version you're running, it could be double circles that intersect, or it could be a square with a little down pointing arrow. Just give it a single click, and that shoves what's on this layer through the shape of what's on the layer underneath beit text being a breaststroke, anything. If the layer has partial transparency, where you're seeing this checkerboard pattern, then this technique will work, and this is the easiest way to get rounded edges. On a photo your next question is going to be well how do I save that image out with this transparency let's say you wanted to put this on a web site that's maybe got a background pattern or a color then you want to save it you choose file and either say that we're safer with well let's go save as right now and there's two file formats that support transparency they are jif or ping p n g if you save this file as a j peg photo shops going to slap a white background behind it and you're going to screen so if you want to preserve that transparency then save it isa png most often times p and g or jif all right so let's go ahead and do it again incidentally if you wantto unclip those two layers let's say you don't want that photo to be shoved through that shape anymore you would just do the same thing again option or all point your cursor to the dividing line between the two layers and single click case I'll go ahead and delete all these guys for you there we go okay so we're back to square one so let's create our shape come over here to the tools panel grabbed the rounded right tangle tool trot out to the options bar and a gesture radius the larger the number of the rounder the corners so we'll do a hundred for this one think about how you want this technique to go. If you want the ability to experiment with that radius through those live action life properties we got, then you want to have the drawing mode of that tool set to shape when you do for the shop is going to create a new layer with that shape on top of it right here, and at this point you can experiment with the radius of those corners. Now to shove the photo through the shape we need the shape toe live beneath the photo in the layer stacking order, and then we're going to press and hold option on a mac or ault on the pc point our cursor to the dividing line between the two layers and single click and call it a day. You know, I'm gonna go ahead and delete that layer, and I want to show you what it's like if you just have the tool in path move, which is honestly what I use most of the time when I'm doing it on my own imagery and what a great opportunity for actions, right? If you've got a slew of photos that you want to give a rounded edge, do it once recorded his action put all those photos in the folder used batch processing to run the action on the folder of images, yeah. Ok, so now let's come up here to the options borrowing choose path and again this is this going to get me an outline it's not going to create an additional layer, but I do lose the ability to experiment with corner radius so if you kind of do this a lot, you know well, I always like fifty pixel radius on these images than you know and that you will get to that point so we'll go ahead and draw our shape this time see how we don't have another layer over here. So at this point we can create a mask. Okay? So you could, uh, press and hold the command key on a mac or control on a pc, and when I do that the mask button at the bottom of the layers panel changes to add vector mask give it a click so now we've got a vector mask over here. Why would I use a vector mask? Well, I used a victor tool to create the shape anytime you use vector tools, you gain infinite scale ability for that particular thing that you've drawn, so if I thought that I was going to need to experiment with the size of this mask, then I would roll with the victor masse because then I wouldn't have to worry about messing up my edges as I use free transform on a pixel based mask at some point you would begin to lose quality of your edges, so if you have the rounded rectangle tool set to path mood than you may as well, go ahead, have a vector mass because why not so just command or control? Click the layer mask icon at the bottom of your players, pale and that's. All there is to that so that's a really handy one to have around the next fun funky edges I want to share with you is a something that you could do with the refined and dialog box where the refinance dialog box we're going to be using it at the end of the day to remove a lady with blowing hair from her background in orderto put her on another bag room, we'll only hold designers like in five seconds figured out that you could use that fancy new dialogue box to create some really funky ages and it's so easy you're just not going to believe how easy this is, so going to go ahead and delete the layers that I made for you again when you purchase, of course you're going to get all these layered files so you can reverse engineer what we have done here together, so the first technique is to, uh if you're dealing with a single layer document that's great, we're ready to go right now, but if you're dealing with a multilayer document, we got to create one layer that we can do this effect too, so if you've got a document that consists of more than one layer, I'm going to give you a a tricked for handling that, so I'll just go and create a new layer just so we've got to what you want to do is create a stamped copping. This is a good one to have in your bag of tricks because there are a lot of fun shops, tools, filters and so on the on ly work on single layers. Well, most oftentimes you're gonna have a multilayer document, so this world's most difficult keyboard shortcut to memorize, but once you get it, you'll have it, so I'll be really good is we'll take all of your visible layers, so all of the layers that have the visibility I turned on photoshopped will go look at all that content, and it will make another new layer comprised of all the layers, so we're not flattening we don't, everyone flattened or documents were just creating a new layer that has everything from all visible layers included in it case what's called creating a stamped layer and the great and wonderful gillian cost has a wonderful method for memorizing this particular keyboard shortcut, so you're going to need all ten fingers, so it is difficult. It is a shift option. Command e on a mac or shift all to control e on a pc, I'll show you another way to make this happen, and that is to hold on the option key on the mac or altana pc come up to the layers, pain will fly out, menu and shoes emerge visible. There we go, and that will create a single layer comprised of all the content. But I promise you that keyboard shortcut really works. So what it is when you look at your fingers when you're holding shift option command e or shift all control e on a pc, they're all kind of grouped together. If you just look at your finger positioning on the keyboard, they're all just kind of grouped together. She could remember your finger positioning that way, but I promise you does work. Okay, so now if we had a multilayer document now we've got one layer that we can work with someone turn off the visibility, those other guys, so to make the creative edges were going to grab the rectangular marquis tool, and we're going to click and drag to draw a box, and you just wanted I like to drag about oh, an inch in like a screen inch in away from the edges because the area between the selection in the edge of your image that's where the creative magic is gonna happen. So it just depends on how why do you want that creative edge to be so let's? Call this good! Now we're going to come up to the refined edge button it lives in your options bar and you can change the view mo to be ah, whatever you'd like, but I'm going to go ahead and set it to black is that it's going to give me a better idea of what my edges looked like? Now we're gonna turn on smart radius and we're going to drag the radius slider to the right. It works really well if you've got like an image like this, we've got water, we've got a lot of texture going on it's really need effect. It will be different for every image because it's looking at contrast all kinds of good stuff, so that may be all you need and you can see as I keep dragging the smart radius slider to the right, then we could be even more funky edges, but you know, on your own time you can come down here and experiment with contrast that'll give you ah harder edges versus soft edges with the contrast turned down and if you decided that you wanted that selection that you first drew to be a little bit bigger a little bit smaller than you can shift its edge right here in this dialog box so if you dragged to the right that's the equivalent of us making that selection larger or if you drive to the left that's equivalent of us making it smaller here in the in the dialogue and then when you get it looking like he wanted to look from the output too many with the bottom just choose layer mask so it's gonna hide those anges with mass just like that and then if you wanted to add a solid color background we would come down to the half black half white circle the bottom of your layers panel choose solid color picking and color you want will roll with black and I could drag that lower in my layer stack so there's my final image great thing to do if you're ever have gallery showings if your photographers is a fun fun technique yes mia grounds but I also have flight room is there any way to save those so that you could have it as a ping in light room somewhere? I don't think light room can output pings it can really make it right I can read them because he knows in the print module I'm not sure I would tried it and you can use it in your you know the little thing at the top oh yeah that I didn t play yes, I just wondered if there's a way to save him so you just had it as a preset over there I'd have to experiment with that. What made you figure it out? You could yeah, I love that room. Ok, so let's do this technique on this image once again I'll go ahead and delete all those other layers so let's say we're starting out with this if it's a single area document gray if it's a multilayer do your shift option command e or shift all to control e trick or press and hold the option or all chiana mag and choose merge visible okay all right so now we're gonna grab a rectangular marquis tool draw selection knowing that what's outside of the selection is going to be that area that's affected and click the refine ege button in the options bar turn on smart radius click and drag to the right and let's say we like that please do continue to experiment on your own with these other options down here ah federal producer really soft ege and then from the output to men you just choose layer mask and that's it that one was easy peasy wasn't it it's nice when things were easy peasy and photoshopped so the next technique that I want to show you is a really nice glamour glue this one is a little involved but it's not too bad so we'll use our option or all clicking the visibility eyeball of the layer that we want to remain on to see a before and after so here's our before and there's our after yes a nice effect to have in your bag of tricks specially if you're a portrait or wedding photographer or even a designer all these techniques are really great for designers to you ok, so the first thing we're going to do I'm going to go ahead and delete the layers and I made for you so we're starting out with our original here again if if you are dealing with a multilayer document, you're going to do that stamp trick that we just looked at shift option command e or shift all to control because you want to end up with one layer that has all of the layer content on it in your document so the first step is to duplicate that layer so now that we've duplicated the image layer then we're going to turn it into a smart objects the way we do that is to control or right click near the layers name not over oh here over here you will get a completely different menu depending upon where you click ok so you want to click near the layer name and you're going to choose convert a smart object the next thing we want to do is do just a tiny bit of math unfortunately because we're going to add a gaussian blur to this image but you don't want it to be a huge amount of gaussian blur and the amount of gaussian blur will very depending upon the pixel dimensions of your image so what we're going to do is dip into the image size dialog box to see what our longest pixel dimension is and for this particular won its fourth that will call it forty one hundred pixels okay, so you want to find your longest edge now we're gonna figure out what six tenths of a percent of that edges and you are like are you kidding me? This's super easy everybody knows james bond right double oh seven that's the multiplier multiply the longest edge by point double oh seven that's easier to get on it. So your body as well as the truckee yeah, daniel craig e that was coming next. Okay, so here we have a calculator. So if we want tio what we have forty one hundred times point double oh, seven equals we need about a twenty eight gaussian blur, okay, so now that we know that now let's, go ahead and run that filter, so we'll try it up to the filter menu blur gosse ambler twenty eight now, the next thing we're going to do is change the blend mode of that now blurry smart object layer, so we're going to come up here too, the pop it many of the top of our layers panel, and we're going to choose either overlay for a stronger effect or soft light for a little bit of more subtle effect just depends on what you or your client once, so go ahead, set it back. Two overlay now, let's, add a hugh saturation adjustment, layer half black, half white, circle the bottom of your layers, panel, go ahead and clip it so that it affects just the smart logic is what we're going to do to tone down in this effects is going to be a little bit too strong, is we're going to drop the opacity of the smart object, okay, so, that's, why we need to clip this, too that smart, roger, because we really don't want that affecting our our original layer here, so we've got a clip to the smart object. Now, let's, go ahead and turn on colorize, and you can experiment with the huge slider for this particular image with the colors that it has in there. I like the way this technique looks in the blue range right here, but that'll very on each image is so what happens when we when we made that smart object on we changed the blend mode in all that we get a little bit of a color shift so adding this you saturation adjustment later kind of let you uh account for that so that's all said and done and now the only other thing that we need to do is lower the opacity of the smart object itself and so we get the effect we want okay? So it's option or all click the layer so there's over four theres are after ok so let's run through that one one more time this is a great technique to have in your bag of tricks if you need to even out skin tones you know if you've got someone like me who has five hundred million freckles and you don't want that to be the first thing somebody sees when they take my portrait no frankel lady thing you just tone it down a little bit you don't want it to lead him because that wouldn't be me with it my mom is always after me least k every time I take a picture of her she says, I know you can take out my wrinkles you take those wrinkles out and I say I'm not going to do it like him but I won't remove them because it wouldn't be ok so here we are I've got a single air document duplicate the image layer or if you're dealing with a multilayer document created stamped coffee by pressing shift option command e or shift all control e now we've got our duplicate layer that we're going to convert it into a smart object by control or right clicking near the layer name and choosing convert to smart odjick. The next thing we're going to do is take a peek in the image size dialog box to see what our longest pixel dimension is our longest edge it's twelve hundred grab our calculator twelve hundred times what's our most fire double oh seven maybe so we need to run a gaussian blurred about eight case and now we come into the filter menu choose blur, gaussian blur in eight now we're going to change the blend mode of that smart object layer to either overlay for a stronger if it or saw flight for a little bit more subtle if it in that beautiful even if we just stopped right there like that before after now tio account for the color shift we're going to come down here and at a huge saturation adjustment layer turn on colorize clip it so it's only affecting a layer below now if your subjects I color changes when you're doing this technique, you can come down here to the smart filter layer and you could use that layer mass to hide the change from the eye so remember, we're going to use air brushed tool and said forgone colored ship to be for black and white and then I can paint the irs of the eyes if they happen to shift. I didn't get a shift on this image, but if you do it's good to know that you can hide that right there, okay, so now all I have to do is drop the opacity of this layer until I get the effect that I want to you don't want it to be too overdone. I don't think in my humble opinion so there's the before and there's the after so it's just a nice kind of glamour glow that's very non destructive and tweak a ball if you will. Now the last technique that I want to share with you is a pencil sketch, and I've got two different ways to do it. My photographer to ask me all the time I wantto makesem like coloring the pages for my kids to color how do I do that? Like easy peasy? So let's, go ahead and delete all the layers that I made for you the first one we're going to create is a black and white pencil sketch in the second when we're going to create is a colored pencil sketch, and in all of these you really do need an image that has high contrast okay, so this one is going to work really well, this is bernie's columns in st peter's square at the vatican city, so the first thing we want to do is we want to use the method of our choice to create a black and white image, but we need that black and white happen on its own layer, so we could either choose a grady it map like we did earlier today. Or we can choose black and white let's, go ahead, roll of black and white, and if you want to, you can adjust the contrast of your image with these sliders. Okay, but we're going to call this good. The next thing we want to do is to activate the image layer, and we're going to turn it into a sea smart object so we can either a right click your control. Click to its right and she's convert to smart object, or we can try it to the filter menu and say, I covered for smart filters. Now we're gonna come back it to the filter menu, come down to the distort category, new this style as category, because that's where this find edges filter, this is going to hunt for areas of high contrast and photo shops going to accentuate them oh, it's really all that does we're already pretty far to pencil sketch the next thing we want to do is we want to open the filters blending options by double clicking that little icon to its right and we're going to do two things we're going to change the blend mode of that filter to hard mix and you can experiment with ease on your own and then I'm gonna drop the opacity about eighty five percent so it's not quite so harsh pretty far to pencil sketch army it looks a little too perfect you know, like it was drawn with a really sharp pencil so we can blur that ever so slightly so let's come back it to the filter menu choose gaussian blur and we're going to enter a really low radius you know I'd probably say maybe one you just want to soften it just a little bit so it actually looks like a sketch and then the last thing I today is double click the blending options next to the last filter we ran and I'm gonna lighten it a little bit by choosing lighten the latin category this lightens it up tio us to touch and that's it at all yeah, not too bad, huh uh oh, not bad at all okay, so let me close that one now I want to show you the color pencil sketch so I think it's really pretty and this one might be a little bit more appropriate for um photographers who might want to add this as a sellable product to their business and it is a little bit involved so this particular technique works really will if you have shot your subject on a white background or a very very light background and it works so well with that kind of thing that I would shoot specifically for this technique if you knew you wanted to do it shoot him on a white background because otherwise it's going to be madness you don't want to go down that rabbit hawks give me hard so we're going to go ahead and start out by either duplicating our layer or creating a stamped copy like we've been doing so I'll go ahead and duplicated the manual way, but commander control j really does work so we duplicate the layer and now we're going to change the blend mode of this particular layer to divide so we're going to come down here to divide and now we're going to run a gaussian blur in a smaller amount on this layer right here so we're going to come out to the filter menu choose blur gosse ambler and you want to run it and about a small amount, so I'm going to use ten pixels and this image is about twenty five hundred by twenty seven hundred so ten pixels on about a twenty, five hundred ah pixel image here, there we go. Now what we want to do is we want to stamp are layers again, so I need to get another layer that consists of all of this content. Okay, so I know photo shops going to squawk at me with my keyboard shortcuts, so I'm just going to press and hold option are often a pc and choose merge visible. Now I've got another layer that consists of everything on those two layers. Now I'm going to convert that layer into a smart object. Now I'm going to run a filter filter artistic poster edges, it's going to really accentuate all my edges, get that down so you can see it. What I like to do with this one is I like to set these settings at one in an experiment from there, so as you change these, you're going to see changes happen on the image, so depending upon the kind of contrast that you've got going on, uh, you may want to tweak these a little bit, but do you start out at one and then start dragging each side or to the right, and when you get it, just like you like it, go ahead and click, ok? Now we're pretty much done if the sketch turns out a little lighter than you would like, you can change this layer blend moto linear burn or anything in the dark and category just to kind of dark in those colors up again that's going to depend again if you wanna lighten you could choose something in the light and category but for this particular image normal works out pretty well now you could ah lower the opacity of this layer just a little bit teo really make it look like a color pencil sketch and then if you want a solid colored pencil sketch what you could do is use that hugh saturation trick that we've been using all day long eternal in color eyes and now I can have any color pencil sketch that I want but basically we duplicated are layer set the mode of that new layer to divide ran a small amount of a gaussian blur on the image about ten pixels for twenty five hundred by twenty seven hundred pixel image then we created a stamps layer of all of our visible layers we converted that into a smart object and we ran the poster edges filter on that and then we were basically done all you gotta do that point is lower their capacity of the smart object layer to suit and then if you want to make it a solid color pencil sketch then you're going to add that hugh saturation adjustment layer and you're going to turn on color, eyes, and that is about it is a fun technique to have a pure sleeve. And, again, I do think it's, a cellar product. No parents will buy this stuff. You do this stuff for their kids, they'll buy it.

Class Description

Get the scoop on turning your photos into unique pieces of art in this super creative yet practical session. You'll learn how to create a triptych, add color tints, create a gorgeous yet subtle glamour glow, how to create a pencil sketch from a photo, how to add spectacular edges, vignettes, and more. Not only can you use these techniques in your daily workflow, they're great for adding sellable products to your photography business.

Software Used: Adobe Photoshop CC 14.2