End of Day Q&A
Well, we do have let's say as we wait for any final questions to come in um let's say we do have from david lola is thie invert function exactly the same thing as hitting control I and inverting the layer itself? Or is it something different? To be honest, I haven't tried to do that he's saying troll coming and I know it's the same thing, but the change happens on the original layer, right? So you don't have any way to back out of that okay, so yeah difference being able to lower the opacity of the inverse? Well, the difference is that the change happens on a whole nother layer sort of on your original image, which gives you the ability to do other things too like drop a pass it e or throw it away and not mess up your originally image to have any final questions here in studio this is totally random, but everyone swell you're showing an image and you make the back of the screen go black so you can really see it and know how to do it in light room but what's the key stroke too make it g...
o blacks you can just see the image that fellow full screen mode sure okay, so I'm hitting the ft once to make photo shot take over my whole screen ok that's screen mode a tap it again is this what you're talking about? Tap it again, and all of your menus and panels hide, and you see your image on solid black you're welcome so that's f and then you can just keep tapping it to go back. You can also access those screen modes at the bottom of your tools panel and c s sick kes me, make my tools panel double column I did that by clicking the tiny little double set of triangles next to the tools panel, so your tools pales usually single columns, you can click that little double triangle to make it double column, and I'm doing that because it's, the only way I can get down to the bottom of the tools panel in c s six your screen moods stop it, cancel you see it! Six your screen moves were also assessable from that, but so if you can't remember f for full screen mode, just click that little button at the very bottom of your tools panel, and you can go through those different screen moves there that I can also used to be in the application bar and c s five and see us for. But since the application bar is gone, the way of the dodo bird, the icon is now at the bottom that tells me, all right, so we we do have a couple more questions, and if you don't mind there's some questions that we didn't ask earlier, you would love to do kind of a final end of day q and a s o first, joanne has asked when the booth has asked how can an ah high key image be created using these layers? I'm not sure how can a high key image be created with these well, high key image would be about the equivalent if you sat me in front of this big soft box like that we've got and you just over exposed me ok? One way to create that and photo shop is to, um, let me find a picture that would be decent for it to work on. The methods that we've used are really anything that I would use to produce a high key effect the let's see how close we can get on this photo sometimes if you pop into the channels um panel, you will find one of the channels that kind of looks like a high key like this one. The red channel here to me kind of looks like a high key effect over exposed really, really bright, so you could just steal that one channel and creates the high key effect from that you could also you could use an exposure adjustment layer we didn't really talk about those a whole lot um but she might be able to do that you could grab the exposure slider and drag it slightly rightward to create that that kind of high key effect being over bright over exposed so again what we did here as we took our original and then we added an exposure layer adjustment layer and then you can grab the exposure and drag it up to the right to produce the effects that you're trying to get and the great thing about that is you know you've done it on a whole nother layer you've got that layer mask you've got opacity you know you could drop the capacity a little bit of that teo tone it down somewhat or you can steal a channel but then you would end up with a black and white high key cool thank you okay um ed storm would like to know can lab labeet colors he uses an adjustment layer and if so when it is best to use it is it best to make colors pop up? I'm not sure I understand the question because l a b is another image color mode where the lightness information is separated from the color information so that that stuff is only accessible if you change in the mood okay I'm not really sure what his question is yeah I think earlier he would hand asked whether you were going to address s and maybe colors up colors and I tried to get it clarify as so what he exactly meant by are you going to address it and let's see if we can get a mkx a little bit more clarification just to show everybody if you were to pop into the image menu mode he would find in here another color mode called l a b so rgb is red green blue seem like a taya magenta, yellow, black maybe is lightness plus the a channel in the b channel. So now if we come over here to our channels panel after we've changed the image mode to that we can see that we have all of our lightness information separate from our color information. Okay, I think a has red and green and bees blew something like that. A lot of people swear that the best kind of sharpening you can ever do is to sharpen on lee the lightness channel if I go in and lay be mode and then popping back out of l a b mode, I disagree with that because you can do pretty much the same thing by changing by doing your sharpening on a whole nother layer and changing that layers blend mode luminosity is pretty much exactly the same thing, but that that's what he's talking about going into into l a b movie well and and a g d asks the age old question with so many features that photo shop offers how do I know which school is more suitable? I need tio when I need to if I need to correct an image or do I have to use trial and error and then stick to the tool that I'm comfortable with? We'll definitely sticking with the tool that you're comfortable with is, you know the path of least resistance, but when it comes to color correction in photo shopping again for the love of thor, do it in light room, dude and camera if you can if your designer you don't have that ability, it depends on what you're more comfortable with. I don't like using curves, so I don't use it. I know how it works, I said don't use it so I can make levels, get up on the table and dance naked, you know if I wanted, so that is my correction tool of choice. My buddy bands creation tool of choice is curves you know between those two there's no right or wrong curves is a lot more powerful. You know you've got sixteen dimmer switches instead of three, right? But if you hate using it, why do that? So it just depends on what you're comfortable with the techniques that went to today, especially with the black and white and the changing color and adding color tents in adjusting color balance and remixing colors those is really which one of those feels more comfortable to you? It's. Not that any one of those is any more powerful than the other, because arguably a black and white adjustment layer with all those sliders could be deemed more powerful than a grady. A map adjustment layer to do a black and white. I always use a grady and map adjustment later, did you black and white? Because I like the contrast that I consistently get from that method versus the extra time I will. I will sit there tweaking those sliders for black white adjustment layer for thirty minutes before I really realized that I've been doing it for thirty minutes. That's not really efficient use of my time, so it just depends. But if he's specifically talking about color correction, you know, between levels and curves, one of those will resonate with you more than the other one. And he probably already knows the answer to that question. But the color stuff is six and one hand, half dozen another when it comes to changing color, color tinting and dropping out color.