Photoshop Mastery: Ultimate Mastery

Lesson 4 of 26

10:45 am - Hacking Photoshop

 

Photoshop Mastery: Ultimate Mastery

Lesson 4 of 26

10:45 am - Hacking Photoshop

 

Lesson Info

10:45 am - Hacking Photoshop

This next session is one I call hacking photo shop, which is just how come get photoshopped to do things that it's not really designed to do, or that we could just do differently now. Let's, take a look so the first tip is kind of for older versions of photo shop, because this feature has been disabled mohr and mohr and more with newer versions, but I know a lot of you guys were using older versions of photo shop. You're not on photoshopped cc you might be on six yes, five cs, whatever, and that is, if you go on your hard drive to any folder within the photoshopped folder so let's, see if I can find my photo shop in my case cc folder let's say we go into a folder called plug ins. Well, I have some plug ins have added because their third party plugin said it a class on plug ins during of cloud design week s so you won't have us many items in here is what I happen to have, but in some of these folders, you're going to find things like your just plug ins in general or file formats. For in...

stance, in older versions of photo shop, there would be a longer list in this folder, but what you would find us when you save an image and you look at the file formats pop up menu in the safe dialog box there are probably over a dozen choices in there that you never use, yet you have to navigate by them each time to find those choices you do use well, you should know that when any time you're in the photoshopped folder, if there's anything under plug ins and you would like it not tow load the next time you launch photoshopped, you can click on the name of any plug in, change its name and just add a till day at the beginning of it I don't know if I pronounce it right, but the till day it's a little I think it looks like a little wave and at least in a mackintosh it's just to the left of the number one key and your keyboard if you would shift and hit the key to the left of that but adding that particular character at the beginning of any file name that is inside the photo shop folder will cause photoshopped to ignore the file that's there. So that means if it's a plug in for let's, say a file format because an older versions of photo shop there might be five or six plug ins listed in here under file formats, you could disable some of the ones that you never use and therefore have a shorter menu in your menu system or if I want to teach photo shop and I don't want to have at one particular filter let's say the people in alien skin you know, like I got mad at them for something we'll go disable one of their filters by just adding that beginning of the name of the filter and then the next time you launch photoshopped it will ignore that particular item and so that's something that's not very discoverable but it's something where if you ever decide there's anything in there that is just not useful and it's available as something that could be turned off it's just the till day symbol you need to add, uh at the beginning of it all right then I find that oftentimes people end up duplicating a layer and then changing the blending motive that layer you find the bloody mode at the top of your layers panel you have choices like multiply screen and that type of thing and here's some of the things you might find people doing if you duplicate a layer I usually do that with my keyboard. I just type command j control j and windows. I think of it is jumping something to a new layer it's just a short cut for this particular command where is it? New layer via copy so I'm gonna type command j if you watch my layers panel you'll see I just duplicated that layer then let's say I wanted to pull out some of the detail in the trees here I could change the blending mode to screen mode and that would end up lightening up the image overall based on the lightness of the original but the problem with doing something like that is you just doubled your file size when you duplicate the layer and if there's ever any retouching you need to do like if you find a sensor dust spot in your sky or anything like that now you have it on two layers so in order to retouch it out of your image you'd have to retouch both layers to get rid of that spot but if you would ever duplicate a layer and then change the bloody mode in this case screen mode to get detail out of the trees or possibly multiply mode to get a deeper sky whatever it happens to be there's an alternative method where you can somewhat hack photoshopping away you might not otherwise think of what it is is instead of duplicating a layer created adjustment layer an adjustment layer that doesn't have an adjustment affecting your image yet so go if you're here and choose something like brightness and contrast levels or curves something where the adjustment doesn't do anything until you move one of the sliders that are in the adjustment and simply never move any of the sliders so all you have here is an adjustment layer there it is well a ce faras photo shop is concerned that layer contains whatever the result of this adjustment would look like since this adjustment layer has not changed the image whatsoever therefore photoshopped thinks that this particular layer is identical to the layer of this underneath it because the result of the adjustment would look identical to the original so if you have what I call empty adjustment layer that is an adjustment layer that isn't doing anything at all not making change to your picture you can change the blending mode of that layer two multiplier screen or whatever you feel like using and it's exactly the same is having a duplicate of the layer that's underneath so I could come in here and do this and maybe I need a paint on the mask to say don't affect the area at the bottom I'm not going to be careful with my painting you guys can do that because you have more time but now that thing is acting as if it's an exact duplicate of what's underneath and what's really nice is if I retouch out something in the image underneath it's no longer contained on two layers because I don't have a duplicate that adjustment layer that's sitting there is just going to think it looks exactly like what's ever underneath and if I make any changes to what's underneath any retouching to it that layer above is gonna automatically update because it doesn't actually contain any pixels it's just saying this is this contains the result of this adjustment since the adjustment is not changing your picture it thinks it's absolutely identical to what's underneath so in this image I have I think a bird appear in the sky that I respected my sensor there's a couple of them I could just work in the layer that's underneath or I can create a new layer to put my my retouching in if I'd like and come in here we touch it out and it's no problem doing so oh that's actually on my screen it was two specks on my image one was in the image the other ones off my screen whereas if I hadn't use this technique when we throw away that layer and do the alternative which would be the type command j and then set it to multiply mode now that little speck that's in my picture that I might want to retouch out is in two different layers so if I try to retouch one of those two layers and get rid of that object, it still shows up because it's in the other layer that's in multiply mode would have to click in the layer above and retouch it out of there as well but if I were to use an empty adjustment layer instead then I don't have that issue so any time you find yourself duplicate a layer and changing the bloody mode, if that happens to be the way you work, consider using an empty adjustment layer instead. Your file size will not get his big either because duplicating the layer doubles the file size just having adjustment layer sitting in there does not alright, having said that it's not common for me to duplicate a layer and use multiplier screen mode usually instead I apply curves curves could just as easily dark in that area or bring out detail in the trees, and I have more control, but I do see a lot of people duplicating layers and using bloody modes and that's why I wanted to share that with you all right now, let's say I have an image and what I want to do to this image is I'm thinking about removing the backgrounds freeze and I'm going to do that very quickly. But then afterwards is what I'm going to share you the way of hacking photo shop I'm going to do it in a different way afterwards, I'm going to convert it to a more versatile method, so I'm going to use the eraser tool to remove the background on these trees I'll click and hold on the eraser tool there's actually three versions of it and I'm going to use the version that is called the background eraser tool with the background a racer tool you're presented with a circle with a little cross hair in the middle he and that circles just a brush you can control the same way you control the size of any brush we've ever used with that when I click the mouse button photo shop will look at what's underneath the cross hair that's in the middle and whatever colors underneath that cross here will be deleted from within the circle so if I click right now the crosshairs sitting on top of a blue area of sky when I click you see it deletes blue there's a couple settings I needed change in order to easily remove the background of these trees and here's what I'd end up changing the top of my screen in the options bar I would change the limits to a choice called discontinuous because the default setting causes it to delete one unbroken chunk of your image and therefore it wouldn't be able to get like in between the tree branches in things but if you said it two discontinuous it doesn't have that limitation the second thing that I would do is on the left there are three icons that are side by side and the default setting is the one on the left that makes it so photo shop keeps a constant eye on what color is underneath the cross hair in changes the color it's deleting as you drag across your image it just changes in constantly looking at the color underneath across here if I change it to the middle icon instead, that's what I like to use with that setting, what it will do instead is it'll only pay attention to the color that's underneath the cross hair at the moment I click my mouse button, it'll think about that same color the entire time I drag until I release the mouse the second time so therefore I could move that cross there so it's sitting on top of a really blue area of the background, I doubt you can see it is I can barely see it on my screen, but my mouse is right where that little hand tool is and if I click it's gonna pick up that color and now I can drag in the whole time I'm dragging its thinking about that one color it's not constantly changing the color is thinking about it only thought about one color. Now I don't think that completely cleared things because I can still see just a hint of the checkerboard looking darker over here, so I'll get my cross hair on top of an empty area of sky over there click so picks up whatever colors there and go over this again and I might need to do that in a couple other areas could stop here I think that checkerboard look clean but about three or four clicks and I should be able to get it to look relatively clean in there. So this is the background eraser, and I haven't hacked this at all. All I've done is changed to settings to use it, but I needed to somehow remove the background on this in order to show you how I want to be ableto hack photo shop to get it to do, uh, give me a more versatile and result here's the problem, the background, a razor tool is designed for deleting things, and I don't want to permanently delete this instead, I want to use a mask so that I could easily paint on the mast to bring areas back or paint with black toe hide mohr areas, and I wish that the tool could end up giving me a mask, but it can't. So now let's, look at how I can convert this into using a mask instead of truly deleting things. So once I'm done removing the background like it just have what I'm going to end up doing isn't my layers panel, I'm going to move my mouth on the little thumb. Now for this layer, I'm gonna hold down the command key and my keyboard that's controlling windows, and I'm gonna click within that thumb now. If I do, photo shop will give me a selection in that selection is everything that's left over in the layer, it's selecting everything that doesn't look like a checkerboard? Then, once we have that selection, I'm going add a layer mass to this layer, so the bottom of my layers panel there's a layer mask icon. It looks like a circle inside of a rectangle, and when I click on that it's going to take the selection that I currently have and it's going to convert it into a mask, so if you watch in my layers panel, when I click on the layer mask icon, look at what we end up getting. So if we look closely in the layers panel there's our mask and that's going to force the areas that are already deleted to be hidden, which sounds kind of weird because there's nothing there, what I want to do now is somehow get the layer that contains the trees to also contain the original sky, and therefore that mask will be hiding the sky, but the sky will still be contained within the layer. So what I'm going to dio is instead of working on the layer mask, which is what's currently active, you can tell it's active because its corners are highlighted, I'm gonna click over here on the main image. Icon instead and then here's how I'm gonna get back the original picture in there I'm going to go to the edit menu and I'm going to tell photoshopped to fill in there. One of the choices that we have available is to fill from history and what history means if you haven't messed with the history panel with default settings, history means whatever the image looked like when you first opened it. So when I click okay, watching my layers panel and look at where that sky is that currently looks like a checkerboard indicating that it's empty when I fill from history do you see the blue sky came back so now I have the same end result that I had previously, but instead of having the background in general permanently deleted, I have a more versatile set up in that I have the full original picture city in this layer with the entire blue sky that was originally there, and then I have a mask over here on the right in that mask is what's hiding areas, the parts of the mass that are black hides this image, and you can see the injuries that are black in here might be a little bit hard to tell, but it's where the sky would be so after doing that now, it's more versatile because I could go over there and modify it if I want to look at the contents of my mask to see if it's clean or anything like that, I can hold down the option key ultima windows and click on the mask thumbnail on my layers panel when I option click it, it will fill my screen so I can see it, and I can see that I might need to touch this up a little bit because there are portions of the tree that have some dark tones showing up anything in here. That's not white, is an area that has things that are being either completely or partially hidden, and so that means that portions of this tree were in here where you could see through them so I could come in here, just touch us up on the main portion of the trees so that they wouldn't be slightly see through that and there are some other areas I might want to touch up there's some areas over here where I noticed, and I don't know how well this will show up in the video feed, but there's an area right in here that isn't quite black. If I end up trying to paint with black to fill in these areas that aren't quite fully black, the problem is, when I click, I cover up everything. If I change the blending mode of my brush up here I believe though choice called hard micks might work let's find out if I said it too hard micks and I paint it's going to mainly affect the black areas and it's not gonna be able to affect white do you see when I get into here doesn't affect white choose undo the only thing is the areas that are in between like fifty percent grey seventy percent great they get changed too much so all I'm going to do is lower the opacity of my brush I'm going to bring it down to maybe twenty or thirty percent and that's going to make it relatively easy to clean up these areas without affecting too much more of the image if it affects too much of the image lower the opacity maybe I bring it down to ten per cent and I paint see if you need to thin out some of those branches bring it down to even five percent if you need just a slight change to the image to clean things up and the main thing is when your brushes in hard micks mode it will protect the opposite of what you're painting with so if you're paying with black you will be incapable of changing areas that are solid white if I switch over in paint with white I'll be incapable of changing areas that are the opposite of that they're solid black already. And so it can make it easier to touch up areas like right in here where I might need a little bit of black get a small enough brush here and usually be worried about over spray but with it and hard micks mode maybe bring up my opacity twenty percent and I should be able to touch that up without getting over spray onto the tree see over here there's another area it might get a softer brush a little larger we'll use like a thirty percent capacity you see how I can paint into there and I'm not affecting this branch that was white so you can kind of hack that brush to make it so it's not going to affect the opposite, so if you're painting with black, you're not going to affect solid white and if you need to just work in a lower pass it you see it don't affect the image too much. If I'm done viewing the mask, I think I've done cleaning it up to no longer view it. I can hold on the option key and click on the mask within my layers panel so I'm looking at the end result sometimes when I'm editing a mask though I want to get little fancy and it it's sometimes difficult to tell exactly what I need when I'm seeing these areas hidden sometimes what I want to see instead is the original picture but then have photoshopped give me some indication of what has been hidden and if that's the case here is what I end up doing I'll end up holding on the shift key in clicking on the mask in my layers panel shift clicking on a mask disables it it means don't hide things even though this mask would usually hide stuff saw shift, click that'll show me my original picture you can look in the layers panel you can tell the mask is disabled it's got a big red x through it then a little trick is I like to show the mask is an overlay so I could tell what would be hidden anyway to show it as an overlay all you need to do is on your keyboard there's a backslash key not the forward slash use for typing in web addresses and things the opposite one the backslash right above the returner in turkey and your keyboard if you press that it will overlay the contents of the mask on top of your picture is a red overlay and therefore I could look closely out and inspected decide is it accurate? Are there any areas that have red on top of it? That shouldn't end up being hidden and in this particular case I think it's looking pretty good but it is the backslash key that allowed me to get the red overlay and inspect that and it was shift clicking, which disabled the mask. If I shift, click on the mask again, I'll turn it back on, so the hacking part here was mainly how doe I convert something that usually is designed for deleting things instead? Make it use a mask on the original image, and that was a little trick we could do by getting a selection and filling from history, and then he got a little ah, phew bonus ideas there. Let's, move on. We got kind of a random collection of ideas here because we're hacking photo shop it's not like they all relate to each other. All right, in case you don't know, I live on a bus. He and I actually owned two buses, eh? Modern one, which we currently live on in a vintage one, which we will live on after winter passes because the interior is being created, you have no idea what I'm talking about. Search for creative cruiser, dot com or on facebook search for creative cruiser you confined info here's, a graphic that my wife karen, came up with to illustrate the paint job that will be on the final bus, and I want a hack photo shop in this case. What I'd like to do is I would like it so that if I were to convert this image to see him why I came over because I want to print on a printing press, I would like the gray backdrop that's their toe on ly use black ink and I want the same for the drop shadow that's underneath the bus. Usually when you convert to argue from rgb mode to see him, why k mode you cannot tell in an individual layer toe on ly print with black ink. Instead, it automatically uses all four colors of ink science magenta, yellow and black and somehow I want to get around that so let's, figure out how we could do it. I'm going to duplicate this layer to start with, I'll just go to the image menu and choose duplicate I'll just call this scene. Why case then I'm going to take this image the duplicate and I'm going to change the mode over the scene. Why k and I'm going to tell it to not merge the layers together so now this image should be in scene. Why came out? If I go to the mod menu, you can see it's made out of science, magenta, yellow and black ink. All right, now I want to do something that is going to make the two of the layers that are in here only print with black ink and I'm going to use kind of a weird feature for feature that's not seen all that often so right now I'm working on the background layer if I hide the background it's just the gray backdrop that's here I'll go to the bottom of my layers panel click in the letters fx and I'm going to choose the top option it's called blending options in here do you see check boxes for science magenta yellow and black that says which of the channels that make up this image khun this particular layer effect? I'm going to say that it cannot affect sayin it cannot affect magenta, it cannot affect yellow and therefore it can on ly effect, the black stomach says click okay, then this layers a bit on the light side now because it would usually print with all those different colors of ink and we've just said it all it can print with his black so it's a little light I'll double click on the left portion of it because it's a uh what's called a solid color layer although it could be any kind of layer and I'm just going to darken it up to compensate for not using the other colors of ink then I'm going to take this other layer which is the layer contains the shadow it's on its own layer if for some reason it wasn't on its own layer instead it was a layer style you know how you can click on a layer go down to the letters fx in choose drop shadow if I had applied it that way here to see my it wouldn't have looked all that good because it would just be the general shape that's here but if I had applied it that way I'd need to do one extra step first and that is I need to somehow get this shadow to be on an independent layer where is right now it's an accessory attached to this so if you applied it this way I would need to go up to the layer menu I would need to choose layer style and there's a choice called create layer and that would take any effects I have applied to this particular layer and make them as independent layers any time you choose that'll give you a warning to say hey I can't make everything look right it's really lying there's only one or two layer stiles where it can't uh be reproduced in layers drop shadows are just fine but if I choose that look in my layers panel and now if I choose on do before it was an assess aree to that layer kind of attached to it after it's now completely independent layer that's the one additional stuff I need to do if that drop shadow was created using a layer style mine wasn't so I don't need to do that part. I'll throw that little piece away, all right? I'm going to do the same thing to get this layer to only print with black ink. What I'm going to do it with that layer active all good under the letters fx I'll choose blending options and in blending options, I'll turn off the check boxes for science, magenta and yellow, so all I could do is print with black ink. Sometimes I'm gonna need a darken thie end result just to compensate for not using the other colors of ink. In this particular case, since is a solid color layer, I can double click on the left side, you know, let me pick the color is being used, but if it wasn't that I might need to use levels or curves or some other method for darkening the layer to compensate. All right, now what I'm going to do is take each one of those two layers and convert them into smart objects. They're two different ways of converting into a smart object. One is to go to the layer menu there's, a choice called smart objects and you could say, convert smart object. If you watch my layers panel you'll find that the layer I'm working on will become simplified and it'll have just a little icon on top of it to indicate it's a smart object that icon means there's a smart I'll do the same one same thing to the layer underneath I'll show you the other method for doing it I find it faster to just go to the filter menu and choose this that does the exact same thing as I did to the other layer they just put it here to kind of suggest that you do it before applying filters but I find that's my de facto way of converting to a smart object it's just so easy to get to so now we have it so these layers are only affecting the black because of those check boxes we turned off and it's contained within a smart object which means whatever's inside that smart object is protected and cannot be changed at least can be changed easily so now let's somehow get those over to our rgb document and see what we can do I'm going to switch back to our original document and just look at what we have we have the same layers except for these bottom two we're going to end up replacing now I'm going to somehow send those layers between two documents to get it over here and then we'll end up throwing away these too when we're done so I'll go back to my seemed like a image I'll click on one of those layers and let's see if I can figure out how to send it over there there's a bunch of different methods the first one that comes to mind is kind of an odd one and that is if you drag a layer down to the new layer icon and let go you'd usually duplicate the layer, but if you hold on the option key alton windows when you do it just dragging the layer down to the new layer icon it'll ask you for settings and one of the settings it'll ask you is what document you want to put it in and I'm going to choose the name of the other document and so now it's going to duplicate this layer but it's the duplicate it's not going to appear in this document it's going to duplicate it into the other document click okay I'm gonna do the same thing to the other layer some holy on the option key ultima windows dragon town the to the new layer icon which is the one just the laughter the trash can and I tell it to go to the other document now let's go to the other document and see if it worked switch over to the other document and yeah, I see shadow and layer to those are the two I had on the other document they're replacements for two layers we already have in here, so I'm going to throw away the layer called background and throw away the layer called shadow so that we just have those duplicates we got over here and since they're in this document, I no longer need the other file, so close it and what it asked me to say if I said I don't need to save it because I have the end result right in this file so now let's, see if this will work uh a couple different things we can do to to find out let's, go to the window menu, I'm going to choose the info panel and the info panel will lie to us because it doesn't know we have some special stuff going on behind the scenes, so if I move my mouse on top of the image when the info panels open, usually with default settings, the left side als tell me how much red green and blue light will use in the right side. I'll tell mom how much sign magenta, yellow and black ink we would use, and you'd think if it's only going to print with black ink that only numbers for k which is black would show up, but right now it's showing me it's not going to use any black, what the heck well let's actually convert it and see if we see if this is lying to us because it has no idea what's inside that smart object it has no clue, so I'm going to take this image and convert it to seem why came out when you convert to see m y k mode? It will ask you if you want to flatten your image or rast arise things I'm going to say don't rast arise and don't merge because if it merged together theun these things they would no longer know that they have the special settings in they'd be combined with the other layers I need to not merge okay, now check it out I got my info palate open I move my mouth on the background look at what it's made out of only black ink and if you guys can read that's a pretty small on the screen but there's only black ink in that background let's see if I can go down to where the shadow is a swell and I can see that in there if I move around it's on ly black ink and the on ly way I could get that tow happen that I can think of off the top of my head is too use those little check boxes to say, don't apply any other colors and then wrap it into a smart object while it's in scene why came out then get it back over into your rgb document I just chose undo so I'm back in my r g b document, but that way what happens is when it converts over to see and why k mode it just re evaluates what's inside the smart object and goes, hey, this thing's only said to print with black ink and so I'm able to do that and so that's the trick it won't apply to everybody because some of you guys were going like okay, but why the heck would I ever want to do that? Well, if your photographer and not a graphic designer, you might not know that oftentimes shadows are printed with only black ink, what happens is with black ink, you can't have any color shifts in that shadow or background if the magenta pink is printing too heavy on the printing press it's not going to affect the background because there is no magenta ink there you're going to end up using less ink so you're probably gonna cost a little less to print job you're not gonna be ableto have any color cast in that area because it's too heavy on any one of the colors of ink not going to affect those particular areas and if you look really close at those areas it's going to have a very simple half tone dot pattern instead of having the little rosettes the more complicated dots that are made out of science magenta yellow and black so it can be a nice way of working mainly goingto be for graphic designers photographers will be on okay glad I'm not a graphic design so I'll save this in case we need to get back to it for some reason and I'll just call it dash uh k only for black only the main thing in order to get it to work is it needs to be turned into a smart object after you've turned those little check boxes off and while its unseen why came out then the second thing is when you convert to see m y k later on from the original rgb document don't flatten the layers those are the things they're going to make that uh work there are certain times when you want to do something really weird let's say you want to secretly send a message to somebody else where no one else can tell it's in there even if you blatantly posted on a website email it to somebody in somebody that sophisticated in photo shop runs into the file they will not be able to find your message whatsoever uh so this is kind of a weird one because we're tryingto hack photoshopped what I'm gonna do is take any image this could be text could be graphic could be a photo could be anything I'm going to take that image and I'm going to change the mode to mode called indexed color now, if you're refined that index color is great out just not available, it probably means you have a sixteen mid image, so you'd first have to bring it down to eight bit. If it's still great out, then you might need I don't know if you need to flatten layers or just gettinto rgb mode first, so whatever grade out it's usually sixteen bit that's, causing it to be great out when I go to index color mode, what is going to do is reduce the number of colors in my image, so all we can have is two hundred fifty six or less and because we're reducing the number of colors to two hundred fifty six, I can choose what set of two hundred fifty six we use from this little menu called palate I'm gonna set it to one of the system choices up here either macro windows, you can actually switch between them and you'll see the image change to see the difference between the two there will be a slight difference, but I'm just gonna remember in this case I chose the system setting for windows if you have a photographic image instead of a graphic you will find you'll want to have this setting at the bottom called dither turned on if it set the nun, your image can look posterized see the background where you can see the kind of stair stepping that's there but if you turn this on to diffusion dither things should look relatively smooth then I'm gonna click okay? The next thing I'm going to do is something that's going to completely hide this image hide it in such a way that on ly if somebody watched this video to see how to hide it would they know how to get it back? Otherwise you can send this to just about any way maybe the fbi will know but uh but what I'm going to do is then go back to the choice called mode same place where I got to index color and I'm going to find a choice called color table what that's going to do is it's going to tell me which two hundred fifty six colors were actually used to make up the image in here chose me well I want to change all these colors to make them all identical the way I do that as I click on the very first color and I dragged the very last color and then leko when I do a color picker is going to come up twice what it would usually do is make a grady int from one color to the next miss xia fei choose red and then the second time I choose blew it makes a great ian from red to blue but what I want to dio is choose white twice. So that the only thing it's making my entire picture out of his white now I can save this image. I can present it on a web site. I could make it fill the websites. Paige it's just gonna look, dwight, I can email it to anybody want in. Nobody is going to be able to figure out what's in that thing because it just contains white that's all they ever see when I give it to somebody else. If I want them to be able to see the original, I need to give them one piece of instruction which I could do over the phone. So if I emailed it to him, nobody that saw the e mail would know how to do it, and that is open the picture, choose image mode, color table and then come over here and choose the name of whatever color table I originally used. Remember I used the one for windows, and then only then will they see the picture. So if I want us, you know, outsmart certain people that are like looking at my email and stuff, I'm going to end up doing that, and they're goingto only those people that know how to reassign those colors back into it will ever be able to see that image. So that's kind of hacking photo shop. I could get a full color image to disappear and only show up. If somebody knows that weird little trick except the fbi. Now that I've put it out there on the video, I'm no longer safe.

Class Description

Part of the Complete Photoshop Mastery Bundle.

Throughout this series, we've covered many huge topics (retouching, adjustments, collage, etc.). In this final installment, we fill in the gaps between big thoughts with the more subtle concepts that are essential to taking full control of Photoshop. This is the stuff you rarely see taught, but true experts use on a daily basis. I'll start by revealing a bunch of hidden and hard to find features that you probably don't know exist because you have to type odd keyboard shortcuts or go through other loopholes to find them. I'll then show you how far you can push your adjustments before they start to lower the quality of the image. We'll do that by popping the hood in Photoshop to reveal how those adjustments may be harming the underlying integrity of your image.

I'll then show you how to manipulate Photoshop's features to get them to do things they were not designed to do. This way, you can extend Photoshop further than even the programmers envisioned. I'll also talk about many of the little features that never get covered in classes but are overly useful. Finally, we'll dive into a few geeky features that are not for the faint of heart like variables, apply image and calculations.

Whether you're still fairly new to Photoshop or you're an advanced user, there is sure to be techniques in this class you will want to add to your mental toolbox.


Software Used: Adobe Photoshop CC 14.0

Reviews

Lemmi Kann
 

I just started to get familiar with Photoshop and know the basic. After watching just first three lessons I am totaly blown away - I can see how much far I can go with editing my photos, what possibilities I have. I edited some of my photos and they look way better now! Ben Willmore is excellent lector and I encourage the beginners to buy this class too. It's easy to understand and follow if you already know what is layer and mask.