Adobe® Photoshop® for Outdoor Photographers
All right, so we're gonna be talking about photoshopped techniques that outdoor photography now outdoor photography is very popular because you don't need anything to take pictures outdoors you don't need lights and stuff I actually do need one thing you need a camera so so we could be looking at stuff that is shot out there was specifically a lot of landscape stuff, you know? This is going to apply very nicely for fine art and uh and stuff like that so without further ado, I think we're just going to jump right in and get started so I'm going to go on bridge here and I'm gonna be working bridge a little bit usually my work flow just to let you know is using like room and then I usually bring my pitches um from library, but I'm goingto be using bridge and I've just learned that when I'm teaching photo shop, I try not to use library because then I get flooded before kinds of light room questions thank you down the bunny trail very easily so that's the reason we're gonna do it this way. ...
So the first thing we're going to talk about, which is really quite fundamental when it comes to working with outdoor photographs is camera I'm not going to get to and different camera because I know that jack davis is doing quite a bit of teaching on it this week but it really has changed the way that we adjust their images. I've been using photo shop since the first version on windows, which was two point five, so it's been a while and there's a lot of adjustments that is used to working with and one of the big problems with adjustments in the older days you apply these adjustments, you apply these filters, and each time you do that, you destroy the pixels. So if you look at a photograph at one hundred percent and you start adjusting it before you know, it starts to fall apart, starts to get grainy, you start to lose structure and you start to lose a lot of things in the photo. The beautiful thing about camera reuters is completely nondestructive. So the great thing about that? It also has a built in client mode, which means that you can change your mind one of you want and you can go back to where you were, and the other great thing about it too is that it is not destructive, so you can apply, oh, your filters and adjustments and just kind of mix them together, you know, like if you're baking a cake and a recipe for for me only and you throw in a little too much flour and then later on you right, man, I wish I'd used a little list flour or you maybe put some sugar and that was good. It was just the right amount of sugar. Then you put a little honey and you're like, man it's a little sweet. I wish I could go and take that sugar at you really can't, and the same thing goes when you're applying adjustments directly to your photograph and photoshopped a little bit, goes a long way, and then suddenly, before you know you've ever done it by the beautiful thing about camera, roy, as you can go back and re adjust its, you can take a little sugar out, or you can take a little flower out later on in your recipe, so he has a photograph that we're going to start with this just shot directly out of the camera, obviously, and uh, it's got quite a few problems. He would get a little bit of a holocaust going on here, and it just really needs a little bit of work. I used a slow exposure, as you can see there it actually we look up that metadata here tells me about the photo, it was shut it if six three at thirty seconds, so I actually had the shutter open for thirty seconds so I could create the slow exposure which gives you this kind of misty look because this is actually waves rolling in so I try to get thirty seconds when I do these I know everyone has their own recipe and in order to do that I use neutral density filters so unusual density filters like a little tinted filter that goes over the front of the lands and I have a point three I have a point nine that I use and, um sometimes you can't even block enough like with that so what I'll do is I'll stack those on top of each other to block it out even more so this shot for example I couldn't see anything through the viewfinder was just black because unusual density filter was so think but then that was able to create this thirty second exposure and get the look I wanted with the waves so because of that you know, maybe the exposure was you know it does need to be brightened up a little bit but there was an emphasis at the time so let's have a look at that right now let's jump in the first thing that we can do is the white balance and the great thing about working with camera roy is when you shoot in camera roy it writes the data to the center of the camera but the only thing that really is written is the optics like what lends you had on that you can't really change that you can't change the shutter speed or your f stop later on but you can change other settings such as your white balance your scharping none of these things written into the photographs you have a flexibility so it was shot like this and because of that I could go back here and I can change some of these settings and say hey, what it looked like in shade well, you know shady actually looks quite a bit better what about flash all that looks awful so you can actually pardon me go through and try these different settings eyes if you would take it with the camera at the time would have looked cloudy I would say cloudy and shade would be our best options and that's looking pretty good, but we can also tweak it manually if we want to warm it up a little bit we can just do this now this is pretty basis is pretty fundamental and but this was quite difficult to do before camera or you'd have to go to cala balance how many of you use tell a balance and that could be quite tricky because you know is the telecast in the shadows is it in the midterms? Is it in the highlights and you'd have to just all of those parameters independently and it would be a little more difficult so what we're going to do is we're just going to go in here and do some basic adjustments that I do the most photographs of first thing I'll do is I'll set the exposure it's a pretty average exposure not worried about the whole photo right now I'm just worried about the stuff that matters here says pretty good exposure then the next thing I do is I'm gonna come and I'm going to skip contrast for now go to the highlights and I want to recover the highlights and when you pull this down this this way you bring back the detail in your clouds and in your skies so that's that's the highlight one and we've got these areas here that are pretty dark and we want to open those up so we're going to the shadows and you can see we could pull that quite significantly if I pulled out all the way up notice it's really kind of looking a little washed out fakes we're not going to go that far just put it up a little bit about their so what kind of looking pretty good so far is this what we started with then this is what we've got now so the next sitting there I was talking about the contrast now contrast what that does is that boost your shadows in your highlights and if you look at contracts it can almost be a flavor that can I actually call it like a flavor toll because if you turn up the high contrast it gets very punchy and and gritty and then you turn it down it gets very soft and dreamy now there's no setting for contrast, this really is up to your artistic vision. What do you want? Do you want your photograph to be punching? You want your photograph to be soft? I like to use the example of a low contrast would be it is a photograph don't have it here, but I shot in holland and it was a misty morning looking down the canal and everything was just very soft and it was very little contrast and I wouldn't want to punch that contrast up because the story there is about this peace and tranquility where there might be other times maybe you've got some sports and action sports going on when you want things to be sharp, you want things to be crisp and then maybe you will pull up your contrast making more punchy and it will add the action. So think about the story that you doing and it will kind of help you with the contrast but here's a little tip about the contrast rather than move the contrast lighter weapon down, I generally skip this endless I really needed later on and I'll work at the whites and the blacks because then I can control those perimeters independently more than having to lean on the just a contrast which lets photoshopped make a lot of his decision, so I came up here and that's it the white, so we want to just kind of clean things up a little bit what I'm trying to do it, the whites here is make the water here, the white in the water not look milky, so I just want to kind of brighten it up and add a little bit of cleanest to it. Then we could take the blacks, we can pull that down and you can see, you know, we don't want to get too far will plug everything up, but what I'm doing is poorly there just enough just to give it a little bit of body and other blacks very important in most photographs, because if you don't have pure blacks in there, it doesn't have body, it doesn't have foundation just doesn't feel solid. So you know, sometimes people are so excited about the fact that they can open up all the shadows that they open up every shadow just because they can and that's something you really want to avoid because the thing about the shadows are this mystery in the shadows, when you look at a photograph and you see a shadow in the doorway, you can start to wonder what's in there oh, I had the I think what's in those corners there what what is in that doorway is there? Is there something lurking in there? It creates a little mystery creates a little intrigue makes people think about the photograph a little bit whereas if you just display everything and everything is perfectly sharp and clear then is no wondering people say all that ten is the doorway are great and they know interested in the photograph anymore because the mystery is gone the questioning his god so let's look at something else the clarity slider which is the midtown in contrast so I've adjusted the shadows and the whites the contrast there like punching those up so the clarity is kind of like shadows and highlights, but instead of working in the extremity ese it works in the middle so we'll get that contrast going so let's pull that one up a little bit and you'll see that this will give the appearance of really making things look sharp and crisp, so if I take it down looks the opposite but see how it doesn't affect shadows are highlights see that so let's pull that up a little bit and sometimes people use reverse clarity to create a softening effect which can work and other times it doesn't work so well depending on the photo, so we've got two more sliders and you'll notice that I just skipped a contrast altogether because why I mean why have a big fat brush if I just did with fine brushes not saying there's not a time for contrast because they are sometimes contrast is necessary but I don't use it on every photograph okay so we got two sliders here vibrance and saturation of two of them look pretty much the same does anyone know the difference between the two? Any takers think memories in situation it's between vibrance and saturation situation I think obama's gives more saturation also like well that's that's that's a good guess but sorry you did not win the ferrari I'm sorry go ahead this um vibrance adds color to the colors that of the very faint colors that's correct it's that very creepy isn't it could be set a little we can't leave him and that's actually good though that's very understandable I might actually steal all right that's right so saturation is just adds increases the color all the way across the board this is the clown slider if you want something that looked like a clown take them in space but they're on there and small children will be running for cover um go the other way and big children too go the other way averages is it's a black and white so yes saturation just worked across the board whereas jim so eloquently pointed out the vibrance what it does is the areas that are already saturated it leaves those alone and the areas that have a little bit of saturation, it concentrates on those and adds that so as you can see here, you know, we've got certain things in here that maybe some of these flowers that might blow out if you pushed them too far as far as the colors and you could go up here and noticed that the water is getting the saturation more than the green here because we don't want that great to get more situation if you go the other way, it's kind of interesting because it works the opposite ways you can actually hold the saturation in colorful areas while dropping it out on others, so you can also use it as a special effect. So sometimes you might reduce the saturation and increase of vibrant you get an interesting look or go the other way and increase the situation and reduce the vibrance is kind of interesting, so a lot of the time, what I'll do is depending on a photograph. In this case, we're going to take the fibers, we push it up a little bit because see how that's just bringing out a lot more color there in his clouds in the skies, and I just really, um and in the water just makes it look nice, so we got a pretty good, you know, start here. And if we look at this before and we look after, you know it's it's quite a significant improvement and what did I do and moved half a dozen sliders? So the next thing we want to look at though, is this full ground area here is just really not quite popping, and if I wanted to make that pop, I would lose, you know, the power in the ocean I would lose the contrast in a detailed and I don't want to do that, so we gonna grab our adjustment fresh so we just click here on a brush this is adjustment brush up on the top and if you're wondering if you, um, using your library men, you're thinking, hey, this looks very much the same that's because the adjustments in light room are identical to the adjustments in camera roy and that's on purpose because that means you could take a photograph from light room opening and photo shop as a smart object bring it into camera roll here all your life room adjustments will be here even your you know your spot healing all that stuff will be there you can make adjustments had saved go backto live room and the adjustments you make here in camera, roar or travel all the way back through the library and that's what's known as a roundtrip workflow and so it's really wonderful because you can do that which is another bonus about working with camera another little tip here just tio just along the side he if you have a liberian presets and you want camera presets do exactly what I said take your light cream image open it is a smart objective photo shop opening camera roy and then go into the preset photo and create a preset and it will steal that precept from light room and confidence a camera present so if you've got a set of presents for library you now have instead of presents for camp poverty um not really anything to do what we're talking about but I figured it might be useful so now we've got the quick adjustment brush here are just my precious look a couple of options we have this option for order mask and show mask now here's the thing about the order mask is we're going to turn the moscow on here this is little red area if I wanted you know add a little bit more in the cloud area here or this line I'm turning the moscow but I'm gonna paint you can see it now that red line there is the musk and what that enables us to do is we can make adjustments on this area know independently that we just selected so if I should turn the mask off you can see there that it has in fact are some adjustments the other thing we just go back there was just showing clipping, making sure wasn't clipping there let's go up, and what we're going to do is just double click any of these to reset them, and what I'm going to do is I'm just gonna take the exposure down just that just a smidge and let's give it just a little touch here of the saturation because it was little de saturated there, so this is sticky. So remember, whatever your last settings are, so if it looks kind of weird like it is right now on a lot of these things have changed or you need to do is reset it and then let that applies a brushing and go back in and whatever those sittings were, they they will stick, so you can see we could do that. We can change the color temperature in this area, which you probably don't want to do look a little weird, but you can see we've got this kind of control there, so we've done that line, and if you want to see the mask roll over, that little circle thing and that mask should share right now, it's not, but just trust me, it does all right, so we've done one. We want to do this area but we want to do it separately I don't want to be a tie to this adjustments I'm going to choose new and now we're going to create a new bush and if we scroll down and we turn on the show masks, you can see the mask and of course we roll over there that should show and we gonna grab about water musk this is what happens a border musk when you drag now the order must have takes those ages so that will really just kind of have I'm just going to drop the brush size down by using the lift bracket key so I'm just going in and that's pretty good notices some areas that kind of got left over in here so he is a tip when you want to pick up these other areas turn off or a musk and now you can just paint over them really quick because it's really hard to try and get those little areas when you still have got a mask on, but you can see there you know, light room library camera has actually done a really good job of selecting that area, so we're going to turn the show mask off and now we can make adjustments in this area independently so it's open up their exposure a little bit um it's play around its recover some highlights just slightly open up some shadows. Definitely want to do that little punch of clarity and look at this. See, this is a cz if we just eliminated it, maybe drop the exposure down little bits. It's not so exaggerated. And you can see before and after and that's using the adjustment brush just in that area. So that was very, very quick and easy to d'oh. And at this point here, you know, we can choose to open the images. He has his open image, but the other thing we can do is if we hold them, the shifty it would change the open object. So what's the difference between opening an image in an object? Anybody, if you open it is an image is going to take these settings and it's gonna bake these sittings in to your file, which means it's going to apply them permanently as you open it. And photo shop if you open is an object is gonna open is a smart object, and it is going to remain re editable, not re edible. Don't eat it, it's. Uh, re editable. So if I had the shift key, I can do that. Now. You can change this default action if you see this. Was wonderfully designed, burden it's the most eloquent burton eloquence, president, director. But look at this button here. It's actually looks like a hyperlink it's, like they've got to put a button in here. So if you click on there there's actually an option, and so if we go into the option here and we choose open as photo shop is a smart object now, you can change it to folks like, okay, and now when if you want to go in and now it's his open object now, if you didn't want to open as an object and you wanted to open his image, he could hold the shift key, and that will change between object and imagery that say, you can do that so we can choose open object, and we're gonna pop it open right now is this might object now I'm not going to spend a lot of time talking on smart objects because we've got a lot about their interesting things to cover, but I just want to show you, you know, a couple of things you can do in here now that our opens as a layer, and if I want to do something crazy like, come on jay and duplicate this, and I wantto, you know, just sorrento overlay mode say for example, just to kind of give it a little boost of color and saturation I was going to take it here and just increase it ever so slightly I don't know I just settled, but I like the way that just kind of brings out a little more body and the image let me bring it up a little bit turned the rulers off that was command are to turn off the rule is you can also create a little slide sandwich or people call it the organ effect if you want by just using a filter blur and we're going to get down to the ghazi and blur and just give us a little touch now he is the interesting thing about this is just going to find it is a sweet spot when you do this where it's gonna look good it's a little hard because I've got the capacity turned down I mean, I pretty much notice sitting, but what I'll do is alternative per city up so you can see now that's too much but that's okay, because we're gonna want it back and we're gonna go here and we're gonna get back to our goes in blur and now you'll see how it will kind of work and in all hit a point where it looks good and internal hit a point where just gets too big and like here and it's just see the house just not starting to work anymore so the sweet spot is in this range here so comes up to the kind of a fake that you want like how much softness and also depends on the size of the image this is a sixteen percent so this is our large image if you're working on a smaller image it obviously you use a smaller ratio so if I do this and I pull the a pass ity all the way back now that was the image before doesn't it almost looks don't now that we used to looking at the other one and that's the reason why I pulled the impasse city all the way back before I apply it because what I'm doing is I'm allowing their eyes to calibrate to the untouched image and that's a mistake a lot of people make of seen it so many times I used to do it myself is you apply something one hundred percent you said ok I'm going to wind it backto looks good and you see a slutty wanting it back you know ok that looks good and you're a thirty three percent but if you go all the way down to nothing let your eyes calibrate used to looking at this and now you say I can you give a little bit till it's good all that looks good and I saw the sixteen percent fifteen percent so that way you are much more subtle if you start with nothing and add rather than starting with something full force and take it away because your eye becomes used to whatever it looks at kind of you know make sense right like going from a dark room into a medium lit room versus coming from sunlight to medium lit room is going to look very different gonna have a different effect on you and for me I'm very subtle I mean a lot of people have different styles I think my style of photo shop is very subtle I would rather do less than do more and that's just my personal taste probably because I come from a commonwealth country and we're very conservative so all right so you can see there before and after soon why did I even bother doing that because he is a great thing because now we're working in smart objects what if I did this before and I decided you don't want now I just opened as an image duplicated the image applied this effect then decided you know I want changes to black and white so this is what the cool thing about smart object is that doubleclick go back into camera rolling now and I can decide you know what let me go in here first of all let me go I'll make a preset um go to the preset panel here and we'll call this one um we'll call this one ceo one, so I know this is the precept that we made, so if we want to come back to that later, we can. So was it good habit to do when you go to experiment before you were in the photograph? All right, so we're going to his, which you gonna choose, convert to gray scale, and then here we are in great scout now, and I'm just going to like, ok, so the interesting thing about using a smart object is that both of those layers will now be converted two grayscale see that because it both smart objects, so that means that if I applied in effect and then I changed it later, it's not going to mess up the photo another one is if I kept it in color, and maybe I wanted to go back and make it a little less subtle, or just do something in there and then apply a mosque later, if the two layers were different colors and I changed one, then they're not going to match, they're gonna look bad, so here we go, we're able to do that let's, go back again and changing a mind back again, let's, go back to a pre set here, and we're going click creative, live one awesome and now we're right back to where we started. What I wanted to talk about next after the camera roar though is I actually wanted to get into some panoramic stuff. Which is why about this? So, uh let's talk about this for a second. This here is my phantom dj I phantom quadcopter this is a phantom to vision so I had the earlier one, which is why I brought this along with me. I had an earlier one than that and basically what this does is it flies in the air and this is a flying camera and, uh I can actually see this through my iphone and I can take pictures. I could take fourteen megapixel pitches through here and it now has the ability to shoot and roar just as of recently, so this is great to just get different views on things you know from the usual thing you used to walk in traffic camera putting a tripod on a beach and looking at the same angle you can just give very, very different angles using this. Now what is this thing here? This is known as a water boy and I have this is a gift from russell brown because he was making fun of me because I had another one of these before this and I was at centcom many filming these surface it was awesome following the surfers and you know getting video and footage and photographs and and in a way surfing terms like right down at eye level and it would go in under the same company peer in and we under the parent I'm like oh penguins have run to the pier what do I do and my thing hit the beer and went to the bottom of the ocean never to be seen again I cannot find it the ocean was murky and it was gone so then russell's like hey I got something for you s a gummy waterboy stuff he attached this has got a balloon on there so if it goes into the water the balloon will inflate and bring it to the surface so says actually kind of call so next time that happens which hopefully it never happens again I will be good but unfortunately I cannot seem to keep away from water as much as I try I cannot stay away from water because I live by the beach I live in southern california there's nothing else tow photograph but I mean that's not true but I love shooting the ocean so let me show you a couple of the shots that have done with this this one is here at san francisco recently this is the obvious golden gate bridge um here's the griffith observatory this is a three photographic panorama and if you actually look you can see the hollywood sign there there's the hollywood sign there so it's pretty fun um and then here we go here's the hollywood sign but the entire valley there there's a panorama of about four five photos actually that's about not quite uh over one hundred eighty degrees so it's actually quite a big panorama actually headed all the way around but the city was so fucky fucky smoky it just didn't look good stuff you know what? I'm not going to put smug e l a and they are just leave it out it's nothing pretty bad having a view from l a any of you from really anyway and lived in l a no well that's amazing usually everybody's lived in l a at some point because it's very transient place okay, so this is at the beach this is laguna beach one of my favorite places to shoot actually live over the hill of here just over that hole there is where I live and it could take a while to get there in traffic sometimes but so this is a early morning at the beach um he's another one more at eye level of the beach uh this one here this was in hawaii just recently in a while who in january so it's kind of fun, you know, just starting it up there and getting some shots and beautiful in green there um newport beach this is the pier and this one here is on hawaii again this is thie you can see honolulu over here you can see a crater there you can see you know, some cool stuff and once again is another one of the beach I mean and the pier which I just did a little black and I wanted to kind of make it look a little more nostalgic this is ah tiny planet it was kind of fun this was leading a beach and so shut up three hundred sixty degree panorama and stitching together and intended into a sphere and obviously this is this fella here shot there with my five d and then just composited to get us because people are how could you get a picture of it while it's in there? Yeah um so that's kind of fun so I do some of those kind of tiny planet effect things sometimes it's kind of fun so these look awesome really big so in fact if any of you r w p p I combined and have a booth there first of cafe and I'm gonna have some panoramas printed out and like seriously you've got to see these things printed there they're amazing so fortunately absent agreed to print up for me they did it an imaging tio I've never seen them pretty before and I got a friend out of cities like the one this print is on and I'm like yeah sure, and I'm like man, this is cool and then I took it and put in front of booth and everyone was just like, wow, you know, just so much detail for such a tiny little cameras really for a couple questions cool, so for me, like, is there a flash drive in there? How do you get your if your photos out and once the resolution that you're looking at when you bring it into photoshopped image, this is right here micro sd card goes right in the back there, um the other thing that it actually does, you can actually while you were in the air you can because it creates a wifi network, which is how you communicate with the iphone and I can actually I don't fly off the iphone I have control of, but I attach the effect of some of the box of if someone were mind bringing that over, I'll show you, um so you can actually wirelessly bring the photographs from the phantom onto your iphone and post them on facebook live while you're still in the air. It's it's really? Gosh, yeah, it's a lot of fun, so yeah, so this is the controller here I did not attempt to fly one with a knife, and that would be really scary s o I fly with this controller here, this is that wife I hear this creates a wifi network, communicates with it and then I've got a little thing here that folds under and I just snapped my found on it. I actually think I could do that. Don't worry. I'm not going to fly it. I don't know. He's gonna fly it. So I just feel like that flight like that. And then I can see here and that's a lot of fun. The resolution is fourteen megapixels. And now just recently, roar has been added a little thing here. Just a little side note. Um, this is the first camera ever in the history of cameras to support native dmg is performance. So yeah, that's really nice. So there's actually lends profiles and stuff available for light room and camera roy and photoshopped. So, yeah, it. What questions are that's good? I think we're going. So what we're going to do here is here's some photographs that I shot. In fact, I'll show you a full size one. Just you can see quickly. This is the full resolution. So this is basically a photograph at full size. You can see there that's the kind of resolution and get that straight out of the camera, so I have made the adjustments yet let me do the h two this is the bird's eye mode if you know familiar with that, you hold down the h and you click and in wherever you release will be the new area of focus decision another so that's a full size one so what we're going to do now is I'm against you gonna create a panorama of shot these so what I did is I threw this thing up in the air at the diamond head crater which just when we got there and I tell you that was a hike any of you have been to a while who anyone ever being there and you climbed up all those stairs so I climbed up those days with that bag in one hand and trust me it's heavy and my five d mark three and you know, the seventy two hundred lands, you know, that's super heavy and I had that on the other side I felt like I was doing military training and I climbed to the top of that thing with all this gear then through this up? Uh, yeah question how far you can go with the helicopter as far as controlling it? Um, how far can you go? You can go further than you're allowed to go, okay, um the legal height is four hundred feet from wherever you're standing and it can do for hundred feet yeah, I mean, it could do more. Yes, s o not necessarily in high, but flying away from me. I've had it up to almost a thousand feet flying away from you, but the phone starts to lose its connection. It about six hundred feet. So so yes. So up there in the air and you can control this, you can make it go up or down with your iphone by tilting it. And so basically, what you do is you get your first shot and you're rotated in the year you take a second shot, you're taking in next shot like that and that's how you do this. I know that russell brown when he does it, he says it's a into a kilometer so it takes a photograph every two seconds and my case, I just look for features like really recognizable solid features and and make sure those are overlapping and and I know that it's gonna stitch together quite well. Um you look like you're gonna ask a question, how hard is that to fly and take a picture at the same time? It's very easy to fly. How long did it and actually took me half a second tell me half a second to learn how to fly and it took me listen a minute when I had a crash it's easy to fly but it's also the question of how fast is it? I mean in terms of if you did have a crashes you're practicing it's you that's a good question this one here has only had one decent crash my last one was every time I floated crashed it um this is the thing about it it has satellite lock so when I fly a lot of the time I've got anywhere from nine to fourteen satellites I don't usually go over water unless I have ten satellites and what it does is it locks his position so when it's in the air even when if it's windy this will actually hold its position with the satellite lock so that makes it really easy so a lot of the time I fly it up and then I'll just let it sit there and then I'll get everything will set up and then I'll just take my photographs so you don't need to be, you know, worried about trying to fly and shoot at the same time. Thank you shouldn't you should concentrate on getting in position and just really think about it as a tripod in the sky don't think about like trying to be moving all the time, get it there and then said it find me a shot and you take your shot that that's what I do you know, if the shooting video is different you know, chasing cars and stuff of video you know, people I know closed roads all that kind of stuff you know? And so I've done there and that's fun to that that's a little harder because you know you're tryingto keep the speed of the car and keep the angle right because as it flies it dips I mean takes a little practice so it works great video to show um yes so the satellite look is great the other good thing about the satellite lock is if I lose a connection for some reason if it just you know, the control of the battery dies in the control or you know, something goes wrong in the commission loses what it doesn't have to come home feature so as soon as it loses their control it will actually um hover two I think it's sixty feet and then we'll come back to where it takes that came from and it will self land within about a foot of where it took off so that's really good to sometimes that I'm flying and it gets out there and and suddenly you're flying into the sunday you can't see it anymore I'll turn off my control now just let it come home and it is it's coming home attended control back on regain control and if you can get so that's that's confront you know and and said there's a lot of safety features built in there so it's not as daunting as you think your list of do's and don'ts about flying in public places yes don't stay away from people stay away from animals um stay away from told buildings stay away way, way, way from airports um, so the other thing you know, the legally you're allowed to fly these as a hobbyist you not allowed to fly these ahs professional this time? Um if a police officer tells you to not fly, then you don't fly just obey the police officer if he tells you whether he's right or wrong doesn't matter but the main thing is stay away from here puts don't fly over crowds um, I try to stay away from people as much as I can order when you're the beach people or always crowd around you when you're flying, but then what I do is I'm just one is I will not let people touch it until I got the battery because even, you know, it's not going to start up on the totem, but I'm just not even universe kids get treated like a loaded gun it's like stay away until you're bearer. When I bring it into land, I'll make sure that the people, if there are people there that they'll clear a good area be like, ok, I'm gonna land us now, please make some room because in case of crashes you you don't want to get you one her, so the important thing is just really think safety first that's that's the important thing and just, you know, just be sensible don't don't be an idiot, don't fly it when you can't see it anymore, you should never have it out of you. If he gets out of you, then bring it back in off the battery starts getting low, like if the battery is twenty percent, twenty five percent drained, I won't even take off. I'll make sure they're fully charged battery all the time, so you just use common sense. But the other thing, too is I mean, it's not really. This is not going to tell anyone. Is this a soft plates? I mean, it might hurt that it's not going to chop your finger up for anything like that just so you know, um all right, so here we go. We've got these the panorama here, so there's a couple of things. Now, even if you're not using one of these, which, you know, not everybody has these. You could be using a go pro or you could be using a camera for very wide angle lens, you know, such as a fish eye or even extreme wide angle and you want to such a panorama together if you go to do that right now and you go to stitch this panorama together with a wide angle lens you're going to get it it's going to fail photo shop is not going to have to do it so what we're going to do is fix it so we're going to right click here and we're going to choose opening camera roy notice all five pictures of selected we go in here we have all five selected here now I don't even worry about the synchronized but what I do is I just choose select all and so and let me explain it because a lot of the time people will make adjustments on the one picture then select told then synchronize which works exactly the same as what I do but I just synchronize it first sorry select old first and now when I make an adjustment is going to affect every photograph, let me say if I get it ten that white house up it doesn't them all at the same time so I can't be bothered synchronizing them later I'll just adjust them all at the same time so I'm going to do that thing I'm going to do here is I'm going to go to the elin's correction profile a neighbor lends profile and look at that wall are there's a d j I phantom preset already in there so any of you who have photoshopped, cc, creative cloud? What was just a couple of weeks ago? There was an update, this profile was in the update, so everybody has that now, so it will actually do that has gopro hero sittings and stuff in there too. So all I've done is I've just gone here and I've said, you know what? Dealings correction get rid of that distortion that's it it's all I've done, and then I'm just going to choose, done not going to open the photos or anything like that. All I've done is I've just got rid of the lands distortion. Now I can actually think about stitching needs together because they will stitch now, where's they were noticed it before, so we're going to go into tools and we're going to go to photo shop and in under photo shop, we're going to go down to foot emerge and now there's, no photo emerged built and bridge, by the way, because I'm working in britain, you also have this option from light room um, and you could do it directly from photos of all it is. This is just a little trigger that's actually calling that function inside photo shop, so if you don't have photo shop in stolen, you can't do this just from bridge so this is actually talking to further stop when we do it which is photo emerge and now what is going to do is it's going to take these photos? It's busy great and here we go now photo emerged thing so you have options here of different ways to do it um suggested way is doing cylindrical because what it is is if you think about it this panorama is shot on a cylinder like we shot as if it was attached to the outside of a giant baked bean can so that I think of that is a cylinder um a spherical would be if we were going a ll the way around now you could do auto as well I found the order was just a swell and we're going to choose vignette removal because a lot of the time when you start using these wide angle lens is not as much light hits the edges of the lands as it does the center and you know, cause the darkening on the edges that hasn't been yet so if we click ok now this is going to stitch these together nicely and we're hoping fingers crossed and uh you can see it's kind of put him together right now and now it's a lining them removing the vignette storing all kinds of things you have a question while this is working we sure d'oh because we always gotta question up here let's see, so we the question that wanting to know from annette de is one of our regulars want to know? Is there any way to convert the light room presets into photo shop windows? Go back and forth? Yes, yes, actually mentioned the early rounds you open is a smart object and an open and camera roar, then she's safe preset and it will grab whatever preset was applied in my room and it will convert it to a camera present it is accessing like the x it's. Um yeah, I mean merlis, you know, it's looking because here's the thing when you're working in light room or you're working in camera rolling, I have an interesting I won't get into the demo, but I can adjust role files without photos show I can adjust role files and soaking you in texted it because basically what happens is when you have a role found it crazy ex mp file it makes. All that does is it has a list of hundreds of parameters, brightness, and but then there's coordinates all over the image and all kinds of stuff, and they're sit at a certain value usually zero and then when you push that slider inside of light room or camera, what it does is it changes that sitting in that takes file from zero to, say fifteen plus fifteen and it's it so when you go between photo shop and library, it will send that they don't say make that parameter plus fifteen boom done so you could open wordpad take x and p file and change that's a plus fifteen you'll get the same adjustment although I don't recommend adjusting images in word president processing documented because you kind of see the results so until you apply it it would be quite difficult much easier to move a slider but so that's basically how it works now the reason why you know there's different programs, you know you've got attitude like room why can't you open it? And in these programs of what we're doing is moving this parameter well, obviously everyone has different parameters every program has been premised on different features because this goes beyond just brightness because you think about using things like grady and mosques and the the upper right also there's some really complex stuff going on there that's speaking to photo shop in light room so all it's doing is giving it a set of instructions on bomb so cropping the bags of ford's easy I guess I was the answer all right, so here we get we're good this now we've got this panorama is being stuck together and you can see it's quite large he is the crater this is pretty need I love this crater and so what we're going to do now is we're going to do some other things. The first thing we want to do is hit command e and we could emerge them together, and the reason we imagine them together is because it's a little distorted, we want to clean it up a little, but so there's a total under here and it's the filter, it is the depth of wide angle filter, so we're going to grab a dept of wide angle and notice that it knows it's a panorama of a good different correction options and panoramas selected. So the way this works is if we click and drag, it will actually try to compensate for that curvature, and you see, it'll get red all the way there, it's not going it's not gonna work at that point because it can't do the whole image of once. So what we do is we just start with it here, and we can pull it up a little bit and we can start to adjust them. We can do them horizontally, and we can also do them vertically. Let me just don't do that, so I don't apply that we could go the other way if we wanted, we could go up this way and adjust them. You can see we've got all these kind of different options here for adjusting and so what I'm going to do is I'm going to take this and drag it out on the horizon here and release it and notice how strange it up but here's another tip if I want to make this horizon horizontal which kind of makes sense hold the shift key this turns yellow release it and now that it will make that one perfectly horizontal so we do the same thing on the other side hold the shifty and boom and see how it just automatically straightens that up and gets rid of the distortion around the edges so you can scale it he if we scale it down if you want to keep some of the edges and here because he's just trying to get cut off and we just click ok and we're basically strained and governor the distortion now you can continue to add those as much as you want and straighten up certain areas so if you've got curve street so whatever and then you want to make them straight do do that it's it's quite easy to do so the next step we're going to do is we're gonna crop this down because obviously we've got a lot of stuff around the edges that we don't need so what I'm going to do is I'm just going to take the corners here and I'm gonna crap it down too the areas that I really care about, and I'm going to take it down into there, I kind of like that, and I'm gonna hit enter now notice, though, that there's some edges around there that have not bean, you know, that a transparent that have been kind of walked out of the picture, so what we want to do is fix those were just gonna come on, click to select the area of transparency on there, and then we're gonna converse that selection, so we've selected the area with his pixels and in command shift I now we've selected the areas where there's no pixels, and now we just want to increase that we're going to choose, I give it a little bit of breathing space, we need to select, modify, expand on we're going to expand this by five pixels probably should work, so what we've done is if we zoom in here and just see what we've done here, you can kind of see right there that we've got our selections around there, and we just end there just a few pixels in there, so we've got a little bit of head room, a little bit of breathing room, so what I want to do is fill this, come on shift, and I'm going to choose our content aware film and click ok. And I'm sure you're familiar of content away, phil and this is a great place where it seems to work quite well come on, data and do look at that we're filled up all those edges and now we've got our thing so we kind of put it together but now we want to make it look a little better there's a couple more basic steps we're going to go under filter and we're gonna choose camera roll filter and as one of the things I just absolutely love about photo shops sisi is tomorrow phil toe being available from within photoshopped because previously you couldn't have done that you would have had to have gone into bridge and an open it on camera al from bridge so here we can go we can make some quick adjustments one of the things that might do is warming up a little bit give it a nice little bit of color temperature there one of the other things that have to do is press the clarity up and give it a little touch of vibrance now this other thing's obviously you can do in here to make it even better but these are just simple ones that I pretty much always do you see that before and after and then just click ok and we can just give it a little bit more boost which brings out just a nice kind of detail and here we are zooming in on you can see this tremendous amount of resolution and this is not full size of these were reduced for the for the lessons and this is a tunnel that goes under the things so it's kind of fun so that's the basics of making a panorama you know in this case it was an aerial panorama but the techniques work exactly the same if you were you know standing on the beach and taking it wherever you want but I just figured this would be a more interesting kind of a pentagram on to work with so some of the stuff that you know that we're doing here is is kind of fun and why would talking about doing multiple image stuff I think we're going to talk a little bit about hdr because this is another really useful technique for outdoor photography in fact most of the photographs that I shoot these days then I'm shooting outside of this any sky or any water then I am shooting an hdr so let's talk about it you really quickly I'm not going to get to and if if you want more information on hd a check out my class on creative life is it's on there one day on hdr says everything you need to know about s o I'm just going to touch on a real quick he is a photograph here that I've shot and this was in total bay in hawaii this was in january and this is just kind of standing in a beach and you can see that well, that's really disappointing. Well, is that you go to these places you see these beautiful scenes you goto you know it's just gorgeous and you bring out you can rely on my gosh that's a beautiful photograph you get the camera and you say everything you and you look on the back in you're like that's, not what I'm looking at, why it doesn't look so beautiful and majestic and my photograph is it does in real life and the answer to that is dynamic range so here we are my camera is taking his much dynamic range is it can on do you know I shoot him raw pretty much all the time so here's the thing the ocean here is pretty much the correct exposure pretty much I say, because it is reflecting some areas that are not but the sky is too bright in the foreground is too dark, so my camera cannot grab all the detail or the dynamic range that is there in that scene. So what do I do? Bracket so I bracket so I take my next shot here where I under exposed by two stops and now look at that the sky looks great that's how it should look so it's like, yeah, I've got that. And even some more details coming out there in the water. But look at the silhouette now in the foreground. Or what if I want to add some silhouette in there as well? Take another photograph this time I over exposed by two stops and look at the detail here. We got these little green, squishy things and in the foreground, on the rocks and, you know, obviously the sky and the water is completely gone. Now, the reason for this is because the camera has a much more limited dynamic range than your eye. So, you know, we had just used to seeing things. You know, we look around, we can see the tokyo eyes are also changing. We can see detail in shadows. We concede detail on highlight. We can look at these key to flow lights up there, and we can look right in through those girls and we can see the lights. We can see how many bars there on a but then we could look up to the roof or even on the outside, they can see it is a texture on the outside of the kino flood, but if I was to photograph that and I wanted to say that takes that that would just be boom just be completely blown out. Five to photograph that that would just be blocked up like you can see here. But, you know, I can see there were not only does I have a more more dynamic range, um, I think it's between fifteen and eighteen stops of dynamic range in the human eye first is about eight stops of usable, dynamic range and a camera they say twelve or thirteen, but a lot of that is just dead data, but the eyes also constantly adjusting, which you know, is an analogy I'd love to talk about is a pirate's. Why do you think pirates were petrov the right? Because they will get their ice stepdad in battle? I mean, it could be, but no, the reason apart does that is because they're up in the bright light and they're fighting and suddenly their enemy dips below decks. They go down below decks and suddenly boom, they take that patch, flip it off the iron they can see immediately, because if they wanted a wife that I had to adjust, they'd be dead meat so that I can constantly adjust, but the camera cannot. So you see this scene but your eyes constantly adjusting and adapting you're like wow this is beautiful I'm gonna catch this in my camera gets what your camera can not so that's why we bracketed he had take these shots and with ease three shots in this case were able to capture more of what we were looking at at that scene at the time so that's that's the basics of what hdr is is breaking and in sticking together into one photograph so I'll give you a couple of quick basic rules for capturing him one he's a tripod you don't want us to move around too much you want him to align with each other pretty well city camera all on manual settings and when you change the settings on the camera to adjust because you want to change in this case I did zero and then I did plus two and minus two and when I say plus two monies to those air f stop so plus two is doubling the light and in doubling the light again minus two is hopping the light and hopping the light again so basically do that but when you make that adjustment don't change the apa chair because if you change the aperture you're gonna change the depth of field and you're going to get a softer looking photograph change your shutter speed so that's that's the basics of ah based here so we're going to take these and we're gonna move them together in this case, these ajay pigs usually I work with roars, but what I'm demonstrating all use stuff that happens quickly because sometimes it could be quite a time intensive tasks. But if you take my thirteen photographs emerging together, it could take some time, so we're gonna choose voter shop tolls photoshopped merged hdr pro. Now this very same option is available in live room. If you're working in light room and you want to do it, you can do it there. The other option is you could actually open them here from photoshopped. You get a photo shop and it's under the water main menu much tastier pro and then you can navigate and you can find the hdl photos on your hard drive. Or you can open them in photo shop and you can also choose to to use them that way. Just use open files and it will merge them that way too. So here we go. You can see on the bottom here. This is the exposure villages I was telling you about. I wasn't lying. Here we go. We've got minus two plus two and zero so those are the three images that we've shut and I actually tells you how much they compensated. Says a number of different things you can do in camera roy I mean hdr and these sittings you could do time mapping and all that stuff we're not going to get until all of that right now what I'm going to do is I'm going to choose toe open it in thirty two bit but before I do let me make you aware of this one sitting this is removed ghosts you know is that because like creepy goes going into the photo um could be if there's any movement in the photograph or in the frame you know such as a person walking through in this case the ocean moving what it does is it creates ghosting because the three frames together I'm not aligning in a certain areas so when you put them to getting you can get weird out of facts that show up you know such as something this kind of faded out like a person that semi transparent and that's what they call a ghost for that reason because it looks like a little ghost walking around and unless it's a special effect it going for you want to avoid it so we could get rid of it by turning on removed ghosts and notice that we know the water is different so we can see now it's going to take the water from this shot here and it's going to give that priority and then we're not going to get this blurred water with waves on top of each other however, you do have the option to choose the minus one or the plus once you can choose any of these as you de ghosting image generally speaking, the middle one works best not always so um click those buttons and check them to see what it looks like before you do make a decision now what we've done is three steps to shooting it today at one is capturing number two is merging and number three is tone mapping so we've just finished merging right here in fact, as soon as we click this button here we are going to be merging it so we've got some options um we could go here and we could choose the sixteen or a bit and we've got these tone mapping tools in here and we can start just in the sea how already looks much better and we can start, you know, playing around with, you know, how much do we want to highlight? So we want to open up the shadows more and it's good this way and you can see how you can start to play around with these settings and they were quite well, but what I'm going to do is I'm not going to use that sitting I'm going to go back to thirty two bit because I want to open a thirty two bit file inside of photo shop and a thirty two profiles gray because it's got so much information and we can do a lot with it. Um, I could turn this option often just click open and it will open a thirty two bit filing for herself, which I do a lot of the time and it will save it. So if I underscore thirty two and I call it a thirty two bit negative and I can come back and we use it later, but in this case we're not we're going to turn on this option complete tony in adobe camera wrong so this is something that is new inside of photo shop c c is the ability to take a hdr photograph and adjusted inside of camera roll, so we're just going to choose a tone and a cr and we're just gonna let it creates. So what it's doing right now is taking his three photographs, emerging them together into one thirty two bit photograph. Now don't worry about city too, but just think the higher the number, the more you have just goes that I won't explain it did right now s oh, here we go is coming together, it's taking a little moment, caesar is a pretty large photos and has a lot of stuff going on the ghosting tends to slow down just a touch too. You guys gonna question so far while I'm on this I'm not losing your job, okay, here we are yes, ok when you're president john like is converting to smart out object automatic me when I when you pressed on a convert to turn something are determined no it's, no comforting to smite object no it's not automatically converting to spot object when you when you turn that um what you're actually doing is when you're applying the tone map, you're going to convert it to an eight bit or sixteen bit file um when you tie me up inside of, um hdr before you bring it in to finish up on the reason for that is when you look at a thirty two bit file there's so much information in there you can't display it at once like this shadows and highlights in here that might computer monitor and not is not able to show at the same time so you can't use that you can't print it, you can't put it on the way and you can't do anything so when you converted to an eight or sixteen that file, then you can take that photograph in and you can use it so you have to do that before you put it out and lists you're working in three d if your three daughters, then you can use a thirty two bit file as a texture map or an environment map so here we are we're from online as well calling us he's going to get that in lancelot is asking great name by the way do you ever create quasi hdr by using the same in new image multiple times but individually adjusted in roar to expand the dynamic range that's actually kind of funny if you saw my t r class on uh here on creative life if I had the time I would show you but that no I don't because it doesn't do anything um I've tested that and I mean I know a lot of people doing time definitely last a lot I'm not trying to put you down at all I mean I'm sure it's great but here's the thing you and limited to how much dynamic range is on that sensor so I mean yeah, I've done that in fact when I first started hdr experiment with them as I can take a rope I can make it bright could make it dark that's great for creating a toan lam ping effect but what it does not do is it does not expand the dynamic range because you still have the amount of highlight and shadow details as you got on that one role file so by you know, giving them different settings and forcing it to do that you're not expending the dynamic range at all so you're not actually accomplishing anything so um I definitely don't want to sound mean that you didn't wear and he's a citizen I can handle it it's a misconception you know there really is a lot of people confused about the difference between hdr tone mapping a tone mapping effect is not hdr there's no such thing as single image hdr that is an oxymoron it's like single speaker stereo it does not exist it cannot exist hdr stands for high dynamic range in orderto have high don immigrant you have to have a minimum of two photographs that are bracketed because it's not a high dynamic grange if you know extending whatever you can capture on your camera camera sensor you know eventually we will have identified grange cameras but but you know, some people do get confused that you see this gritty grandi effect that you know, a lot of people do and I you know, I like that too, but I must admit I'm getting a little tired of certain types of a face because it's just like all this issue and the other thing is a true hd areas when you're bringing out detail in your shadows and highlights like I'm trying to show here, you know we would get this ocean with god we want to show detail in the sky and we want to show detail on the ground and this is what I love about doing it here in camera roy's we could do a much more natural I think now what I'm doing streets and I'm out in the streets and I'm doing street photography and I'm doing it architectural stuff I like the illustrative effect because it's bringing out the textures is bringing out the character in the buildings that's exciting but landscape when it comes a beautiful landscapes and oceans and skies I don't like over process tasty I wanted to look natural I wanted to look like what I saw with my eye when I was there at the scene caption a photograph now that is that is that to say that it's wrong to do grungy natural fighters no that's just my personal taste you know? So go if you're enticed is no right and wrong but you look like one of us president into the idea of doing the person had asked if you could just use the one image three times and just only having the minimal diamond dynamic range can you essentially do an hdr photo and at least having that at least two but do it twice so bringing in two sets of hdr photos to merge them together? Um I think I know what you're trying to get it um ok here's the thing you cannot bring in more dynamic range than what you've captured on your sensor that's it that is the dynamic range that you have available you can do all kinds of tricks to you know bring out more detail in your photograph to make a photograph looks shopper to brighten up your shadows you know to open up your heart just a lot of tricks you can do but doubling up the same photo over and over again is it not gonna accomplish that? One of the things you could do is on and I do this quite often and you know what? Why don't we will persist this image and then I'll show you exactly we're talking about that makes sense is easier to show them tell so let's look at this photograph right now it's not looking aspect taking it's not even looking that much better than what it was before, you know, for the the middle image a little bit better but not a lot but let's have a look and see what we've got available look at this when was the last time you had this range of movement inside of camera off a single image never said this is what hdr is look at this we've got this was a way down to this amount of highlight detail and this might shatter details almost from white to black so we have this entire you know, throw of range that we can now work with so when I decide you know what I want to open up my highlights and recover them there's so much more highlights to recover I want open up my shadows wow, look at all the shadows they're in, you know, see the detail. So this is the beautiful thing about tone mapping now using camera and really scary not going to get this out of one photo. I don't care what you do to it, you know? So so we can play around, get these sittings, how we want them. You know, we consider contrast now, but a little black, and they're getting a little punch. Maybe blow out the whites a little bit, make it look a little more than natural change the color temperature. Um, you know, maybe you will use your contrast here if you turn it up. It makes it punch. If you turn it down, it shows more detail, maybe give the clarity a little tweak. Defensive vibrance, you know, and that's without really doing a lot of work. I haven't used any brushes or anything, any adjustment pressures or anything. This is just directly coming out of this one photograph there was merged together as a thirty two. Five said, you kind of see what you can do is no way have you ever been out to do this or for rafa? Never, never so that's. Why? A lot of the time, I like to break in my photos, because gives me so much freedom I mean I could have this light just going across here and everything else that dark I mean you can you've got your entire range of tones here that you can experiment with so what I'm gonna do is I'm just going to click ok and now we've got the inside photos upset this is where we're going to touch on some of the other stuff that you were asking about now we have a thirty two but far we know we have a thirty two but file because it says up here thirty two the other thing too is is a slider down here that you'll see a lot of the time thirty two bit exposure normally this words at the bottom this is exposure available only a thirty two bit mode that's not available now because the sliders here and the reason why it is because there's too much detail for you to see on the screen so I'm looking at this I'm examining the photograph now he is all the highlights you know highlight details, shadow detail all I'm doing is viewing a different part of the photograph I'm not actually changing his brightness by moving that slider so this is where it gets interesting yes it is a rough created a smart object to because you were wondering about that he has asked might object I'm gonna hit come on j I'm gonna copy this and what I'm gonna do is I'm going to throw away the smile filter so I've thrown away right now the camera adjustment so this is just the raw naked thirty two but file sitting on top on a new layer above the one that we've processed and now I can go in and I can process again is other plug ins I love plug ins a couple of my favorite plug ins of the mc collection and photo matics when it comes to hdr and love votomatics so here we are in for automatics time mapping plague in so I can go in here I'm not gonna you know play around too much I've got you know presets here oh, by the way if you want presets I have free presets for you um I created a page for creative life attendees for this week and it's photoshopped cafe dot com forward slash creative life on the I have a bunch of stuff for you a seventy seven page super guide a whole bunch of stuff but one of the things that got my photo matics presets I've got a set of those you can have for free so if you want to work and here you can lead the presets and and use them use enjoyed him so anyway I'm going to click ok and what I'm doing is I'm processing this on top of the other one so here we go we've got this and we've got this may be the sky looks better in this maybe you like it better, but what if you want to try something else and come on j again, copy it again threw away the smart filter the reason I'm throwing away this my fault because I apply something else that's let's see what it can do its terror fix pro two completely different flavor it's like adding salt and pepper and, you know, seasoning your photograph, you know that because people always ask me what's better is nick better or votomatics better the above better because they have a different flavor, they do a different thing to have a different look. S oh, here we are in the nick one we can play around with this, ok, that looks pretty cool. Like, ok, now, obviously, I'm not, you know, sitting there trying to show you how to use the plug ins and get everything perfect. Um, we're going to get on here and boom. So this is my point is we've now got three different layers, so if we wanted, we could create mosques on here so I could have the option key and click to create a mosque I'm clicking the option can clicking to create a mask, why did they use the option? Because it hides the mosque if you want to know more about masks, my next session is on channels a mask, so we'll get into that, but now I can grab my brush, my white brush and, um, of course I'm gonna have to rationalize this layer so I can pay, you know, not not the later I'm gonna paint on the mask. I'm sorry, so I'm gonna paint here on the mask and now I can bring out the detail in that particular feathers if I want to mix the knicks stuff with the fatah matics, I can do that now just by masking of these different areas, so I could be like, ok, so now I'm painting, you know, the mick adjustment if I don't like that I wanted I want to apply the votomatics adjustment, I could do it there and see how I'm just painting these layers together so I'm actually editing the different filters and you're different just mints in thirty two bit space, so, you know, I know I kind of took this really down the rapid oh, but this is really worth experimenting with and you can get some great results because by itself it was looking kind of weird here see that that was looking kind of weird, so by doing info dramatics, I was able to get a much better result there the other thing you can do when you have done all this is you want to convert it, you're going to choose images and we're going to change the mode when you're ready to use it we're gonna go to eight or sixteen, but I'm just going to choose a bit and I want to merge or not merge ellis merger I'm happy to do that because they can move these into one layer now photoshopped wants toe time, map it again so you have a choice you can either time map it again or you can get past this by using exposure and gamma and sit exposure to zero gamma tau one that will neutralize any adjustments afterwards so that means that whatever we just did and we click ok, that process of converting it from thirty two, two, eight or sixteen bit is not going to change it from what we were adjusting to that make sense to exposure gamut as one and zero and so here we go now we've got a photograph this is just a normal ap photo that you can share a flicker you khun do whatever you want with it so we can apply adjustment layers we can put some curves in here if we wantto play around with this, we'll bring it curves and we can, you know add some contrast you've got all your adjustments that you had before you know, so if it's not quite how you wanted it like maybe here I just wanted to bring back a little bit more in the sky I actually prefer that so where I was able to do that later on so you can see they kind of now we can just filter and you could do anything it's just a normal photograph now so that's why I break it my photographs when I'm working in a landscape photos most of the time oh, I'll shoot bracketed now because I like to have the ability to do that not every photograph I will sometimes I looked at the photograph and the dynamic range is great inside that one role file and I don't need more but if I do need it it's a lot easier tohave it takes half a second extra to break it those three shots and it does later on you know, if you don't have it later and you're processing what you're going to do, you can't go out and reshoot it so I grab his much as I can on the camera when I'm shooting and it just gives me much more flexibility later on oh, by the way, these are the stairs that I went up I climbed from that crater all the way up carrying like here just and as halfway up yeah and now yes, now you know it's a long way up did you were working on stairs? I thought you're climbing your mountain you know, I'm not that pretty justice back coming down that's all right, so we've got more things that we can do here what I'm going to do is I'm going to jump into something more fun and let's do something a little bit fun and kind of creative this is here in san francisco um you can see, you know, it's actually quite a nice day for san francisco, so what we're gonna do is we're going to change this and we're going to give it typical san francisco maybe even most seattle weather let's give us some seattle later. What do you think? All right, let's do it. So we got a photograph here and it's just normal we want to make this photo look like it's it's raining so what we want to do this a couple of things we want to do, the first thing that we need to do is, um, you know, we're going to duplicate this layer before we do a single thing and the reason I'm going to duplicate this layer because one of the things I want to do is I want to create some depth of field that means that, you know, right now everything is in focus, so we're going to make it look like I was using a wider aperture and strike the background out of fucking sites just choose a blur we're gonna choose phil tobler grab goes ambler and we're just gonna blow this up s so we're gonna click here and we can see isn't it wonderful compare your glasses for a second I'm getting weird so we're going to create a layer mosque and what we're going to do is we're gonna blend the foreground with the background now there's a million and one different ways of doing this and a photoshopped this last night I did it a different way but I'm going to do it this way no, just because I love variety so I'm creating him bland here and which went the wrong way if it goes the wrong way just reverse it what did I do? I grab the grady until sit the foreground background of color toe black and white lydia and then just dragged it up and created thiss grady in't here and what the grady and did is it head the bottom half of this photo allowing the shop want to show through so the very first step that we've done right now is we've just kind of faked a little bit of depth of field, so the emphasis is now in these people on the boat now we know the photo is about the people on the boat and not the buildings on the background so that's that's a good start? All right, what else can we do? I feel like if we're going to be doing, you know, a rainy day we need to reduce the saturation a little bit so we're going to choose the huge saturation adjustment layer and I'm going to pull the situation down just a little bit weii go because it was too bright, colorful and to sunny before doesn't have bit actually even looks more cinematic too that's a tricky people want to make things look cinematic just reduce the situation that's we'll get your most of the way there, reduce the situation and plug up the shadows and look cinematic all right, so we've basically got that let's look at the next step how about maybe a little bit of rain in there would be nice? What do you think you like some rain? Let's? Do it let's do some rain, so I'm going to create a new layer by clicking the new layer icon and I'm gonna fill shift delete and it would be shift back space on windows opens up, you feel dialog box and I pretty much always used that keyboard shortcut. I find it very useful and we're gonna use fifty percent gray click ok, so no, we've got a beautiful gray seattle date that's that's seattle it's seven a m, isn't it oh nos los angeles I'm sorry on a sunny day okay, so we had a little filter we can add some noise here way we're going to do the ad noise and so here we are we're gonna add some noise now depending on whether you want snow or rain or heavy thick rain like it doesn't rain often in california but when it does we have huge raindrops I don't know if you've noticed that you get hit by one raindrop you're soaked to the skin you know other places that light misty like new york is very light kind of a range but it's more but that's not always writing at certain times of the year seven I'm probably upset everybody all over the country s so just make sure throwing something about chicago and new york before the end of the way so we're going to click ok so right now we have um television way have options here if we wanted to make it look dark and gloomy we're going to choose a multiply option if we want to make it look more bright and sunny we could use things like overlay or soft light or even the screen mode so why don't we do that? We'll make it happy, happy and sunny so right now what we want to do is turn this until raines we're going to choose the filter blur and I'm going to use the motion blur and what I want to do is sit that blurred now it depends which you know, where are we? Is it you know, just straight down rain where it's not a lot of wind or we in san francisco, but the golden gate bridge is haitian criminal like that? It is until, um so we get a little bit of rain depending on how much wind you want, you can change the distance here, so if you want to have like, these drops like it looks like you're using a faster shutter speed or you could make it look like you're dragging your shelter and the rains just going slow so you can kind of simulate you shed a speed there. And if you wanted reality, what you would do is look at the people if there's a blur behind the people than you would want to make sure your rain is really blurry because that means you're using a slow shutter speed if they're sharp, then that means you're using a faster shutter speed so just bear that in mind if you have a car racing bias completely sharpen your reins blurry it's gonna look fake or vice versa. So anyways we're gonna go here, we're gonna click ok, so we've created a kind of rainy effect, so I'm going to take their passing and take it all the way down and we're just going to give it a little bit here so it's just kind of raining a little bit in the foreground looks semi realistic right now save me realistic what I want to do is I'm going to make it look more realistic I'm gonna hit command j duplicate the rain way because in reality to further away it is the more rain cause you're looking through mohr rain and a distance that you would in a short um so we're gonna grab our mask so this stuff closely is not as much rain you're looking through so let's do the same thing when we're doing you know, just a little thing here with the mosque were blaming it together so we're not showing so much in the foreground let's duplicate that again come on, jay and I'm going to hide this against we're working our way up and now we're gonna have the rain just up here so we've got actually scope there how's it looking go wrong layer and make sure you grab the mosque and not the later don't want to mess up the ladder there we go so we got a lot of rain in sight now if we stack the rain on top of each other you can see there's a lot more rain in the background and there is forward so that gives it you know more of a kind of a realistic feel ah, the other thing we could do is you know we could darken down the sky I'm going to create another new layer going to grab the grady in with a black I miss my black the transparent I love transparency in the grady in transparency is one of my favorite colors right now and we drag it down in that way we can kind of just darken the sky a little bit makes it look more ominous and then finally we could drop a curves adjustment layer onto the top here and because one of the things that happens it does kind of dark and everything down a little bit and maybe tweak that back a bit there we go so now we've gone from sunny day to a nice rainy day so it's kind of you know, a little bit of fun and um oh, I am going to show you one thing really quick here is a good technique for dodging and burning, dodging and burning lightning and darkening parts of photographs with your your pain so I'm using my purchases that pain so I don't generally use the dodge in barren tools because their destructive and I'm painting on the photo and I can't change it later so what I'm gonna do is I'm going to create a new layer and um one of things I'm doing the holding down the option key when it creates a new layer I'm gonna change the blend mode to overlay blend mode now with overlay blend mode that means that gray is hidden and lights and darks show. So what I'm going to do is choose the option now, which is available fill with fifty percent great click ok, so now we'll get a fifty percent greater layer, but it's completely hidden I'm gonna hit. Come on, jay, and I'm going to cover the other one and I'm just going to show you this really fast. You see how this technical work and we call that went dark and I'm gonna pull this one light and now if you want to dodge and burn the photograph, it's a simple is grabbing a brush. Oh, it's doing that weird thing it did yesterday, and I'm going to sit the black brush here on the, uh, dark area and if I want to paint now, what I'm doing notice I can actually just darken up the areas that I want now see that and I one of the things I might want to do is make sure that capacities on and the size is turned off and so, you know, as you can see, I can build it up, obviously I don't want to go that far, I'm kind of overdoing it. And I just want to show the office if I hit x and I grabbed the light now I could start to paint in these areas and aiken like my photographs I want to lighten this up um actually I kind of like that so I'm going to come here and dark and it off again so here is what you're basically doing a session of dona adela philip if if if you wantto actually a race that what you want to do is fill it with fifty percent grade but my thing isn't working so that's fine so now we've applied it you can see there's the dark and is the light that kind of says through there actually made me do that light again let me give my ex key paint over there lighten it up so you can see what we've done is we've done at judging and burning but it's nondestructive second turn it on I can turn it off I can blur I could use filter blur or I can just play thehe pass it e so you khun blended into sometimes going full force is too much and you can see how we can just blend that double down so that's basically a technique for dodging and burning amino didn't want to get into the whole photo but I definitely wanted to show you that so that has so many advantages over working with the da jin burned tools um so yeah, really you demand that any questions are, you know, I do have one question before we go, I don't know yet a short amount of time. Is there anything special in your photography bag you know you're you're anticipating working on photo shop, and you're doing outdoor photography? Is anything especially you keep in their tips, tools, um, specifically for doing outdoor stuff, but stuff. Yeah, I mean there's, certain things that have been there, and I always and I used it. Here is the polarizing lens, so, using the circular polarized, I was able to get the water in the sky. How I wanted, um, that's, one that I use. I carry with me all the time. The other one is mutual density filters. I always carry those and a nice rag for constantly cleaning my lenses, because I had met the beach a lot. I'm one was getting sand and dust on my lenses.