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Photoshop This 2017

Lesson 1 of 1

Photoshop This 2017

 

Photoshop This 2017

Lesson 1 of 1

Photoshop This 2017

 

Lesson Info

Photoshop This 2017

Welcome to Photo shop this 2017. If you've been here before, you know that this is crazy and not all that serious. But we have three amazing contestants behind me, and I'm going to give in them challenges inside a photo shop. They're going to have to compete in three minutes time on each of these challenges and see who could do the best job. And also who could make us laugh the most. So I'm going to introduce you to our contestants at that time. If you would mind introducing yourself and talking about what it is you dio on, why you are who you are. Alright. Quickly, though. So we're going to start over on my right with Lisa Carney Entertainment Advertising Re toucher, Finisher Composite er, what to do for a living, But doing it for about 25 years. Well, I'm who I am. You need to talk to my mama about that. Yes, and that's quite a story. And also a little known fact. She was a dancer on Footloose, so I think that tonight regional original Footloose is there. A second older is there's a ...

newer version. Not that one. The real one with Kevin Bacon. Did you ever meet Kevin? Oh, nice. All right. And then next we have Dave Cross. I am a Photoshopped educator. That's what I've done since a week after Photoshopped came out in 1990 make my living teaching photo shop one way or another. And I like quite watts on the beach with my wife Sing in a barbershop quartet barbershop. So we have a dancer and a singer, and then we had Cory. Cory bar. I don't watch movies. Cory, tell us about you. I'm court marker. I am a Photoshopped trainer Have been for the past more than 10 years, but I've been using photo shop since version two, so I'm an illustrator. Designer have done a lot of variety of different things. So, uh, was really enjoyed teaching. I enjoy a good whiskey too. Alright. Happy to be here. Thank you. Well, we have some interesting challenges for you. I hope you're ready and we're going to go right into it. The rules of the game are there are no rules. That is the rules of the game. So they are going to attempt to accomplish whatever I tell them to do. It's the only time in my life that people do what I tell them to do. So I take advantage of it and we're going to start now with Challenge number one. So if we could have our challenge Number one head swap challenge we all have this time where we take a beautiful picture and somebody makes the face or closes the eyes. Your challenge is to see how Maney head swaps you can actually accomplish in three minutes time with me distracting you ready and our counter bring a counter up and we will. go. You have three minutes to accomplish your head swapping extravaganza. Okay, so I see that Dave has pulled his classic Dave move, and that is to bring himself into every possible picture that he can actually bring him into. That's excellent. He's also cheated just a little bit because he's pre cut out all of his Hey, really nice. Let's be realistic when you have a bald head. It takes seconds to really good, really save a whole lot of time, and I see that Lisa is I didn't think Lisa is just creating scary clown faces. Well, right. You know, you know that Children are supposed to be able to watch this there, never watching what I do. It's never a good idea. It's never a good idea to have Children watching. Lisa, what are you doing over here? Corey? I'm just seeing what's playing at most local theaters tonight. You know, I used to call Moviefone. Did you ever call Moviefone? Yeah, I would buy tickets. Author on the phone. Hi. Welcome to Moviefone is a great sign for Cory Is pulling up hipsters, which was a really bad move, actually, because Dave rightfully chose on the reveal. Now we know what Cory is up to That is going to be hilarious. More difficult to cut out, but funnier than a bald man repeated times, I think. Well, let's see. How are you doing? Do Dave is doing well, but is that actually you? Well, who knows? That's not that you can't tell Dave might be replacing his own head in a photograph. He wasn't happy with the head he had, so he's going for it. New head, actually. It so much shining your head. Where on earth did you find so many clowns? Don't be stock. My baby be stock. You go. Yeah. Good. Work something out. It's just a stamp. You just turn the stamp to clown and you get it. You know, the amazing thing is that your clowns seem to be matching your actual lighting on your photograph. That's really impressive. Would have done that. Yeah, very nice. Thank you very much. That's that's pre planning. Yes, that is hot. That is a lot of hotness right there. That's actually very disturbing. It is on so many levels on so many levels. But you know, what I like is that Cory has gone to the trouble of matching the color of the girl's hair to the color of the beard. You know, you don't get a lot of that. And regular re touches don't don't really work hard seconds, man. The idea was brilliant. The idea Come on time. All right. So we will start over with Cory because I'm very interested in what Corey was attempting to do. You know, that's not bad, though. It you kind of lose because you only replace two heads, but you win on style. Yeah, and these girls air with some pretty other interesting girl will be an interesting party for sure. That would be an interesting party. So I noticed one thing about what you were doing is that you were actually bringing the opacity down and trying to match Where the eyes lining up the eyes? Yes. Yeah. That's like the perfect way to figure out where looking dirty to get the scale of the face just right. Exactly. Because the eyes don't lie. When I look into your eyes, I see trouble. Yes. Yeah, I know. Why. Dave, what were you doing? I just went for the volume because you said as many as possible. So I'm just going strictly based on volume, while strictly based on volume, I think you did win, but get a little bit of like, you know, matching up eyes. But that's when around my parties more fun. Yes, that's true. Well, any time you can go to the association of bearded ladies that although although your party ends up being just a bunch of people agreeing with each other, but think about who they're green with, it's a good point. Lisa, what do we got going on here? Just want to have some fun that is true. And I But you were using Adobe stock. And so you've got some really high quality clowns, high quality clones. Brilliant. I noticed also that you were doing a lot of, like, just quick masking. You were just just painting it in and out, like, very artsy way to do it. You weren't trying to, like, make real specific selection. Three minutes? No, honey, not in three months. Yeah. Do you find yourself as an artist really? Just kind of painting your way to the finished product? Or do you do a lot of, like, intricate cutting? And because I can't stand the pin tool? I love the way love the pencil is your friend. I know. We just need to convert you. Honey. We'll get a toaster, will convert. It will get a toaster. Yeah, but I will tell you, I'd like to go fast quickly to see if it's working and then you do intricate. There you go. OK, nice. I love masking because you can always go back, right? Absolutely. All right. So we're going to go to our second challenge. Was the first challenge challenging enough mental later. That's right. I am a ventilated. Our second challenge is called the Polish This Turd. Now we all have those times where we shoot a photograph and we just don't get the amazing shot that we want. Now, in my case, I have a photograph that had lots of light But it wasn't always that way. I was there And the clouds world And it just happened that the light peeks through the clouds and I got my shot. But that doesn't always happen. In fact, Dave, you were in Iceland and the sun never came out one day, I think, the whole time. Soon as he left, the sun came out. So what we're going to do is we're gonna challenge are Photoshopped artists to take an image that is flat and kind of uninterested ing and make it interesting by giving it direction of light, giving it some kind of, um, fun, some amazing, you know, lighting quality or something that makes it go. Wow. So are you ready for the challenge? You have three minutes to complete the challenge. And three, 21 Rock that son go way we got ourselves. Cory's over here with a wedding shot. Very good. We always need drama on a wedding when you go. Oh, that is very flat, Dave. That's like, uh, no, son. I can see a little bit of light creeping in the back. We'll see what he does with it. And chickens. You said crappy shot. Did you know? Well, is the chicken actually, Yeah, she does. She does a shot of crap. Crap. Crap. Yeah, right. That's what I minor, minor, minor, minor detail. Well, I hope that the chicken looks beautiful and edible. Edible? By the time this is over, Who did you just see? What? That was beautiful. She's creating some lens flare. That son that's rising over the horizon or setting is going to give us some flair. Very nice. Love it. That is gonna be one beautiful chicken. What? They said on that McDonald's commercial, I No, no se date. So So what do you doing, Corey? Oh, just I see that you're creating kind of Ah, a radial light around these people. Do you have any plans beyond that? Indeed I do. You dio Do you want to let me in on him and really surprised? I don't even know if you only have 90 seconds on. Really? Okay. Does it bother you that I'm distracting? No, no. Awesome. What's that cologne you're wearing? Uh, that's yours. Oh, it is. Yeah, you're right. You smell great about always adding a little grain to it. It's gonna be Whoa, some stars in the sky. That's beautiful. I love it. And Davis just drawing random lines. Wait. So they're like worms. He's drawing worms, worms all over his photograph. We will see what it does. Oh, I think I understand what he's doing now that we're gonna have to have Dave tell us a little bit about what he's doing there. And you, Davis done, Dave. Just done. Very nice. You don't have a very long You almost think the pen is down. Cory, you're the last person. How are you doing? You almost there? I want you to throw your pen in the air when you're done. Actually, don't throw your pin in the air because I don't want to pay for a new 10 done. All right. Congratulations. They finished before the time was up. That 15 seconds to spare. And they figured they were good enough that they could toss away those 15 seconds so we'll find out whether or not they were worth it. All right, so let's start with Dave. Dave, what is it that you were doing there? Well, well, I looked at the little bit of light here and thought, That's what I have to build on. So I made a selection of that, put a little thing on a white layer, and then did the zoom blur with the distant? There is the radio blur with zoom as far as I could and then duplicated a couple times transformed that I thought, If you have like coming here, there'd be light here. So that's why all of these little worms, as you called them, were just started like that in normal mode. But then, by changing too overlay, it's still a little intense. So then the blend. If sliders. You take this and separated, just let some of the original pop through, so it becomes more little highlights here and there. And really, it's just highlighting the actual highlighted areas and letting the darkness fall back. Exactly. And I love the way you put the rays coming in. That was pretty fantastic. So that's a stroke of genius. I would say very well done. Can we give way? We were supposed to be going for silly all the time, but sometimes Dave pulls out something pretty amazing instead of silly. Alright. But there's no head of, you know. It's really disappointing. I was so happy. Ruin it. That's true. Lisa. I'm a chicken. This is my girls. My chickens. No. Interesting that you chose to put everything in black and white except for the sun flare. Yes, yes. But I think sometimes when you have a crappy photo, you just want to ditch the color. Well, that solves all problems. Black and white. Yes, I turn a lot of things. The black, it's plastic. It's a classic look. I think that means I'm not a good photographer. No, I disagree. It just means that I like black and white. A. I hope that's what it means. That's what I think. I I love the idea of the sun flare, especially since the chicken was already Riml it by kind of that spilling last lights of sun. So very nicely done. Thank you. Is there anything specific that you thought was interesting that you did that with that? You mean the flare. Any of it? Well, I I think the flare tools. It's a handy trick when you're search for something and it's built in and photo shops under filter render. And the key thing about it is what most folks do. I think let me turn this off for a second. Here is they merge everything and then do the render filter on top, right? Let's do this. Ah, lens flare. We'll just pick whatever is. They're the only problem with that. The look. It's similar, but you can't do it. You're stuck. You can't change it. So if you put it on a black layer and put it on screen mode, then you could change your mind. Move it wherever you want. Very, very y incision. Now there. There's something to write down in your notebooks that you don't have with you, apparently because you're no longer in student mode. Corey, what did you end up doing here? I just focus the light on the subject more one of that. A little bit of space in the upper area to see you a bit more dramatic. No, look about it. Yeah, I like the little stars up there. That's nice, but I like the fact that the light seems to be focused on them, like you've got, like, a light up here coming down to say, Everyone, come up here and look at Cory's laptop that looks so much better on here than over. There was much more dramatic, so I give him props. Yeah, it's much darker down here on the actual laptop, but those out in Internet land should be able to see exactly what he's saying. You guys were the only ones that are kind of in the your in the cheap seats, but they get the darker areas. It's just a simple of matter of duplicating the layer multiply mode and then just putting ah, radiant on top of it and overlay. Yeah, that's beautiful. So if you didn't catch that, he's duplicating the layer, turning it to multiply, which darkens the the actual layer itself. So and then he can just paint in what he wants. Some of the key there is if you multiply, sometimes you find it easier to just remove the color or de saturate that layer cause multiply will over saturate colors and dark in a little bit much so reducing the saturation, it really helps balance it. Nice. Cool. All right, So we now have 1/3 challenge in that third challenge is what we call the art challenge. So, uh, many of you have seen people take a photograph and turn it into some kind of an art painting. Um and so our example is here. This is a photograph I took a long time ago in Washington, D. C. And over here that my brother, who was actually an artist, he has, um, Parkinson's disease. So he shakes, but he's turned it to his advantage, and he just holds a pin and his hand goes like this and he draws very, very beautiful pointillism with his Parkinson's disease. So sometimes we can take something that's not good and turn it into something quite beautiful. And he's gotten better and better. This is one of early drawings, but what we want to do is do it faster, cause most of his drawings, especially the ones that are big, take almost three months to Dio. And so we're gonna try and do it in three minutes. And what I want you to do is I want you to take an image and you're going to produce a piece of art in the vein of some style or specific painter. You could be doing William de Kooning, or you could be doing Monet. But take your image and you have three minutes. Ready. Go. What did you say, Roy Lichtenstein. Now, I'm not going for that. Okay? So not in three minutes. Let's see what you can accomplish in three minutes to create mayhem. Anything we knew gone. But I like it. And Davis done. He didn't to Starkie on Very nice. That's what we told you there were no rules. All right. What are you doing over there? Hey, that is a really nice shot. Oh, look at that. What is great? So we took that shot earlier today in the back room, and and I'm a I'm not looking at. That's not bad. What are you doing? I'm blurring you. Why do you think I need the people? Are you know you can do that in a camera just by putting vastly on the Civil Shepherd field? Yeah, you're all so yes, I would walk around with that. Really helped me out. Um, although interestingly enough, when I was in college. They taught me Don't use Vasselin because it's hard to clean off. So you use K y jelly? Just saying, For those it it's easier to clean off, apparently. So what are you doing now? I'm masking mask and the effect through a luminosity mask. Very nice. That is pretty. That's looking good. I can't wait to see it. What do you doing over here, Corey? Oh, I think yours is quite nice. So So where did you start with this? What was your first? I lay down a base texture and now I'm just blending it. Using an outline layer, it created a layer that gives me the dark edges. And then I've got this one layer. I have applied this kind of grain texture to it, huh? And now I'm gonna have that texture coming forward a little bit more. That's quite pretty. Three. These are things that I could never even accomplish. I am too much of a just a photographer. I'm just fascinated. I'm also fascinated that Dave has just been standing there for the last 2.5 minutes. Might have been two minutes and 45 seconds. I did Now we have 20 seconds left. So overachiever Cory and Lisa, you have 20 seconds. So you want to wrap up what you're doing because what you're doing is beautiful. I don't want you to be left standing. Holy Oh, nice pens. Air down. All right, let's start with Lisa because it's a photograph of me a lot of time on this. Yeah, tell me about what you're doing. What I was trying toe emulate, but not completely steel is more like a Rembrandt look. So I'm a little warmer than him. But that was the look I was going for, uh, and yet I wanted to have a little modern feel hints the blur. So instead of keeping it all in focus, I thought I'd take it down. And then if you look really closely, it's got a painter texture to it, So the oil might be a little heavy. You can stick with just canvas or put a little oil, maybe a 50% opacity, maybe 30% capacity. So let's show the before after show me the very beginning. And that's a very big getting very beginning is just blob. So it's just blobs, just color blobs and I will often, if I'm trying to emulate someone, I will actually take their shot and put it in the file and blur the holy hell out of it. So you have the color in the feel or and then pain on top of it because I don't like to start with the white campus. Then I had a shot at you from the other room. Beautiful. Thank you very much for that, darling. And then I did some adjustment layers to change the color and tone because it was fast. They're a little more than I'd like to only have a couple adjustment layers, but I was winging it a little bit. And then I emerged all of it up on top, and I did, ah, 100% God's Ambler. And then I use my handy dandy actions that I have to do a luminosity channel so that I could use that to mask out the blur. If you see the Blur's only mast out in the highlights, yes. And then I put a texture, which is your standard, um uh, Photoshopped Gallery texture of canvas. And I mean another one of it. And I flipped it, duplicated the gallery texture. I flipped it and then put it on overlay. See that? So you get the campus and then, um yeah, then I just did the oil filter. And then I add a little Grady int just black, often the corners to darken it down. That's beautiful. Thank you. Way to go. All right, Dave, since you spent absolutely no time doing this, you should be able to explain it in absolutely no thymus. Well, but what is it that you did? So there's our original, the original. And I wanted to do, like the pointillism Matisse type one so that the only thing is people led issues that point allies filter, which I did. But what I also did to start off with this I found an actual photo of I mean a Matisse print on so that in my action, because, of course I cheated with an action. The 1st 1 was match color, so it matched the color tones of what he typically uses before. So here's what that it looked like after that. And then you can see with the filter on point lies and on sharp mask so that the only kind of trick to it was not just doing the pointless Wilder because it doesn't give the same feeling was to pick a reference photo in the action. It actually references uses match color to take the colors from that into the your other one. And, of course, because in action, you can do three in the time they did one. Brilliant, absolutely brilliant. That's great. I love you. All right, Cory, explain this one. Show me the before after I I'm a big fan of textures, so I tend to blend a lot of things when, uh, actually only find my before I think I left it in my library. There was a little here. I think I lost it. Just go to the history does take me all the way back to the beginning and then come back to the so that we can see, like where sizes in the image I started with. Well, tell me what you don't know. There it is. So just started with this simple shot, and then I brought it and ran. A graying filter is actually a filter that so ran a grain filter and actually give you this kind of cool illustrated look on the phone and add some outlines to it. But by putting the image in multiply mood, it removes the white point Basically established, it's a texture below as your white point. So all the light areas become, whatever the color the texture is. And then I just did an outline layer where reemphasizes the the outlines of the engines of the subject like that and it just gives you that. So if you get close in here, you can see how. And has that really cool illustrated Look to it, That's what Just three simple layers and thus they call you a photo illustrator. That's it. You go. There we go. Two more minutes. He would have made it three d so we could have seen the back. Yes, do right with flair. Um, OK, so save it. We are now to our fourth challenge. Our fourth challenge is a very special one, and that is called the signature look. So you all know a photographer or have seen a photographer, or especially when you're out on the Internet and you're looking at, um, awkward family photos dot whatever, you know, that kind of thing and you've seen the very interesting photographers out there, and we are going to manufacture a fictitious photographer. So each of you have manufactured in your head of a fictitious photographer. You got to give me his name. So I need a name, and then I need to see what his style or her style is. And you need to create an action. So all the people that watch creativelive will be able to download that action. Or, if you're in light room that preset so that you, too, can add that style to your photographs and become photographer Jerry back wall. That's my fictitious photographer. So Jerry faq wash shoots photographs like this. And so your job is to find a way to create a one touch button toe. Let people become your fictitious photographer in a second. Are you ready? Ready? You have three minutes to complete this challenge. And 321 go. All right, so we're looking. So we got a portrait photographer over here. We have a product politically over here, and we have a documentary photographer. No, maybe maybe this is a uh Maybe you're like the paparazzi. Maybe Papa, Paparazzi, family, paparazzi or fan. Very bad. family. Exactly. Right. Okay. Excellent. Do you know what your photographer's name that would be? Me. Oh, my photographer name. Let's call him. Let's see what I did to him. It's a hint. Absolutely. Is bad. Freddie faded MK fame. Freddie faded McShane. Yeah, Freddie faded. MCF ain I need to write these down because we're going to name your action or your preset based on Freddie faded MK vein pain. Can I spell it fame Any way you want to say I nes anywhere you want? Because the best way to spell your name is the hardest way to spell, so no one can actually find you on the web, right? That's the best way to do that. All right. So, uh, Dave, what's your photographer's name? Explain. That's what rich, rich, black, rich, black Dave crosses is rich black. So later on, we will be posting those Teoh creative lives so that you can come and download three actions or presets that will allow you to photograph like these amazing photographers. And rich black will be one of them. Cory, what is your photographer's name? Roy Finkelstein. Right, Finkelstein. Very nice, Roy. I'm gonna I think Joel Stein awesome. All right. So tell me about Rich Black. Like what's hit? Like, what's he trying to accomplish in his? Well, he started in the 19 eighties and has never grown so never gone. Beyond that goes for the couple in the wine glass. Plastic. It's beautiful. So? So when people apply this action, is it going to allow them to choose the photograph that goes in the wine glass? Or is it going to just put whatever they shot into? Basically, what's going to is given error message? Because unless they have the exact same file. But I did. It's not going to any. That's perfect. Great. What about you? Tell me? I feel like minds. More like a photo booth. I think I want to My wife I off. So you don't see my messages coming in? One antique looking photo booth. Kind of paparazzi style feel. Yeah. Little paparazzi. Yeah. Okay, that's before that. See? After you, Cory. Oh, nice. I see what you're doing. You're You're doing like the electrifying Nice. That's beautiful. So, what's what's the time frame? Like? When was ah, time a shoot. So, Corey got it. Um, give me a time frame. for this photographer. Like when? When was he or she and Isaiah he cause it's Roy was a hippie in the sixties, but he's color blind, so he has no clue. No, what he sees on the screen is absolutely not what he's get. So this is why his images look so horribly horrifying in color. He's great designer, though great with composition like at. But his colors are interesting because he's color blind. Very nice. I like it. OK, Dave, So tell me a little bit about how you wrapped these guys in the wine glass. Well, it's all it really is, is just a an oval that's blurred and then a clipping mask so it can't be much it part of a much easier than that. It is very romantic, very beautiful and, uh, lower your sand just a little bit. It's a little sad, uh, Dave, not to offend anyone out there that happens to put their couples in a wine glass. If you're doing that, you rock had more time. I would have also gone selective color that, like the whole thing black and white, except for the read, because usually when my favorite is when you color the lips red, and so the person looks dead with lips. That vampire looks good. And then, of course, you created a photo. Both look with a all camera raw. Oh, look at that. So 11 bit. You can do all sorts of stuff in here, which is really create. You can make frames this post. You could make frames at the end. I love this about camera because there's time to step. You can do it once you have a look. If you do a big photo shoot, I mean, obviously this cheesy. But you can set the whole action to run Teoh import with same camera. I change your tone. I think I love camera and and it's non destruct because you notice it's you could turn it off or on. You've got a mask. When you say non destructive, you mean non destructive to the photo itself? Absolutely. Because what's going on here is destructive to people's minds. Yeah, and and you could change your mind as because I'm a re toucher that gets hired to do. It's not my vision that I am illustrating. I'm illustrate my clients vision and this way back off a little. That's good. Always have an escape clause. That's my That's my theory anyway. OK, so we have one mawr and this is the final challenge. The final challenge is a very complicated and very importantly. So we've been kind of having fun up to now, but now it gets really serious. So what happens when you have a client that calls you and says this? Hey, I need a photo later tonight and I need I'm gonna send the person that needs to be photographed over to you and they need to be photographed in a specific type of location. Maybe it's at a lake or it's next to a mountain or it somewhere outside. It's raining cats and dogs all day long, so you have to bring him into the studio and photographed him in the studio. But then how in the world do you get the shot done in time to meet their deadline, which is today? Are you ready for that? You can see this is an example of something that was shot this way, and we'll talk about it a little bit later. But this is what the client wants. Now you've got to give it to him from the comfort of your own studio. You're ready? Three minutes and go on. We're supposed to use in Adobe Stock background. Yes. So you have taken your image. You found your image that you want to use. And we're simply going to go to Adobe Stock and find a appropriate background. But when I think of the critical things for this kind of activities, you got to find an appropriate background with the right lighting or the right. So? So it looks like you're person actually fits into photograph. And that's the real challenge is to sell the fake, right? Sell the fakes, All the think. OK, so we're going to go Very nice. So you are going to France? You couldn't have gotten to France anyway. What was your client thinking exactly? Your client had no clue you're doing a wedding. So? So the client called and said, Hey, I need a wedding. Where? Where is the client going? How fast weddings happening these days? That's true. Sometimes they end that quickly. Any any client that actually asked for the divorce photo as well as this, just in case just in case I like what you're doing there. That's some pretty fast selecting my friend. That is fast selecting. Look at that. No plug in needed. He is just rocking the selection and going to back streets in New York City. Yeah, somewhere to get a wedding I get it with. That's looking pretty good. Now, the real trick is can Cory get the size relationship? Right? So that the bride does not look like 30 feet was going for more stylized way We can work with it. Oh, and we got a silhouette going on right now. Dave, are you planning on leaving that as a silhouette? Yeah. Yeah. Oh, So you're really going for us, Stylistic. Look. Yeah, going trying. Let's check that. Some blending. So it's gonna be really artsy, You know? You got an artsy client. You know, every once in a while, you get a good one, don't you? Every once in a while. One that trusts you more often than not, your clients never trust you. They want to bark for you. I had a I had a, um when I was working in a commercial studio, we had a art director and the client would come over and tell the art director what he wanted. And the art director. As soon as the client would leave, the art director would say, And he was English. And he'd say, You don't buy a dog and then bark for it. Meaning that you don't buy a dog than do what it's supposed to be doing. In my case, we just bought a dog and it poops all over the floor. So I try not to do that for the dog. I let the dog do that instead. So how are you? Oh, time. Time? Uh, no. Now, one of the things that I've noticed Dave, is that you have You have downloaded a stock photograph from Adobe Stock, but you haven't actually purchased it yet. And you're working on. Was he working the whole time? Is he getting his extra time? You're gonna be penalized 20 seconds. OK, so I noticed that you've downloaded that without actually buying it. So you can test it out because maybe the client doesn't like France. E wants to go somewhere else, right? Who doesn't like friends? They could be big fans of Tony stock, so I just want that there. So tell me a little bit about what you did. Well, I wanted to go for this silhouette look. So I took a photo where I already had a nice selection. So actually just drag drug. I just moved the selection over instead of the people. It's OK. You can speak in the King. I don't know what the Sam. I dragged it over because I know I want to sell. It was a really no point in bringing the actual picks, and so I just moved this selection over Not long. People realize you can drag and drop a selection, not just pixels, and I filled it with black and then made a copy of it that it made a little bit bigger, added a Grady into it and then mast parts of just that little bit of the color glow around them. Little reflection. And as you said, it's a preview. Adobe stock, But a lot of people don't realize is one of the huge advantage of this is if they do like it that I can just right click and choose license, and it just puts it in. I don't have to start over again and then rebuild it. So if I had done any effects to the background, those would have been implemented as well. So it's a real band. Nice advantage of doing that kind of preview thing is, if they do like, you want to do all the work all over again Exactly. I love that. That's such a brilliant option for them. Just a right click. Yes, I want to use it. And then you have the full version without doing an extra download, which is great. I have actually, I almost went for Iceland because I have a grand total of three photos for sale on Adobe stock. So almost license my own photo so I could make, like, 27 cents, But Paris is interesting even out. Okay, So, Cory, tell me about your image here. Well, it turned out pretty nice. It actually became more of a memorial shot. She's she's thing. This is in memory of the bride. More like it's your spirit being left it off to the heavens. May May again in three minutes, you know, in three minutes. That's pretty good. I I like the fact that she you worked on the shadow a little bit under the address to try and connect her to the ground is that that's one of the hardest things to do is that is to connect the person to the ground. If you want to really make a fake and not have to worry about like that, you just clip him off at the knees and then and then that you can tell they're not in the shot. That's why I did what I did. If you look at the example photo waas cut off at the knees because that's a lot easier. So So I like the fact that you did that. But I'm also really intrigued by the selection. You were so fast that selecting and even selecting through the Gazi and look are the the lace of the dress that was really impressive. That President, That's how that's how good Refine edges Aaron Photo Shop. I've been really impressed with ever since I introduced that in the photo shop. It makes selecting so much easier not just hard edged elections, but on things like hair and soft edges like that. It does take a little practice is not one of those gimmes. You just open it up and It's like it's not like running a filter, Um, three minutes, Um, but yeah, what it really does. It's very robust in the sense that it gets really, really good selections that you have a great deal of control over him now. In this case, I did bring it out of the refine edge as an active selection, but you can return from refining as a layer mask and further edit the selection by modifying the layer mask itself right. Typically, that's how I am doing a real job. That's exactly what I would have done because it helps to, like, blur things a little exactly. And of course you know, being and playing as a layer mask, you're not destroying the original image. If you want to return back to the original text, you can certainly do that. So when you give this to the bride who want to get married tomorrow because she's dying, what size of So So what did you do here? You just didn't like a little Yeah, that's actually just a reflected radiant set. The white foreground to transparent, radiant reflected. I just added a loaded and master put a little cheated. That's what I did in my last. It may be that she's receiving glory from there. It's too from heaven. I would have. I'm gonna go for that. Yeah, well, going down. Yeah. Yeah. We'll go with the less gloomy Alaska movement. All right. Very good. And the Lisa, uh, police. Yes. I was going for, like, the staying alive. Look, it's nice. I like it. I did notice that you weren't, um you got interrupted at the end by the timer, and you weren't able toe around him. Ground him, which is always the tale. Tell signs so you could just move him down a little bit. Cut him off. I could do that instantly. Knows. Just do that. Right now, no one will know. Do the crop through the crop. Is that a dance there? See, I have no idea. That looks beautiful. Eyes. That's amazing. All right. Yeah. Brilliant work, folks. Way. So is light hearted, As that is, it's ah, it's incredibly difficult to do something very, very quickly because you got to think on your feet. So that's impressive that they can get that much done and think and get beyond the fear of just, you know starting a lot of us. Just look at a blank canvas and just go. I don't know what to do here. So kudos to you guys for quick thinking on the skills. And if you re watch that, that's actually a very valuable lesson to rewatch. Because there were some pretty cool tidbits that came out of that session. I would say there's probably five or 10 things inside of Photoshopped. This that actually were very valuable for you to go in practice. So we're going to finish with a big clap out and we're going to ask you to return tomorrow. We're going to end the next day. We're going to have and the next day. Really? Wow. We got a lot more for you to learn. So remember, Photo Shop week 2017 is Onley half over, and you've got a lot more to learn. So keep your note pad and be ready. And, uh, we'll see you later tomorrow. Yes,

Class Description

Photoshop This puts Photoshop Week instructors head to head in a race against the clock. You’ll watch as expert instructors take their own, unique approach to retouching the same image while the seconds tick away.

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SOFTWARE USED:
Adobe Photoshop CC 2017

Reviews

Max Spiers
 

Maybe shouldn't admit this, but Photoshop This is one of my favourite parts of Photoshop Week. Maybe I'm too weird. But in fact there is so much learning (or is that teaching?) in three minutes - but each three minutes is really nine minutes. Fabulous instructors, brilliant results