Adobe® Photoshop®Unscripted: Q&A with Dave Cross

 

Adobe® Photoshop® Unscripted

 

Lesson Info

Adobe® Photoshop®Unscripted: Q&A with Dave Cross

S so this idea for the class started because I travel all over the place and new seminars and workshops and classes and meet with individual people and go to corporate locations and everyone always has questions and the questions usually are like what's the best way to do this or is there a better way to do that or why won't this let me do it the way I want so probably gosh, it was a long time ago now in cs too which was a while back I wrote a book called um the photo shop answer book and the idea that actually helped escort sorry and the whole book is just questions and then their answers and a lot of people one of the interesting little side notes is when people come up at a live event and want to ask the question I could if I wish I could have a dime for every time someone said I just have a quick question and my theory is it's not the length of the question that's my worry it's the length of the answer you know, because a question could be what's resolution that's a quick question ...

but that's a whole huge kind of involved possible answer so are goal today is to try and get as many questions can of just things like is there a better way to do this or is there a quicker way or I'm trying to do this function and it's not working we don't need to do or even just opinions on one tool versus the other a lot of people find that there's so many tools and photoshopped one of the realities of this program is anything to go do something there's always at least five or six or ten different ways to do it. So sometimes the question is how the uae between these choices is there a reason why I should use a layer mass versus the eraser or you know things of that nature? So oh, I forgot to do this someone said make sure you show your stuff gets people asked me yesterday and I forgot to show my twitter and facebook stuff so there you go for those people that care about that kind of stuff I'm not the kind of person on twitter I don't generally share of what I had for lunch it's more thoughts that that might be of use in the whole photo shop realm and the same with my facebook page so casing my daughter post photos that would be I'd be just as happy if they weren't there but that's the fun of facebook so you get a little bit of that as well, so basically I'm ready to just jump in and start answering any question hi dave I would really like to know how to make a repeating wallpaper for background of texts and so on for invitations or what? Not ok, cool that's a good, really good just want to start with let's see, part of the fun of preparing for a class like this is you can't really prepare, he just sort of grab random images and thing, what could I use for this? So maybe this one. So the challenge with any time you say repeating pattern is that you want to be seamless in other words, you don't want to have a pattern that stops and then starts again because you would see that line, you want it to be seamless and that's the tricky part of creating a pattern. So the first part of that answer is the best approach to take, I would say, is to create a pattern. Once you've created a pattern or to find a pattern, then you can apply it in certain ways. But the tricky part is, unless you have ah, pattern that's very vague that you won't see anything that's that that created a seamless part that's the hardest example. So I'm just going to grab ah square from here and then just copy, make a new document and paste so here is that this is it, it will be an interesting challenge because you could see if I just created this as a pattern then when if you think of the pattern as like kitchen tiles where they're twelve inch square thing put another twelve and square you're going to see like in this case, the dark edge here is going to line up with the light is here and you'll see it, it will look like tiles we wanted to be more seamless or a seamless as possible, and the reality of this function is that there will be some patterns that will be very challenging to do this. So, for example, a brick wall might work relatively well because you could replace the bricks where if it's something goes from really light to really dark, it could be more of a challenge. So what I would do is this I just taken a piece and it tends to work best is a square, although technically doesn't need to be, and I'm just going to use image size to see how big it isthe so it's roughly thirteen hundred so that the trick to this is we want the edges to match up. So right now the edges don't match up. If I was to make this into a pattern, you be able to see that so the little trick we use is there's a filter called offset and what we're gonna do, I'm gonna put in kind of roughly around half six fifty by six fifty and what it does if you look out you see now the edges have been offset so there in the center as opposed to on the edges so the good news is now the edges match up the bad news is now our seem is in the middle but the eye so the theory of it is you try and get rid of this seem in the middle by cloning or healing or doing something so that you don't see that obvious line in the middle this is still going to be challenging because for example right here see where goes from dark delight that's really tough but we can just try it so I press for example jay for the healing brush and see if I can just start to make this look a little less like a theme or a seam I should say and I'm just doing this really quickly to get started it's still going to need some work after this and this is why I chose a really good example because this is really tough but that's at least you'll be able to see the theory behind it then I would take the clone stamp tool and I would probably I find with the clone stamp tool for a case like this I don't want to be cloned too specifically because the other part of repeating patterns if there's a little dark mark right there then you'll notice that dark mark in this same repeating area so by taking the clone stamp tool and lowering the opacity it's going to mean I'm going toe try just be a little more vague where I just kind of random izing the pattern will bit let's make sure haven't he's soft brush here okay so just option are all sample from here I got a really low opacity so I'm trying to do is just kind of randomize it a little bit more and the only thing you have to be a little careful of is you want to avoid the very very outside edge because that's where it's matching up so this clearly needs a bit more work but let me show you that this is the hard part of this is the part we have to invest some time and trying to create this once you've done that then you just choose to find patterns under edit and call it something I like to use names that are a little more descriptive than pattern one so I would call this one pattern too because that's much better so pick some name that makes sense to you now I also made this pattern quite large to the point where it might almost be too big so let's just say he'll make a bigger document here is my example and now we need to get our pattern on here and there are several ways to do it one way is to use the phil command when you go to fill, you have these choices still with the foreground color background, color, a color or a pattern, so because I've defined it as a pattern now it's sitting in my little collection of patterns right there, the on ly problem with this option is you have no choice over sizing in other words, it will fill the pattern at whatever size I defined it, which in this case I think was pretty big, so you could still kind of see the repetition but it's better than it would be if I just did it the original way so that's one way to fill with a pattern but it's not the one who's going to give you the most flexibility, so what I would tend to do is add a new layer and we need to fill this layer with anything this needs to be filled with a color it doesn't matter, so I'm just going to fill it with black and then one of the layer styles and layer thousand ones. Of course, with drop shadow and all those kind of things, there is one that's actually called pattern overlay and the difference here is the one advantage it has is it has a scale command so I can actually scale the pattern bigger or smaller to fit whatever I'm doing and sometimes that can be the little missing piece to kind of fix the fact that you could still kind of see the scene you'll notice in this case if I go to small it becomes more and more obvious because you're seeing that repeating function but again this so that's the procedure is you typically start with the square because it's easier to do the math and use the filter called offset so that the scene becomes in the middle instead of on the outside edges and then use any combination of healing cloning, painting whatever you want to try and make that middle scene look less obvious ironically, I think fun of a texture like a brick wall would almost be easier because then you could actually select a brick and just kind of moving into a different position as supposed to hear where I'm faced with all these different shades and textures that just makes it more challenging and the other thing about patterns was nice about them is once you define the pattern once it'll stay built into photo shop at some point though you probably want to say ok I've created these extra patterns so I would go to my preset manager and eventually I would see multiple patterns here and I want to save these somewhere else as a backup plan so just in case especially if you took a while to find a pattern that you know work the way you wanted it all that cloning everything I would definitely want to be using the precept manager to save a backup copy just so you don't end up kind of going that was a lot of work that do all over again okay sure okay what else all right in studio audience you get first did so government can you show me how to make a a brush like a custom brush that might have been dealt with in another class but not the one that I was in well that that the cool part about brushes and photo shop is anything you can select khun b a brush and it doesn't have to be a pattern has to be unfettered selection either rectangular or square a brush could be anything so the way it works is whatever's dark is going to be your brush whatever's lite will be more and more see through so for example even this right here I could make this into a brush because I like this kind of crack in the cement and I could do to take the whole thing or a portion of it and just for the sake of argument for now let's just take a piece of it although I could take the whole thing and then you choose under edit defined brush preset now there's a couple things that are gonna happen here one of them is the a little preview box beside the name always tends to kind of squish your brush so if you have a really long brush your trying to create don't be fooled by the preview is gonna look all kind of squishy but that's just the way that the dialogue boxes set up once you've done that, then when you go to use any of these brushes, it will always be whatever the last one you have defined now you can see my brushes way bigger than my document, so if we scale this down you can see it the way the brush is going to work it's going to take on whatever the foreground color is so even though I defined the brush is like from a photograph that had color it's going to say, well, your current form color is black so your brush will look like that if I went and said ok, but I want this shade of rush it's going to take on that color so the main thing to remember is within which ways you're defining the brush the darker the color, the more one hundred percent capacity is so if you wanted to say ah, copyright brush that said copyright my name you do that with the type who'll make sure the type was black and the background was white that way when you define the brush, you'd have one hundred percent capacity text with zero in the background because I was defining this from a photograph it's going to use the different shading to determine the brush now, although it's not necessary what some people find helpful is because they know the brush ultimate is going to become kind of like a grey scale brush is they add a black and white adjustment layer just to kind of preview what they're rushing to look like you don't need to do that when you're defining it, but sometimes people find when they do that then they start going on maybe all movies around but I just wanted more to be the crack and everything else to be lighter so that it will define it a little differently so you can do that kind of thing as well as temporarily adjust so you can see what you're doing before you define the brush and then the same thing happens anytime you're talking about a preset they always end up here so at a certain point I would go to the preset man you're saying there's my brushes I defied I'm going to say those as a set as kind of a backup plan so that if either moved to a different machine or somehow I delete them by mistake, I can always load them back in again and one last thought about brushes generally it's always best to define the brush bigger than you need because you know you can always take a big brush and make it smaller it's a lot harder to take a little brushing and larger without losing quality all right, you ready? Ready for another one, but okay, so, uh, mary, from facebook has a question about well, I'll just read it to you. Sometimes when clicking on a layer, I need to move around when I start dragging it. Somehow, another layer gets selected. Uh, do you have an idea of where she's going with this? Ok, for example, I have an image on later one text on later to and a texture on layer three, click on layer once a selected and then move my mouth to click the move tool and click it but when I dragged the mouse to move later, one out of nowhere, the layer to becomes active layer and it's driving her crazy, so here's here's the thing about photo shop that's always fun, that is, when adobe makes a tool or function, they give it options as to how the tool operates, and they always have to put something in there as a default setting. Just to show you there is a default setting and let's just say that some of the decisions they've made as to what the default should be is not entirely helpful to most people. So just because there's, a setting in the office part doesn't actually make it good, just means that's what it will be decided is the default and one of the settings with the move tool that can be either really helpful or really a pain? Is this one right at the top? It says auto select so if you have this turned on in theory, it makes sense because here I've got a bunch of layers and I want to work on this layer right here, so if I click on it automatically identifies it, forming the layers panel so on the surface level you would think, well, that's, pretty cool because it saves me having to go back and forth to the layers panel the problem many people have is if you miss by a pixel you mean to click on here and you click there all of a sudden it's select something totally different or you select a layer over here and then you go to move it. It's elects a different layer because it's that auto select all the time so it's a it's a personal preference, I usually suggest turn off auto select layer because that will eliminate that. Why is it selecting the layer? I don't want kind of thing, however this is sort of a part too is there is a way to get the equivalent of auto select layer on demand, which is the way I would suggest doing so I already have my move tool selected normally now that I've got auto select layer turn off what's going to happen is no matter where I click it doesn't matter it's just going to look at the layers panels say well, this is the larry who have active so no matter where I am I can move around doesn't matter and I like that option to be able to say I don't have to be that specific but what happens when I do want to for example click on this type player instead of me having to go over and go? Which one is that? All I do is I still have my move tool but I hold down command on a mac or control for windows and that's like a temporary activation of auto select layer so now when I click on this later see how its elected that layer automatically so wherever I click it's going automatically select the layer for me which is the equivalent of auto select layer but you're calling it on demand as opposed to having it on all the time and that's usually for that question that that started this that's usually why that problem exists is that somehow that officer like players got turned on and you don't realize it. So when you're clicking on things it's doing what you're asking me to but in a way that often can be very inconvenient so a lot of these options with tools are very personal preferences I used to have all this like layer until I realized that more often not it was actually not helping so this is to me a better alternative is auto select when you want it to be auto select and it's just a matter of with the move tool either the command on the macintosh control for windows here's one little side tip if you have multiple layers all piled up on top of each other and you command click, it'll click literally wherever your mouse's if you right click or control, click it actually pop up a list of layers that are in that position of your mouths so that way, if you had a bunch of layers and say, well, I don't want the text I want the other layer and I'm going to say that I deliberately left this called layer one to show why it's really important you should name your layers because if you pop up a listening says layer one leader to layer seven is like, ok that's really helpful so normally I name all my layers, but in this case I deliberately just to show you the importance of it is ideally you want to do it so that when you pop up that list you actually see the names of the layers instead of something that says layer to copy seven, which is really not very helpful at all already this is great already I'm really liking this so far mr fugate is asking what is the best way to remove background around hair? We've actually had several people asked this kind of question okay that's an interesting one let's see what I've got in here that might so I don't have ever noticed this this is I'll get to that question in a second but one of my minor little pet peeves of adobe is whenever there's a new feature and they do a demonstration either live at some event or a video they create I always get this feeling that they've spent hours and hours finding exactly the right photograph to make the function look brilliant and then you try to kind of go oh doesn't work like that for me so I'm kind of the opposite when someone says hey there's this new feature that selects hair I'm like really well let's try this one and I picked but what I think is going to be the most challenging one to say well if you think you can do it let's, try it on something because often they'll take like a girl with dark hair on a white background okay well that's not and her hair is all nicely coughed and not blowing in the wind on like let's try ones like this where it's a little more challenging so one of the best things that has happened in recent history of photo shop is this wonderful command called refined edge it was good in when it first came out in like cs four uh maybe see us five but in c s six it's completely revamped and for anyone that's not currently using it my typical responses you're working too hard especially you're trying to make a really accurate selection of things like detail like for or hair so here all I've done is I've created a very kind of what I would call vague this election and I'm not worried about the restaurant here I'm just trying to show the hair part because that's where the questions coming from so you go and click on this thing called refined edge and it's a soul dialog box and there's a couple things they're important about this first of all we can look at it in different ways now normally if the main reason I think people make a selection is to put someone on a different background so I'm gonna actually take a step back here because I think it will be a better demonstration if I was actually trying to put her on a different background so let me just we'll come back to this in one second here so let me go find a what else do I have open here? Well not that let's use that all right so let's try that again okay that's better okay so now she's on a separate layer and I use my quick selection to win again I'm not worried about getting all of her for now I'm just really focusing on the hair and when I go to refine as I started to say there's, all these choices but what usually happens to people is they look up the person that they're trying to extract independent of anything else, so they start obsessing over every little tiny hair to make sure it looks good where we really should do as look at it in the context of the new background, so I need to just kind of disturbing me that I cut off her neck completely there, so that was just weird it's one thing to cut out some things, but that just was looked really on, so in here the option out uses called on layers you see how now I'm seeing her in the context of the new background said of just on a white background or a black background, what tents that happen to people is they start trying to fix it there like I can still see all these things and doesn't look very good, so by putting it on layers now, every decision I make is in context so I would tend to still let's go a little bit closer in here and this tool has some are this function has some interesting op she's one of them is called smart radius and it will attempt to kind of look at things like hair and then you could just kind of paint where you know there's hair and it starts to each time you do that it kind of redefines a little bit and starts to find more detail and a certain point the other view that I would use is called on black or sorry black and white and this actually is almost like a preview of whatever kind of mass that's going to create so if I say things like this where it's okay and I'm seeing little bits of gray that tells me that still catching a little bit of the original photograph that I don't want but again instead of spending forever trying to move all these and get it perfect in one shot at a certain point and say you know that's I know from trying this enough times that as long as I see white and light ish gray that's ok, I'm still let it at a pretty good point so I would then output to a layer mask so what happens is I have my layer and I have the mask and if I option or all click on the mask and see that's exactly what I was just looking at before so clearly it still needs some help let's move for up a bit so we can see it you can see how it's sort of semi see through there, but actually here's a good example if I knew I was going to position her there because the background was also light, I don't really have to worry quite so much about the leftover background because it almost kind of blends in. So that's. Why said that, it's usually a really good idea to start off by dragging the person on the new background before you start making any decisions about all those kind of things like here, but just so we can see what's happening here. So if you're familiar with the concept of a layer mask, the way it works is black hides whatever's on the layer, white shows it, and gray is somewhere in between cars like to call kinda kind of showing kind of, and what we want to do is I want to take whatever is this gray here and make it black? The challenge becomes if I just took a paintbrush and started trying to paint on it, I have to be incredibly accurate and make sure I wasn't painting over the wrong parts so there's a little trick and it's one of the best things ever meant. First of all, I need to not paint with the brush of the crack that I did earlier, because that would be weird or some of the eyebrow brushes that lindsay adler had the other day, so I just need to find kind of the right size and here, ok, so on the mask, you there paint with black or white? No, if I tried to paint with black and this si it's goingto do too much it's covering everything up. So rather than zooming way in and getting a little tiny brush and trying to paint a bit of the time, there's this wonderful command in the brush options in the ocean park called overlay and it's, this almost magical blend mode that says black can't paint on white. I'm trying to paint right now, but nothing's happening because I'm black, it's my form and color, and I'm on top of white, nothing will happen. How? Where if I come over here, watch what starts to happen, see how it's painting out the great but leaving the white I mean, that would have taken me a lot longer if I was zooming in and trying to get a little brush ins and do little strokes, and it works the other way around. If you have areas that are like grade that you wish were whiter overlay mo will do the same thing. Now, normally, I'm just showing you that because I want to see how it operates, but normally I would actually do it in the context of the photographs I'm still painting on the mask. I still have overlay mode, but now as I'm painting any decision I make, I'm kind of seeing it in the context of my background and there are some times where nothing will you get to certain point where you still need to try some other alternative and here's what's really cool about refine edged the first run when you do it, it generally does a very good job sometimes really good and other times like this, it still has a bit of room to maneuver and some more things to be done well at this point, because it's no longer selection, I can't use your fine edge anymore because we're finance means once you have an active selection or while you have an active selection, I can refine it. But right now it's a mask it's not selection. So the other kind of new thing which is interesting is there's now a panel called masks. If you scroll down here, you'll see one of the options is called mask edge, so it's exactly the same dialogue box, but it's almost like giving you another shot because now I've made a mask and I have to refine that using the same types of commands that were in refined edge. So what's great about this it's almost like a second chance if you didn't quite get it with refinance often refined mask will be enough to kind of go on out. Let me do another run with this and see if I can't improve upon these areas and try and make it look a little bit better as I paint and sometimes, you know, frankly will still take some effort, but you kind of get the idea here that it's it's starting each time I'm doing another pass it's looking a little better and a little better, and I could still go back in and do this smart radius. The idea of smart radius is it will attempt or I should say, make its best attempt to distinguish between a hard edge like her arm and a soft is like hair, and sometimes it does an ok job. Other times it doesn't. Now, if this was a real project and I wasn't just kind of doing this by the seat of my pants, um, I normally look at a photograph like this and say, and this still relates back to the original question about removing that extra hair detail or background from the hair is refine edge, even though in theory it will attempt to find both soft and hard edges at the same time I typically do it in two pieces. So if I was really going to extract her off this background, I would make a selection of her body and her hand and her face and worry about that because that's all the nice hard edge that make a separate selection of her hair and do that in two pieces. So the net result is it'll still look like she's been extracted off the background. But I really have one layer, which is her body and another layer, which is her hair. And because of that, I can move those refined edge sliders aa lot mohr independently and get a more accurate job right away. Now the other option is just do like I did. I never have a problem with hair selection of my photos it's like just like that so that's always another option. Very good. Uh, thank you for that. S o tish from oregon says I was wondering if there is a quick way to use a brush type function to fill a space non uniformly but evenly covered. I'ii adding stars to a sky area that's one of the cooler parts about the way brushes work is anything you can define as a brush and let's just see what goodies we haven't here already. There might be something I can use that will serve the purpose we're going to pretend this is a star it's not it's a little leaf of some kind you go get still too big now sorry previous person settings were a lot different than I thought ok let's find whywe okay, so let's see, I have to kind of backtrack a bit and try to someone's already been in here playing with this brush because normally wouldn't look like this so okay we're going to take another approach because that's gonna take too long for me to fix that so ok so we're going to take our custom shaped tool in here somewhere we have I'm sure there must be like us something we can use in here let's do this okay, so I want that to be my brush I'm going to define brush preset and he told me to find a brush it only need that document open anymore typically I would always try to do everything on a separate layer so that when you mess up I mean if you change your mind you can just do that easily. So I go to my brush and find that little heart shaped that I created and that's the way it would operate just by nature is when I paint it actually just is a thick brush because it's going to take that one little heart it is keep repeating it over and over again so the function that lets us change this is in this very complicated looking brushes panel, because this is where you can determine how the brush operates. So, for example, down at the bottom here, and this is a really nice preview, because it gives you a good idea of what you're going to get. But as you'll see in a minute, I think one of the best things you do is try a setting and then actually do a quick brush stroke on your image, see what it looks like, and then undo it if you need to. Because sometimes this little preview again, it's. Not really in context, this is sort of showing you well, this is roughly what your brushes doing. So the first thing I would change is like spacing. And you see, as I move the spacing higher. Now the hearts are getting spread further apart instead of being one long line. And then if you go to things like shape dynamics, you khun say, change the size over time, so make some of them bigger or smaller. You can also choose to rotate thumbs, and you can see the preview now is doing it. There's also a function called scattering. We can decide. Do you want fewer or more of them scattered away from each other? So these are all options which are going to kind of a just and you can see how interactive it is, but what I would do is at a certain point and say ok I think that's going to look pretty good but let's come over here and as I paint you see, it just kind of scattered them and now I look at and go ok, well that's not what? Quiet ahead. Mind let's? Undo that and then try some slightly different set and this can apply you can also change the color so over time as you paint, if you wanted them all to be slay different shades of the same color this dialog box is probably one of the most powerful slash challenging ones in foca. Because there's so many settings and the names are how should I say this understood by the people who created them? You know they said let's call it this because in our engineering, brian it's like shape dynamic means the jitter, however, also like jitter shooter but that's the reality of a program that's written by programmers is in their mind, we'll geter is the term for change over time. When you're talking about dynamics of a brush and the like course it is way all knew that so that's, why we have this preview down the bottom and the option of going well let's just see what happens so the reality is for most people try it and see what happens and as you try certain things again I don't really want I want to keep the shape the same but I want to have scattered so now my brushes and changing its size or orientation is just scattering them so there's really no right or wrong here it's more what kind of look are you going for you if you have a tablet like I do here you can also very pressure to do different functions like scattered them or by how hard you press or make them or less see through depending on the pressure sensitivity use if your pants so that's another awesome but if you don't have a pen there are other controls including one like fayed which just means no matter what I do with the pan at a certain point those settings will fade out over time so the scatter started scattering and then it's faded out. So even if you don't have a pressure sensitive brush which by the way I highly recommend it if you don't you can still achieve some of these random effects by looking at these other control settings and just do it based on overtime versus how hard you press with your pants now the on ly kind of warning label I would stick on this function of brush and that's why I end up starting with the new brush this I happen to click on a brush that the previous instructor was obviously demonstrating something because it was doing something completely different than I expected, and when you change settings like your brush setting more often, not most the time, it'll stay that way until you change it back again. So generally, if I'm going to play with the brush and make something really out there, I'm going to say that as a separate brush precept to know this is my version of that brush that has all this craziness on it, and then I'll put the other one kind of back to normal should I wish it to be? And you just do that by once you're finished choosing new brush preset, and then I'll make a brush preset out of my heart shape with all this weird scattering effect on it already lee department is asking or saying rather, I'm terrible at extraction. Ines, what techniques do you recommend for those? Well, that's being basic that's? Just what we were when this very much related to that hair extraction, because the biggest thing that I think and it I don't want to say it changed my life, but it kind of did in terms of saving me time because what I used to do was look at this photographic, ok, I need to extract her and I will be focused on extracting her, and I would take all this time and all these techniques, then I would move her onto the new background and kind of go, gosh, her hair just blends right in the background. Why did I spend so much time extracting her so that's? Why I really, really recommend the most important step. A lot of people miss is dragged, the person knew background first, and that way, every decision you make is in context, so you're not kind of guessing. I mean, I had a case, this was actually the one that's hit home with me. I had a case where there was the one whose hair was really, really blowing on one side and took forever to extract the hair. Then I moved on new background, and the client said, actually, can you put her right off to the side? And when I did all that hair extracted, you could even see it, because it's, cut off by the edge of the photo, and it kind of went note to self move her over first from the moments are doing that every other technique, whether it's, refine, edge or whatever you use, at least you're making decisions that are your it's a better decision, because you're seeing it in context and I know I used to be one of those people a lot of people do where they obsess over every little tiny hair but then when you see it in the context of backing I don't really need to because it looks fine so that's that's probably the biggest tip and then as we talked about before that refined edge function is definitely won the best things for people that don't have the latest two versions of photo shop refine edge is one of the number one reasons to upgrade if you haven't already because it saves so much time it is a very powerful command it's one of the commands that actually lives up to the building of saying we'll get how good this is it really is really makes a huge difference crate cool so we have we still have a ton of awesome questions from the internet I just wanted to check in with you guys see if you had any over here could you show us a quick overview of the crop tool? Sure, speaking of important changes in photo shop cia six here's one of them so before I show this I just want to make kind of a side comment and I I always say this and most of my classes because I teach a lot of class and I watch a lot of people and I've realized that by nature and this isn't just photoshopped but it's typically by nature but evident in photo shop is we are creatures of habit we do things a certain way because we figure it out and it made sense so when c s six adobe changed the crop tool and almost everyone I show it to his like I hate that I hate the new crop tool and so bad and I went back to their like this is awesome but it's because they gave it a chance and the worst habit people have is because they can't figure it out and it's new and different they give up on it too quickly and in this particular case just to make matters worse and I personally think this is a bad idea where is it there's even an option I have to think where it is used classic mode that's an option that they will be put in to say if you really hate the new way we'll let you go back to the old way I wish they hadn't put that in because some people click on it too quickly and miss how great the new crop tool is but it is very different in the past the way the crop to a work was you would basically click and drag and say I want a new area to be cropped and then you'd crop it what what happens now is let me start over as soon as I click on the crop tool there's already handles there in the past, you always have to start by dragging something now, just by clicking on the crop tour pressing c for crop it's got handles, and when you move the handles, the difference is you move the image inside the handles. In the past, he always had to move the handles around which, especially if your photo was slightly crooked tryingto correct on off kilter photograph in previous runs, a portion of the crop tool was pretty much a guess because you rotate the crop handles ago. I think that looks good then you hit crop and go, ok, no now if you need to, you're actually see the difference I'm actually moving the crop stays put, but the photo is rotated and a lot of people found that so foreign they couldn't use them nicer when you think about it, this actually makes better sense you're seeing. This is my crop photo so it's it's actually is way better but it's a lot of it's one of those things where because it's quite different a lot of people initially were like, wow, I just can't use this and I was one who was saying try it really is worth it there's a couple of other functions in here which are really important that they were they were in previous searches of photo shop, but you had to know where to look now it's much more obvious one of the best habits to get into is the photos abuser I believe is working in this method that people for is being non destructive where you any decision you make you're not throwing away information or layers or pixels the crop tool by nature has always been destructive soon as you hit enter those extra pixels or gone if you had saved their definitely gone so there was a way to do this before but it was much more hidden in c s six there's actually the option of do you want to make the crop permanent or not by default it saying delete crop pixels if that's on that when I press enter than indeed those pixels will go away but if you turn that off what it means is when I hit enter it's cropped kinda because the rest of the pixels are still there and I can even save this document as a psd and then come back later go gosh I wish I hadn't crop that then you just go the image menu and choose reveal all and it brings everything back on this case because I rotated first it's that's also happened but the key is it's non destructive cropping which never was an option before cropping was always well too bad once you prop it's gone so this is there's two things I think important one is the crop tool really is works a lot more intuitively what's interesting to me is when you show a brand new photo shop user, the crop tool, they're like, ok, it's, all the people to be using photo shop around like, what the heck is going on here? It's so different? But it really is it really is good, and the other thing is this whole nondestructive ability, there's, lots of other things that are interesting, like when you go to to do something with the crop tool, you have options of these little overlays you can use, like a rule of thirds or a grid, so if you want to see helpyou, line things up and things like that, if you want to rotate or do whatever so there's lots of other additional things on the other thing that has happened recently is there's more preset settings that used to be in the previous version, if you want an eight by ten, you had to type eight tab ten, because there wasn't just a setting that said that now their arm or choices just built in where you just know you want it by ten, you just choose it from this tool pre set menu, and it basically cuts to the chase and says, ok, you don't have to type in all that information we don't want to cool so kind of along the same lines we have a couple questions from the internet talking about cropping so shelly is wondering if it's best to crop first or at it first general well that that's interesting question and I on ly semi jokingly say that almost every photo shop question could be answered by saying it depends but it really does because if you weren't one hundred percent sure of how much you wanted to crop but you wanted to get started then I suppose you could start doing image editing of some other nature the on ly worry I would have with that I just had a little thing fall apart here's there's have to plug back in here okay um some functions for example, one of the ways that people edit on image is with levels so when you go to the levels command this history graham is a representation of all the pixels in this image. Well if for example, say there was a really bright window on the left hand side of this photograph that would be indicated by the history graham so if I was making decisions on the brightness of this photograph and end up cropping the window out anyway, it would actually make better sense in that case to say, well, let's prop it first and be then making decisions based on the pictures I'm actually to use so I don't think there's a clear yes or no answer on that one it's more just atleast consider that if you're making decisions about the overall look of an image using feedback like you get from levels be aware it is using all the pixels in there so if you then end up cropping at the history graham will actually change so just to show you what I mean so here's the history graham for this image the way it is right now if I I'll just make a selection but we could pretend that's the same is cropping now the history graham looks different because the pixels that I'm working with are different so that's probably the main reason why I would say at least to some degree consider cropping first if you use photo shop c s six then you have that offer the crop tool of making it a non destructive crops at least you can still change your mind should you wish to yeah that's great on day one other question about cropping from shelby the last one was from shelly yeah the grid in crop is hard to see in photo shop is there a way to thicken the lines and or change the color for easier viewing at all? Um I was going to make a joke but I thought I was going to say yes it's called tech support our make this change at adobe dot com no there's that's one of those settings where adobe just said, here you go, here's a grid so if you can't see it, then sorry. What you see is what you get. What you see, what you get exactly. Okay, maybe inclement house key is asking. I'm totally lost when it comes to paths could you cover some basics, please? Sure. Okay, paths. So the whole premise of photo shop is it's a pixel based program. So everything we do is made up of squares. Of course, if you zoom in far enough, you'd eventually see those little pixels and that's the way it's made up the before photo shot came out there was actually there still is a problem called illustrator, and it was based on vectors and vectors. Are these mathematically defined paths that don't have any worry about things like so, like photo shop? We have to worry to say, well, this photo is so many pixels per inch so I can therefore it can only blow it up so big without losing quality. Ah, path has no resolution. So when the advantages of it is, you can make a logo from this thing called a path and then end up blowing it up to the size of a wall and you won't lose any quality. The challenge with it is it's let's just say it's not the most intuitive thing in the world to work with. So there's a couple of different options here. If you wanted to just create a path completely from scratch, use the pen tool is one of the most common ways that people start and basically the premise of the pen tal it's like a click every time you want to change direction tool so just to keep it simple. If I wanted to create a triangle, I would just klick once every time I was changing direction, when I come back to it, start it's kind of closes it off. Now, if I stop right here and printed this, you would see nothing. So a path like this is just useful for me and photoshopped if I do something with it. So creating a path is only step one. If you just created a path and stop, you would have wasted the time of making that path because it doesn't do anything you have to do something with it and that usually what people do with it is they fill it with a color to make a design or they turn into a selection because they find it easier to make a selection using these little points or something like that. What makes this interesting for many people is there's a couple of tools like this one called the direct selection tool, which I like to think of us the reshaping tool because see, when I click on this, how there's little empty squares on each corner of this object, this means I could decide later on I should have made it this big or put this corner over here. So now aiken reposition this and do whatever I want to a change it there's even tools where you can converted to say, I really wish this one here was actually a curve so it's tricky in that for most people they're like, ok, so I've got that what do I do with that now so that this alone doesn't do anything? What it allows me to do is I save this document then sure enough, the path would be there next time, but ah path by itself just means ok, you've got this thing that you can then do something with so generally what people would do is things like, well, let's make a new layer and then there actually is a panel called paths and one of the options down the bottom there's all these options that say like phil path with your four around collar, so once I have my shape the path created the way I want, then I click on this button and it says I will put that so now on this layer I have this shape at this point this shape is completely independent of the path the's air just pixels now, but the path allowed me to redefine my shape til I was happy with it and then decide to do something whether it's fill with something or stroke with the color or turn into a selection if I can see here even though I've moved this around if we go back to the paths panel, that path is still where I left it so it's completely independent. So what? One of the things that throws people off the paths to begin with is why would you even do this? Well, because trying to create that same shape and photo shop using other tools will be much harder because once you've made a shape out of pixels it's harder to change it here at any time, even six months from now, I could take this direct selection tool and edit this path and all kinds of ways and use it for some other purpose, and the other difference is this curved line is always going to be much smoother than if I did that with pixels because pixels members made up of squares, so to make a curb line it's a whole bunch of squares kind of offset like a stair step, so from far enough away it looks like a nice curve but if we start to zoom in you see it really isn't such a smooth curved whereas if I showed you this path see how it doesn't matter how much I zoom in it's still really nice and smooth so the one of the advantages of creating a path is if someone comes back and says we love that thing you did now we want to put on the side of a truck you can use that path and it's make it much bigger without losing inequality whereas doing it through pixels means your basic limited by how big you made it to begin with. So in this case I made a path by using the pen tool the other option which a lot of people do because frankly it's a lot easier is using the shape tool there's all these built in shapes so all of these air available and photo shop in there whatever shape you want and then what you do is over here you have the option of either turning into it's something called a shape layer which is another form of way of using a path or just the path like I just made so like in this case if I choose path when I click a drag I can make it whatever size I want I'm not going down the keys and I hold on the shift key it would constrain it but if I don't it just says, there we go an hour it's still, as if I created this with the penta, what difference is it was just made from some existing shape, but the most important point of this whole discussion is that creating a path means nothing that's always step one of something else, whether it's to make a graphic or to make a selection, or to make a mask or something. You don't just make a path and stock because there'd be no point in that path has always the first step of some and result whether it's making a shape or whatever it is, the other thing I would just add before we continue is just so everyone knows who's listening to this, the pen tool is without question one of the hardest tools to use because it's not terribly intuitive, like how you create kurds with it is like just hard, and it just takes some practice, and I started saying to people a couple years ago, if you're still if you're trying to learn the pen tool, I would say there's probably also turn of choices that gives you the same end result. Some people are determined to use it because someone told them all you should learn the pen tool. When I teach my beginner photos up classes, we do not learn how to use the mental because from a day to day standpoint, I believe it's not as useful as it once was where was considered kind of a, uh, very much a required tool to learn how to use. So hopefully that helps gives at least some insight into the world of paths. Awesome. So a question from the internet in medeiros is asking how about creating a frame or in that to matt photos that can be reused? And I think they're meaning borders so like something with a texture and a light line or edge around the photo itself, and then how can you make that a template? Okay, um, well, anything people say words like reuse or template to me, that automatically means layers, because if you're not using layers, you're just not gonna happy ability to do anything that's very reusable, so I always my first thought is always how can I do this using layers and even within layers? There's always a couple of options, so let's do this. I'm just going to try to make this fairly obvious without going into a huge amount of detail, so I'm just I'm going to create a layer. And just fill it with color and all I'm doing is I've chosen my four run color of the keyboard shortcut I'm using his option to leader all back space, which is a quick short cut for phil with the foreground color so instead of going edit fill that just does it more easily so here's a couple of examples though of the different ways you can do something let's say for the sake of argument I just wanted to make a red frame and I wanted to have a little bit of a texture in it so I've created this layer and then I could make a big rectangular selection and I'm actually showing the way that I would suggest you probably not do it first just for purpose of comparison hit delete so now all I have on this layer is a red frame and then I'll go to something like, uh, filter gallery and there's a little one called texturizing er and I'm gonna go overboard, you can see that I've added a texture sewn agassi I have a frame and it has a texture to it. So in theory I could take that layer and drag it to a different photograph, but if the photograph is a different size, then right away I've got a couple of problems because now it doesn't fit and I can't really edit this because it's just layers are such a layer where I deleted information, so instead if it was me and it is today, I would do it this way. I would start off by saying, well, first of all, let's use something called a solid color layer. Now the difference is the first time I chose a color and then said phil, once I filled with read, that letter was read, period, I wanted to change the mother color, I'd have to go pick a different color, fill it again and have to always be redoing that what a solid color layer means is that at any time, if I decide, I don't want it read, I just double click on it and it brings back the color picker, and now I say, I'd actually like this color instead, you see how it's live, whatever color I choose aiken say line green, whatever, I want it completely live so it's, so much easier than using phil, because right away, everything I'm seeing his life so that's step one is instead of just picking a solid are filling with a solid color, we use a solid color adjustment layer. The second thing is that first example, I took my marquee tool and I made a big selection hit delete on this case instead. What I'm going to do is I've got my solid color adjustment layer and decided is the layer mask and the layer mask says again hide parts of the layer and you hide a layer by filling with black so within this selection, instead of hitting delete, I do that command for phil and you can see the result is now I still have the equivalent lighted before, but the difference is two things about this remain live and or editable the first one is the color, so if I decide I really want this color instead, the second one is how big an opening do I want? Because this is just a shape that if I use free transform, I can decide if I want a skinnier or a thicker frame in effect just by transforming the mask, so those two things are already giving me a step ahead. The other thing that I would remember in that first example, I apply to filter to add a little texture if I did that in this case, it's still, I'll be the one thing that I couldn't edit, so there is ah option in photo shop that's fairly recent, and any time I can do this, I do it's called a smart filter, so normally when you apply a filter, you move some settings in a certain point you have to click, ok and what normal people do is they kind of hover over the ok button going I don't know because once you hit ok you're done so this command called convert for smart filters is going to take this object and change it in a way that now when I go and do that same filter I did before it was that texturizing er the differences you see there in the layers panel that actually says smart filter filter gallery so this means two things first that means I can turn it on or off if I want to see what it looks like or not also I can double click on to say I want to change the settings because I don't like this I wish it looked like something else so the difference is this is a re editable filter so if I did all that which I did and lot of let's go and find some other photo I have no idea of the relative scale as the one of these air similar size or not we'll find out in a minute so I'm gonna take this whole layer and this it's kind of the template idea of it is when I drag it over to this photograph it's way too big now that this was pixels I've kind of be out of luck because I could only edited so much but because it's this thing called a smart object I at least have the ability now to kind of say, well, let's, first of all, scale it down like this to fit, and now that I've doing that and I look it in the context of this photo, I'd only like those settings for the filter. So you know what started the other photograph because everything is edible, I could go and say, let me pull the settings back on this filter and if I the only kind of tricky part is when I converted this to make it a smart filter, I temporarily lost that layer mask, but I get it just by double clicking on it and it's going to open a separate window that lets me you say, for example, on a scale this this size, and as soon as I close it and save it it's gonna update on this other one. So this is kind of the even though photoshopped technically does not have an option called savers template by using smart filters and layers and any type of layer function like a color adjustment layer it's his closest you can get to a template because every aspect of it is reusable in another photo. Now, if you brought enough photo that was ten times bigger, you might have a bit of a problem with filters if you started stretching it have to redo everything because the scale is different but least you can if all you had was pickles on a layer and you drag drug if you moved it over to that other photograph you'd be out of luck this way you could drag anything you want and edit every aspect of it so that's kind of mine interpretation when people say reusable or template this is kind of the closest thing there is can you go into the liquefy and puppet warp tool slash filter? I love that name I do too and unfortunately it's one of those names where I know why they called it that but I know a lot people never use because they're like pop I'm never gonna warp a puppet why would I want to do that? But it's actually kind of interesting because well that let's address the whole question so liquefy when you go into that command s oh boy and I keep stepping back is I think more about this so one of things that's happened recently in the world of adobe is this thing called adobe creative cloud, which is a different way to you have access to your software and as part of that, one of things adobe has chosen to do is if you're a creative cloud subscriber you get updates to your software before anyone else. So for example, very recently adobe made an update to photo shop one of which is liquefy is now a smart filter in the past that wasn't so whenever you did liquefy as soon as you hit ok, you were done so that's one important change is sort of as an aside but so liquefy opens up a separate window. This is an example of one of the biggest changes that adobe often makes that's not obvious unless they tell us liquefy the number one rule used to be never open entire photo like this it will be so painfully slow you want to poke your eyes out because you go to do something and you be like waiting for it to update now liquefy is life I mean it's so fast now it's ridiculous that this usedto if I have done this before we would've been sitting for the next seven minutes watching the brush go it was just painfully slow so they think with liquefied that's great about it now is that you can do functions and not have to wake us what used to happen people is they go to liquefy and keep moving their mouths and I'm not see anything happen and then by the time that caught up with them they've done too much so liquefy is vastly improved because it's now much more life and so here's ah little tip that is actually I think a really good one for anything in photo shop when I was playing here clearly I don't think I won to keep that it's not really great and most people's reaction is to cancel out of liquefy and then reopen it to kind of start over again ever done that? I'm sure most people have for any function where you're thinking I just want to start over again this tip has been around for a long time but it's one of those you wouldn't know it unless someone showed it to you see where it says cancel if I hold down option or all the changes to reset and I could just start again so any dialogue box where you see a cancel button of course I'm saying that it's not actually working in this case but it should any dialogue box where you've made a change then you change your mind optional will change it to reset so that's kind of the first thing the other thing with liquefy is there's all these different tools and you have to choose the best one you can make decisions for example let's say for the sake environment and I don't have a great example here but I'll show you this that what I really want to do is try and liquefy this one lamp post but not affect this other area the challenge would be as I started to move it it's affecting other areas as well so liquefy has this tool called the freeze tool and you can basically paint areas to say don't touch these areas so now as I'm just doing this really fast, you could also do this from a selection initially but what this will allow me to do is now if I start doing liquefy, see how it's not affecting those things in red so this is how you can do things like I want to affect her cheek but not her glasses. You khun freeze the edge of a glass frame and then push her cheek up and down to make it look like she's smiling mohr or something like that so that's probably the the biggest if I'd say with liquefy, is that people run the problem because it's saying, stop liquefying that part and it first all four shop won't listen to you when you yell out so that's not gonna help, but secondly, this is the better choice and say I would like to freeze it and there's two ways of freezing there's that way that I just made or I could just say, I just want to liquefy this area, then when you go to liquefy, the rest of it will automatically be frozen. So that's the other choice. So that's a little bit of liquefy puppet warp is really an interesting option and for some things that, frankly, I don't know how you would do it otherwise, because it does ah style of warping that we could never do before without losing quality it's a little unusual, I would suggest that this is where it's the fun starts so puppet war per cent of the edit me if I just chose puppet war straight out like this it means I'll put this weird looking grid thing over your whole photograph and then you warp it by pushing and pulling so it's a little more interactive than liquefy, but the problem with it is once you hit ok, you're done so even though what's under the edit menu technically it operates like a filter, which means if I choose convert for smart filters aiken macon editable puppet warp as opposed to a permanent one so that's kind of a little hidden trick there. So now when I go in here, you click these little things called pins to say what I really want to do is more this building and as I started pulling it and start to see I'm pushing and pulling things around if I had done a better job with me, normally what I do is if I'm trying to work with the middle of a photograph, the first thing I do is put pins in the corners to say stick those parts don't move those and now if I come back to like this building, hopefully you can start to see how it starts toa do things that I mean obviously that's a real world example that we probably want to everyday is work building oddly like that, but the point is you see how it's even though it's war pre dramatically, it didn't really lose a whole amount of quality and I've seen people who have taken like I don't know a branch that straight and curved it up to make it look like a letter, but it still looks like the bark on a brand. So there's something behind this puppet warp technology that's actually really good it's just the name is so weird because, like, why is it called public warp? And unfortunately, as a result of the name, almost every example that first came out when public work came out, they had a person on a white background they're like, look, I can move his arm like a puppet that was like sure, because I do that every day it's like, thanks so a lot of people use it for like I've taken a photograph and that perspective that building a slightly off so I could just take in disco and just pull it up just enough to fix it without all kinds of fancy stuff so it's cool tool, weird name, but I would suggest any time you have the option of first converting your files, so whatever you do is that whole smart editable filter idea that's going to give you a big advantage for sure. Awesome. How we doing in the studio audience? You good? Okay, so fabiana is wondering about preparing and sharpening her images for facebook, and I bet a lot of people have that question. Actually, could you go into that a little bit? Sure, one of things with sharpening, as always a challenge, because the question is, how much should I sharpen so let's just do this. We'll pretend this is our photograph it's a little big someone's making all smaller. So a couple of thoughts about sharpening is the challenge with sharpening is if you're sharpening for print, let me say it the other way. It's actually easier to sharpen for an on screen use like facebook than it is for your printer, because sharpening always looks much more obvious on your screen that it does when you print. So what most people find is the first time they try and sharpen a photograph to print on their desktop color printer. They do this sharpening out too, the point on the screen there going, oh, that looks like it's too much, then they put and kind of go came see it, so preparing sharpening for an on screen use to some degree is actually easier because it's more what you see is what you get because if you're preparing for print, you almost have to accept the facts, going to look a little over sharp on the screen until you printed, so that suggests if we have a photograph, we should sharpened differently for print, then we should for things like facebook or any online use, so I would even here tend to convert for smart filters just so that you can have the option to change your mind, because one of the realities of online things like facebook is, it might look brilliant in photo shop and you uploaded, and it does something along the way, and you go very good, so I prefer to have the option off, tweaking it a bit if necessary. So that's, why using the smart filter so there's a number of sharpening options smart, sharp and unsure passed on this show on shark mask is, frankly, it's, easier in the sense of number of settings smart sharpen is actually slightly better for some situations, but for here, it's easier to give numbers that work for an online use. So two thoughts about making this is about sharpening is make sure your viewing at a one hundred percent is if you're either resumed in our zoom out sharpening will look bad generally, so make sure your view is one hundred percent either overall in the image or in this preview in the middle of on sharp ask it's at one hundred percent so I can't see the entire photograph but that's okay because it's better to make a decision at one hundred percent view in this particular case it's the same so any decision I make here I'll see it over here is well and normally I'm not a big fan of like to try and explain how some things working but on sharp mask is one of the more complex thing to explain so instead I would say here is probably one of most typical sets of values people use for sharpening a photograph for an on screen use and that's amount of eighty a radius of one and a threshold of four so that's kind of like a formula if you will the theory behind it is the radius is the amount that's going to make the edge look mohr obvious so the higher you go it's going very quickly look too much you can see at a certain point actually is changing the look of the photograph completely so as a general rule we tend to keep that between one two three with three being for print and one being for an onscreen use and these air just rough guidelines everyone has their own kind of numbers they like to use but what's this is one of my frustrations when people are trying to learn this stuff is that people like me and many others say yes, use a valued in one and three is your radius and yet photoshopped lets you go to a thousand I have no idea why you'd ever want to go to a thousand except for special effect bizarro world so but imagine someone who's never seen on sharp mask and they're going I don't know what number to use and let's go all the way to one thousand I don't know why it doesn't stop at three I mean to me it should in fact what's interesting is now other sharpening methods on lee go from like one to four because they realize those air the more kind of numbers that people use threshold the higher you go, the more it takes away the effect. So in this case, if I go too high I'm isil click cancel because I'm saying sharpen it but make it look much less obvious a point where you don't see it and the amount is just the one that's going to again kind of really pull out the detainee to see very quickly the mistake mostly will make is they say, well, I want to sharpen that mohr and then when they do it just looks totally artificial and not very good even for print were we might be in numbers like one hundred fifty, two hundred but not like five hundred percent so this dialogue boxes is good in the sense that only has three values to pick from the challenges that easily lets you put in numbers that are way too high and the number one thing I always remind people is if you're preparing for an on screen use like facebook or some like that then you can make decisions based on what you see on your screen if you're preparing for print you shouldn't because what happens to almost every person is they sharpened based on what the textbooks say have used these amounts we look it on screen ago wow that looks too much so they pull it back because to their eyes it looks too sharp but your eyes aren't the printer so the printer it would come out looking really nice it's just when you're doing it for on screen use that's when you use your eyeballs to say these these looks like good settings to me anjali hagen is asking do you use adobe rgb nineteen ninety eight or s r giambi and why this is a question we get a lot yeah it is and it's a really good question color management and color space actually I was joking with you ben will more before this class start he said, we're going to tell people no color management questions that's one of those things where that could lead to a whole another discussion it's there's a lot of let's just say mixed opinions on those sort of things so I'm giving you my opinion I used both and I the decision of what color space to use is more often not based on what is happening with the image. So for example, if I'm sending it out to my lab to get printed on their printer and they tell me please send your file as adobe ninety eight mike you becca because it's their machine it's their equipment it's there they know what to use if I'm doing something for a web page and I tried it and go I like the way the colors look in s rgb then all converted to that so one of the recurring themes I think should be that keeping a master file as a ptsd is a photoshopped document that affords you the ability to say on the save a copy that's ajay pagan, srg b and that's the one that all upload to a web page and then if someone else says but I need adobe nineteen ninety eight for our color printer, then you go back to your master file on export another one in that kind of color space. If you're starting from a problem like camera raw, then you could make that decision in the camera settings at least as a starting point and one of things that that I always like to show in this is related to this discussion is let's go back here where we have a raw file ok? So one of things that I think is you see the very bottom of this document even position in a really bad place cameras a very powerful tool for a lot of different things not the least of which is related to this discussion of what color space to use but what throws people off so we have all these settings here but the important things some of the most important things in camera all like how big a file is it what color space you're using and things like that are hidden down here and what looks like information so where it says srg b sixteen three whatever size this is actually an option called workflow options there's some really important things in here that most people miss because that just looks like a a bit of information at the bottom but here's where we can make some decisions so for example whoever last was using this computer with camera had it set to s rgb fair enough now normally when you work on something in cameron has to say we move some sliders and then hit open image what happens is it applies all my settings opens in photos show the end meaning that's the end of that story if I want to change anything about these settings I pretty much have to start over again and that's the default way that camera raw operates so I'd like to suggest making one very small but really important tweak to that and that's checking this box that says open in the photo shop as smart objects and that really means from now on any time you're working in camera aw open it as a smart object and what that means is and I'm going to do some really bad adjustment so you can see clearly what's going on here I open it it applies all those settings and it opens and photoshopped but the difference is this little tiny symbol on the corner of this what used to be the background layer means I've created two way street between photo shop in camera so that means a couple things if I double click on it I go back and second I was bad let me make it look more like this I'm gonna hit ok? It updates back in photo show but the other advantage of it is if I did this I could still go back and saying on this case I think I actually maybe I do want it to be adobe nineteen ninety eight and then when I update it will update that as well. So this is kamerad this camera smart object, as it's called means that gives you a much more editable means of going back and forth between cameron photo shopped for various purposes, not the least of which is the addressing the issue of but what if I started in this color space? Is there any way to easily change that? This is one of several ways you could do that polity in the chat rooms has a question about her work space so while working in photo shop, I may have several images open my layers palette in history palate get buried and I have to move several images to get the pallet get to the palate menu a cz they're setting that can keep them above all of the images will this is one of things that that is a personal preference and when this was first introduced, especially for people on the macintosh side, it was a little odd compared the way photoshopped usedto work but it's a function called application frame, which I want to say it's probably off by default and what happens means everything in photo shop is floating so you have panels floating so at any time and be very easy to have multiple images and lose track of things. So as a general rule, I put application frame on for a couple of very important reasons. One of them is my desktop is always really messy and this way you can't see it so that's that's an important reason, but also it means panels can never get in front of or behind an image because they're always off to the side so this becomes your work space in the middle and if you open more than one image uh just get something else open here what's going to happen is now I just have two tabs so if I want to look between the open images I'd see the tabs across the top is saying here is all my open images if you have a whole bunch of images at a certain point in without this application frame they just start overlapping each other and we start to kind of go off the side the image and that's where you run into problems with panels and things on this nature here it always stays in this area and what many people that the problem people have and say but I want to drag something from this window to the other window when I can't see that window so this is the only kind of tricky part of of this application frame tab document view is normally if you want to drag and drop from one photo you have to see both photos that's the kind of the old way I would say now the trick is you start to drag you go up to the tab but you have to kind of wait till it switches views now when I dragged back down it allowed me to do that what happens to most people is they heard someone say we'll just drive up to the tab so they do this happen it's because it should be dragged out the tab wait for it okay now so you have to drag up tow it switches views then you've been dragged back down so that's the dragon drop has become drag weight drop and that way it's so much easier so that's the one reason that many people the reason they don't use this method of this application frame tab document you as they I can't figure out how to do that dragon dropping and that's the simple little fixes that little extra step we just wait until you see the new document then and the whole time you're holding down the mouse or in this case pan to be able to do that so that pretty much eliminates that worry of things getting in the wrong place and one extra tweet to that is here I have decided that the most important thing for me when I'm working as my layers pal so I have organized all my panels where all of these ones are collapsed and really small just the name and I have a big giant layers power once I did that I said that's the way I want photos shot operate all the time so then I went to this command called workspace and said that let me actually create my own work space and a work space means I'll record the position of all of your floating panels wherever they are so even though in theory, every time I launch photo shop, it should remember this. This is a way to guarantee it, because you could just choose a work space and it will. We organize and reposition all your panels for you so you don't do it every time yourself. So what some people do is they create more than one work space for different types of work, and it will be gives us a few examples. So in this menu here, for example, if I chose painting here's a workspace where they've said, well, let's, make layers down at the bottom, because now we want to see swatches and brush is bigger. And if I was doing some painting work, I might use that workspace. And then once I finished, I would go back to my workspace, which puts everything back the way I want. And this eliminates the need for us to be costly going. Move this up here, move this down here, get out of the way. You just set up the way you want and save it as this thing called a work space and then it does this part for you.

Class Description


This is your opportunity to get solutions to your specific Adobe® Photoshop® problems! Need help with layers? Can't clone out that tree? Warp or liquify? Send in questions on anyAdobe® Photoshop® topic and Dave Cross will answer as many of them as he can, live!


Software Used: Adobe Photoshop CS6

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