Photoshop Week Panel: Photoshop This

 

Photoshop Week Panel: Photoshop This

 

Lesson Info

Photoshop Week Panel: Photoshop This

Hello and welcome to our bonus segment today. Photo shopped this with me today I have none other than jared platt and I with may have kara so time today. Yes, we are. Yes, let's, meet our contestants are panelists today we have mr jack davis over here. How are you feeling, deck? But make it that much more exciting. I think he was. He was kidnapped off the street as you noticed a foot in front of a computer. Oh, boy. All right. And this we have dame cross. Are you ready for that? Stand ready? All those this point, they didn't go with my suggestion to call this full contact. Photoshopping allowing cage. Yeah, the wrestling happens after this there's a whole different segment for that. Unless, but certainly not least we have colin smith. You've been teaching a swell today. You guys are warmed up. You were really feeling ready for this. All right? I actually saw call and he was taking his stylist and he was he was like, prepping at propping, sharpening it. Yeah, he's starving, getting read...

y, but you kind of blow on it gives a little extra static, makes him faster than the others tables and I'm curious because jack jack seems to be going stylists free over there well, he's going with the finger wow amazing amazing okay, now can you take it some time here and explain to the folks at home how this is working and to our contestants cause they're not sure they know even so, um the format to this is that we're going to that our contestants have not seen the photos in any way, shape or form and I have chosen random images not random but more complicated images and we're giving them challenges each one is a little different and they're going to specie an inspirational image and we're going to give them a base image, which is completely different than the inspirational image. The inspirational image is where they want to get with the photograph stylistically on the bass image they can do whatever they want to get to that image. So for instance, you might have an image that was taken with a one lands and we're trying to create that effect on something has been taken with complete the different lends, those are the types of challenges that they'll be given and so on. Yeah, you need to know I stay in light room most of my life and there's a reason for that on, so I'm glad they're working and photo shop because I'm gonna stay right here on this side well and they have two minutes right that's right shots we have five challenges and you guys have two minutes to do each one and then we'll spend a few minutes talking about what you've done and how you feel about it and what you were planning and all of that stuff how it turned up and whether you dislike us afterwards e so I think then way are ready you guys feel ready all right collector salt here we go with challenge no one on the right you will see an image that was taken with about a one point four f stop so there's very little focus you could only see the focus on the girl's eyes everything is out of focus otherwise but then on the left hand side we have an image which is the image they will be working on that was photographed it f eight and we want to create that selective focus feel even though we weren't thinking about it at the time we took the picture classic and yeah that's right this is for all you people aren't thinking when you shoot the picture you can think later and photoshopped and we're ready with two minutes all right ready here we go three two one start here they go oh they're sweating already got the mood music going now you can see that jack has actually gone for the quick selection oh no look at that he's no good for him he's actually just in high street out of the gate really going in for the kill I'm not sure what the contemplation mode I think collins over there selecting he's got he's he's doing very well with his warmed up stylists tool you can see that he's already made most of this election. It really helps that he was blowing on it and sharpened it and strike that's very telling a knock and, uh, I can see that we've got some quick massing going on oh it's already done gave claims to be done and I'm already projects oh jack's I'm jack all right, we're at the one minute mark so halfway there, but you notice that jack is actually working inside of camera wrong, which is built into photos show yes, so he's technically within the rules, they think yes, he has technically with morals look at him! Go way need to get some towels for the beads of sweat swarming on. I'm there, but I think that we've given them a fairly easy test quarter. We know we've got about first second day has finished and put his hands up. He dropped the mike, but you also noticed a day it has made his way into into his own image there we've got here we go five ways styluses start my life or your your finger dropped your finger over there oh my goodness, look at all that see, we can just go down the line here and we'll have each of you take a few minutes and kind of talk us through your process. We can start with you. Attack? Well, I used a cr now built into photo shop and took advantage of ah, the selective adjustment tools both the, um, adjustment brush, which has auto mask. So I was able to get a hard edge selection around the bus also the graduated filter so I could come into the foreground and do a couple quick ed it's with that these air all blurs anti blurs, and then I finished it off with the radio teo further enhance that little shortening of the depth of field turned it into black away because of course he had to be black and white or else you know where that you win and add a little vignette just for two to taste high rises fix all for everything black and white. I dig it that is great. I love it and that's all light room as well. And so you could do exactly that light room as well. Make a pretty fantastic that is really impressive that you can get that amount of detail in light room for and when the thing is you maintain that raw image so nicely done, nicely done, all right, dave well, I went for the photo shop smart filter direction on di deliberately missed part of my selection to demonstrate the fact that if you do notice that later theo just the masked too just show the flexibility that that gives you and of course I always liketo at my own personal touch into any photo of stealing that day will endure into a lot of you know this that he had it prepped and three ready did I think that agreement if you own a lot of these images, how about you calling? I think I should have cut myself to that sounds like um I used a quick selection brush too extract the object and I also used the quick must make sure I had everything um and then I copied it onto new layer then used the blur gallery so used the field player so it could create a a different field which is in focus close and in gradually moving out of focus or what kind of match the vehicle and answer a black and white felt around up there to get the tonnes right? Yeah, I like the fact that as your is your closer it's in focus and as you go further away it's out so it mimics reality which is yeah looks more realistic to me I love that everyone took such a different approach which is so true and fighter shop because there's so many ways to do everything yeah there's so many different ways and that's what confuses so many students about photo shop because you're just so many different ways to go but it's nice to have so many different people teaching it yeah and I think it's a good reminder that there's not a right answer so photo shop is not like math class unless I'm ok I'm all right you guys challenge number two we are ready for challenge to ready yourselves and here we go okay, so the inspiration on the right is an image that was taken into photo shop and and a lot of film was added to it so we've got a little flair going on we've got some oxidant ization on the right hand side of the print as well as a lot of grains so that's kind of a filmy effect on the base images just a photograph of some little girls on the porch and they're going to try and film if I this image as quickly as they possibly can film a five all right you guys get yourselves ready and three two one go and they're often they're often running jack's already almost there I think he's got the camera going on and he's got presets so he's gonna get there really really fast well they all call of a mother's yeah okay dave surpassed, rocked over oh, no, he crossed over in order to get himself owe their pride day's gonna put it with photo if dave's in the ends up inside of the windows in the back that's gonna be very I was just gonna say creepy sorry, I'm digging it uh you can see the flare that's happened there were still in camera wrong jack day has actually gone in and started using the flare tools in the scythe making it happen now collins working on burned like you know, a little better way got the noise grains, noise, lots of different ways course using a soft light layer for them. I love the techno music that's going on and threw a big supposing we need pulsing lights in the background if we could get that, that would be great. I'm just kind of mesmerized by the whole thing and I love I love time oh, I'm sorry yes twenty fifteen seconds I was so hoping you guys had her I was mesmerized day my job is not times here we have a second on dh way oh that's the end looks like wow, we have various stages of completion on this one. Yes, sure. Well let's, start with colin will go in first calling calling what's going on over there tell us what's happening all right, well, I went into camera roar and created a little bit of a split time effect there put some green in the shadow and some yellow in the highlights. Um then I create a little bit of grain and threw that on the top and I was just starting to do the discoloring actually created a new layering twelve blend mode and I was just about to do the red and kind of get the flares so little bit of a light leak on this idea. You can see the lightly happening on the right there at this point. Yeah, and then the buzzer shine, shine, shine the buzz buzz so good. Good effort. Yeah, good. Two minutes is not a lot of titus. I mean, that's. Really? I'm impressed. All right. Date? Well, first, I resist the temptation to put my fell from that photo because it would be a little creepy e days I just said now let's not go without so I started. Kameron did a little bit of adjustment. Try and make a little more high key, and then because I always bring my camera raw objects in a smart objects that made my ad noise, a smart filter and one of things that I like to do to randomize the noise, I applied the cloud filter to thie smart filter masters so the noise little more randomized brilliant I didn't really lends player on a separate layer in screen mode so I can lease move it around and experimental bit although I had more time I would have made that smart too just in case I want to edit it and I was just working on the kind of lately thing which that's why I asked for how much time we have left and I realized I was running out of time and I would have had plans to blur it mohr and kind of a little less obvious you know I like the fact that the lens flare is literally hitting that window so it looks like the sun is off trash I was going to put it right in her eyeball theme I like the cloud filter to randomize that great but the beauty of putting the lens flare there is that see the natural shadows that are falling across and hitting the little girl in the back coming this way that's helping to mass that so you would think it was really anytime you follow those shadows naturally homes yes that's exactly what I plan todo my two minutes when I was thinking I'm constantly that's how you are you're so good you do that in your sleep yeah, exactly hey jack um I started and stayed in adobe camera because a surprise I I started off with a cross processing effect going into the red, green and blue channels and giving that are, um color cast to the image I did added noise from the effects panel terms of imitating film grain I did exaggerate a vignette and did a light leak by using the radio filter in combination with a low color tint I have to do that and also increasing the exposure and half a dozen other things anti clarity overall little bit added another little light treatment in here but that was it and safety officer preset I'm selling this on ebay, right? Nineteen ninety five right now creedy creedy live gets ten percent of everything I mean oh, my gosh, I will you know yeah. Showing your your stripes here that's really awesome. All right, so we are ready for challenge three and what is challenged? Three eyes, one of my favorites. Okay, so challenge number three, the inspiration on the right hand side is a lamp that was that is obviously lighting up the the grass on the castle there on dh. Then on the left hand side is the base image that they're going to be working on and their task is to turn that light on and maybe give us a reason for the light to be on in order to in two minutes yes in two minutes we're wow these things get harder as we dio getting harder we can't just uh can't go easy on him all right guys here we go three two one start oh music oh my god waken see them experimenting gets good for viewers to see that because I will tell you it is really about conserving phones already got in the house and light it up he's been painting and camera wrong you've just been painting an overexposure and then now he's trying to create a little spill life is good jackson same thing up there but he's done it with a radio too. So he's he's used the grail to create the general life silently and grow dave's used working on spotlight effect you're gonna actually think days is going to seem very almost like a lighthouse yeah that's really cool that's very nice and it's so maybe we'll get that jack's lighting up inside over there oh look at that that lighten up are in someone's home someone's gotta be someone just got home that's great way are at the thirty second mark my goodness, I'm impressed yes you've got a good way to creative less shots or something you should really get these people the teacher creative life it would be amazing one of them got fifteen seconds this's this is this is harry jack in a moment this's look at colin in about five seconds oh, there's the buzzer. And what have we created? Wow. All right. We're going to go right over here to mr jack davis. Ok, that is a tough one. That amount of time. Well, look at that. It's. Pretty good for that amount of time. So in adobe camera using the radio filter at a little bit of light around the top of the lamppost little bit at the bottom try to take your thing of the reason for it. Turning on a little bit of a light on the inside. You actually can see that there is a person wandering around actually inside. Um oh, wow. Esso and then a little bit of anti clarity overall just to kind of fuzz everything in the evening, but another thirty seconds and I would've been amazing. I'm amazed already. He's helpful tio again to use the, uh, the auto masking feature because he's able toe to grab stuff a little bit faster. Very impressive. All right date? Well, I too could have used another probably thirty seven seconds or so because I'm not terribly happy with the way that I wanted to try and make a very subtle light at the bottom, and it it didn't become too so subtle after that. Buzzer well, that's, just fog. And so what I did was I start off creating, occurs adjustment, or to make it everything dark, and then mass it away from the light. And my intention was to add a little more there and cast this light, which again, didn't work out. So instead let's put myself back in their way wants attention away from the facts, just just like black and white solves many things throwing david in front of things really help. So this is my interpretation of cross pras assessing very good comedians, too. All right, college. All right, but I did a very similar approach. I used the the brush there, the adjustment brush. And I used the masking to create the light and fill the light with light. And then I just is that dropped a little bit of spell, like down the building. And then I took the temperature of the light, and I want that up a little bit. And then I took the background, darkened it down everything else and then added a little bit of a blue pill costs that would be so, um, or nighttime. And then finally, I just put a little bit of a shadow down at the bottom there, using the quick, so, like, it's like but the fresh chicken because I think it's since the light was off center it would probably be casting a slight bit of a shadow from the whole love it now I would have liked a little more time to have shaped it more in the middle but that's what you get in two minutes you know I love the fact that each one had a different concept of what the light was going to be doing like you notice that dave went out with light and then collins dropping with like everybody had like a different direction the light was was going on so it's and and all of them are legitimate is just questioning what circumstance and where the reflections are things great. So do we have any questions from our studio? Our students are safe duty and honey dave what's your input about this what's my wants your input from the contest well, I think I'm feeling like on either side and surrounded by actual artists where I make my living teaching people not actually creating that collins like one too guru words for his artistic abilities. I feel like that's why I should've been full contact so I could just see him every so often that when he's doing really well and this is actually looks like arts, mind just looks like back but you know, so good well, I think it's also, I'm if I'm just blown away over here. Yeah, I think I think the yes, another question when you guys were looking at the light, do you guys sort of visualize you guys have an idea in your mind where you kind of see light? If you looked at the picture when you were going to create it, you're looking at me, I just wanted to get it done in two minutes. Way does make a good point is photographers, you're always looking at angles of light and everything, so if you're trying to emulate real light, you're in your head, you're kind of picturing well, if this wass on actual light source, what would it be doing? And what kind of shadow would be casting? And then you try and figure out ways to emulate that. So I think that's definitely a big part of it, is imagining so it looks realistic. What would be a realistic way that the light would would do things in terms of light and shadow? And I think it's fair to know that it is a two minute timeframe. So what you're saying is not you probably don't expect the fate. Finished product but the ideas are very quick to come this is how I would solve the problem and then get to it and I think that's an important point for all students of photo shop and light room tio realize that the most important thing is that you get started on the process and go for it rather than sitting around and fussing with it just get moving started there wass every project takes too long and I think another point I want to go the photo shop direction but jack and calling we're both doing camera raw, but even I'm using photo shop I'm trying to do things non destructively so that later on if I realized I need to alter something I can just like by nature cameras nondestructive so with partway through you realize I wish I hadn't changed that blue cast quite a cz much you can go in and change I think that's an important part of this doing in a short time frame is setting yourself up so if you do realize something needs to be tweaked, you're not like oh, now I've got to start all over again you just go back to some element you've created and tweak it takes two minutes to do it again well yeah flexibilities all right, you guys ready for another challenge? Absolutely let's see where we are now challenge number four looks like this all right on the right hand side you see are inspirational photo which is a dark, moody kind of brooding almost like something evil is happening over there and on the left hand side we have a very bland photograph and their job is to make hq the bland photograph look, you put on some mood music here we go hit it that's not really what I think expecting thing that so many police police we won't get scared here than yeah, that could be too frightening e think one of the boys interesting things is that jack is always going well not always, but most of the time he's going to presets first because it allows him to get forget it waited yeah because he's got got the general settings all set with a preset that's really nice but look collins, aren't they? They're all dark now that got that got it it's so hard to see from here exactly what's going on playing with blend mood dave has now decided aerated things a little bit not a lot of blue because that's what we get it done at night colin's blues he's working on that blue right now trying to decide which nothing the right shade of blue is the right having some adjustment layers and if jack makes this putt could be could be the next game it's champion a lot of color picker not more blue blues collins is a deep, deep blue dave not quite so blue jack has chosen to go black and white at the moment he couldn't wait to really go does that remind me it's non destructive and I gotta look at my clock we've got twenty seconds left I just keep getting so stuffed into this but I forget I'm the timekeeper oh, it looks like what is finally got some I can't even tell you inclined damon of something going on and he's creating fog who that's really exciting if you can get and we are at a time no oh I'm really interested in what colin was doing I know I can't wait to hear all about this we'll start again over here with jack okay, back in uh a c r I was trying to go for that moody sky so concerning there was very little going on in this guy not a lot of detail to pull out so excessive amounts of clarity contrast using both the graduated filter and the adjustment brush to try and target it to pull out as much personality as I could. Keeping that dark foreground that kind of a silhouette for the the oil rigger whatever that is that's coming up but wanted to maintain a little bit of light a cz well in the foreground so kept dark overall and directed the light a little line that's coming through into our oil rigging up you know that's that's the arizona sky there is very little personality and years on sky except except when we have a thunderstorm and then there's more personality than you can imagine but generally it's pretty bland I think my husband and I rode our bikes through a scene like that when we passed through arizona yes you'd like to ask jack how it feels to be talking about something having calling six inches away from a sixty inch monitor stirring it is picture way of course I then should it yeah, that is uh actually done yeah. All right dave well I started to just a few quick things in camera and of course once again as a smart object and then I used to curves adjustment areas like the dark and everything and then I painted use taking full advantage of my welcome tablet I painted along those areas I want to be a little lighter and then use the properties panel to adjust the the feather nondestructive lee of course so I could see how it looked and then I added a photo filter adjust my lair to add some blue tones but decided wanted mohr of the blue at the top so added a gradual mask and I was just about to add another kind of graduated phil to make the top part even darker to kind of hopefully draw our attention down here but once again the buzzer went barely doesn't it forgot cool all right. And colin all right, well I attempted some things and I didn't get some other things done um I started office and curves in camera roy them voted into photo shop and then I added a blue layer and I put that into the color blend mozer like that given their blue blue telecast and didn't quite hit the culinary wanted so I went into curves and in adjusted the tones and that really brought out the blues I wanted in the in the dark in the shadows indicated grading him for the top and just kind of used a black too transparent grady and a lot of people don't realize you can use transparency as a color and brady until it's actually quite useful and then I was actually attempting to create some fargo mr the bottom um and as you can see here just never had time to finish it happen in soft light it might actually look good I don't know it's kind of getting it so I was just going to create some fargo's that's going to create a labor fogle and how was that I missed how you were doing that were you using the clouds right here I cook clouds and he just stretched them like crazy and then was getting tio stack them up like that that's excellent yes is he allowed to sway people's opinion by actually throwing in tips because I didn't know that was part of the rules that you could actually give like educational stuff maybe he's not getting tense he's just give a sense I like it I like, you know interpreted very different interpretations so we have one more challenge for you the last challenge guys number five and I'm going to apologize up front about this challenge so that later you don't seek me out and harmony go ahead and trains so the challenge then is to give me a so on the right hand side you can see a pretty stunning sky happening and on the left on the base image we have a lot of stuff happening there in the ocean but we want the sky to really be amazing and so what we've done not only we've given them an image, but we've also given them a folder full of skies just in case they want to use them you know they don't have to use them they could pull it out of that sky but we want that sky to really pop and and make the image yes do we get to keep these guys for our own use later? Yes, you may think you can keep my right the minute you say with reset perfect all right, you guys and here we go now it'll be really interesting to see whether they use the skies or whether they go for in polling is falling the sky yeah scott has plenty of its even some to dig it out but you just don't think dig it out but someone might want to you know let's do it you know it's just a question of what is going to be the best results sometimes the question of which one could be done in two minutes that analytic west and all that but none of them go for the three others guy what they're really doing a number on the sky we get that tax kind of going for like blue this is right up jack's alley I think mr surf sky hdr man it's incident lee the waves at this day work there are fifty foot swells that is impressive quite impressive waves were at just about the halfway point oh can you look like you got davis cutting out that sky where we go or he's not cutting it out certainly made some kind of mask mass games the question is what is going on with the man only time will tell in forty five seconds we'll tell you forty five seconds oh look at that collins actually started using other skies and then he's pulled us healthy oh he's moving fast he's going as fast as I can see the sweat forming jack is creating green waves I'm not sure what's going on are green text messages are always look at dave's guy got amazing fun happening in there, the question is, has second and get it done in ten seconds, eight seconds and five seconds down to the one coming bono. Colin, is that being a colorful sky? Attention. Wow, that was tough. Definitely got harder as we've done a tough one. This is tough, let's. Hear a little bit about this thought process, jack. Well, one as nice is all those skies were they were coming from the wrong direction. This is this's, a shot taken looking out toward can appoint, which is where the sun's coming from. So the sun is coming in from the west, so there wasn't really the directional light source and all those god raised. Beautiful. But I thought I would stick with what you have here because you're right. You did have some information. It was a wonderful role file so we could pull out information. A lot of clarity to exaggerate the distinction of the clouds. Did some dodging burning to pull out a little bit of the information around the palm trees on the beach. And, of course, the waves and that foreground, a newer, backlit it would have someone of for details. So we basically did that in a little bit of in yet again drive home. The exaggeration of this guy, you know, the great thing about that is you can see the direction that it's going, and then if you took that for another ten minutes or so, you could really finesse everything and then and kind of scale back whatever you've done, and it would become quite a quite an impressive atmosphere perspective as you go back the first point of the palm trees and their silhouette and the and the range of mountains in the back and that's it just a beautiful, you know, element, toe exaggerate and play with, so that is definitely where I would have going with more time. I love the way you talk about beach images there, just so right up your alley that's awesome is in every teaching the world weigh him about going a nicely done. All right, dave, so I thought I'd go the direction of showing how, when it doesn't work, you're set up to alter it because I'm not at all happy with where I'm at right now, but once again, it's all done in a very non destructive way, so I want to try paste into to create a new sky, so starting with the information I use camera ought to deliberately dark and everything adjusted so I had a starting point towards creating a mask is trying to create a mask out of behind palm trees off is really difficult so I deliberately over it everything to make it very dark and then I looked at the channel's duplicated the blue channel because that had the first the best start towards a mask and use like overlay to try and create it and a bit of selection than I did selected the other sky paste into and started building on the mask and I was just a the point of thinking, okay, this guy's not working I should pace a difference guy in when once again the buzzer went, but the good news is I could because it's already to be and it's owned by the way, after I used pace into I took advantage of the camera smart object, I could go back and put it back and take it away from being that overly dark look uh object that I used to help me create the mask you're stepping over visually look so bad right through me tips as I possibly know that, but that's I think that's important because there's a lot of time especially nudism, sky work and stuff like that that you you're going to find things that don't work, but at one point you find something that will blend with right direction of light and all those types of things were actually great tips on how great that but I have actually seen images where people do this and they've left a long wrong light source on it really can look bad, so you give away all right call in. All right? I went for a little more stylistic look, so I started in cameroon started pushing things around and notice that the contrast was already turned up quite high, not the contrast, but the return contrast the clarity, so I figured I would bring it into photo shop and do some other stuff. So I decided I would grab one of the skies and I dropped it in started masking it a little bit there, but what I was trying to do is have it see kind of in the trees here is turn a little little fog kind of come through because that's kind of what it's looking like everywhere else, and then I was in the sky trying to color the sky and give it a little bit more character and I ran out of time has actually accidentally went into saturation mode instead of color and that's when it started looking very scary, very nuclear and they wanted to color motor the one thing I would do if I had heard about another ten seconds has changed the color of this guy well, I'm in blown away, amazing, so fantastic. I'm sure the audience out there is looking at that thinking, I'll never get there, but well enough practice. You could be fast and being goodness and there's three more days, that's, running shop week, that's, right, and so, with enough instruction and practice, you can almost do anything, so thank you guys, for putting up with crazy just before that's easy to get up there, no hot seat, no, that is not. I would never want to be glad we're here, we're here, so thank you for joining us. Thank you for joining us for this small segment. It was great fun. Yeah, we'll see more of you guys throughout the week, and you are you here, the right here the rest of the week as well. So excellent. Join us and come back for three more days of photo shop. Awesomeness! Thanks for joining us.

Class Description

Software Used: Adobe Photoshop CC 14.2

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