Practical Creative Effects with Lesa Snider
Let's talk about some practical created a fix in photo shop so I've gathered up some of my favorite effects for you in these are special effects like creating steel text okay stuff that you use once a year and you should only use still text once a year but these air effects that really practical that you can use in your photography business tio add more sellable products to your clients so that's a good thing so we're going to start off by looking at some of the new blur filters that we got in photo shop cf six so I've got an image here and you can see it's got a nice shout up the field we've got a nice blur around the edges and then I've even got some extra sparkly nice soft highlights down there at the bottom of that orchid that's not the way that photo looked when I shot it I'll turn off the visibility of the layer I created for you and you can see the original so that's how I shot it arguably not too bad of a shot of course that it's hard to take bad shots in hawaii I don't think i...
t's possible so what we're going to do is we're going to add a shallow more shouted the field effect in the post with the blur filters so the first thing we're going to do is duplicate your image layer now if you're if you've got a subscription to the creative cloud, then you don't have to duplicate your image layer because adobe added a little bit of functionality and photo shop thirteen point one so cia sixes version thirteen so if you're on the creative cloud with adobe than you got some new features quite recently and one of those is the ability to use the new blur filters on a smart object, so that means that you can run the filter non destructively without having the mass with d plicating the image layer hey, but this version on this computer is just see a sick so we don't have that ability yet, so we're going to duplicate the image layer by pressing command jay on the macro that control jay on the pc and then we're going to trot up to the filter mini and she's blur now these are the three new filters right here, but I'm just going to use iris blur for you photographers out there I think salary really going to love this blur in particular, I think you'll like it better than field because it has more control over the shape of the blur and I think you'll be a bit more police with the results you get using iris blur rather than field blur, so we're going to go with that one so well cheese field blur and immediately a brand new interface takes over our screen and we get this little thing right here called a pin okay? So photoshopped ads a pin to the image of synergy open any of these new blur filters in cia six and what that pin is doing is it lets you control where the blur is and where your image is sharp casey position that pin for this particular one we're going to position the pin of where we want the image to remain sharp and that's the center of this orchid so you can just click and drag that pan around you can also click toe ad multiple pins so you have multiple blur points in an image this outer ring around the pin is called a blurring and this is a really neat thing because this is one of the first times in photoshopped that we've seen on image controls in a blurring situation. So what we can do is click and drag that blur ring to change the blur strength you can see on the edges of the screen. How that area outside out here is getting a lot blurrier so we're controlling that with that blur ring so it's really need this allows you to work in a full screen environment on your image which is quite nice and you can move that pin around and you'll see the blur start to change l z amount just a little bit these four circles right here that air inside the blur outline let you determine the transition point, or how soft is that transition between once in focus and what's, not in focus so you can click and drag any of those items, those little circles, and see how we're changing the transition point so you can make all kinds of neat effects with this and this? This is the easiest method to blur images like this before we could use the there was another command, lighting effects or something like that. I can't remember the name of it right now, but we've never had the ability to blur images this easily in photo shop used to take a whole lot of steps. So now let's talk about this other ring right here. This outline lets you control the shape of the blur, solves the amount is a little bit seeing seeing the rest of it so you can grab any of the little white handles around it and change the shape of it. You can grab this larger white handle right here, and we can start making it more of a rounded rectangle blur area in shape rather than an oval. You don't have that kind of control with field blur that's why I think the euro will appreciate and be able to use this particular bowler fielder a little bit more often than field blur, so all kinds of fun things with that one and over here, on the right hand side, you'll notice that we have a blur strength, slider, that's the same thing is changing the blur ring on the image, so you'll see as I move the blur slider to the left, you can see that ring changing. I really like using the ring on the image to get the type of learned that I want. The thing you got to remember about using it is you need to drag in a circular motion and that's not exactly intuitive, so it's not like a left or right thing, but the ring is rounds you gotta drag in a circular motion to make that work. So just be aware that another, anything that we've got down here in the right hand corner of our screen under the blur effects panel is a book, a slider, okay, sobe ok is a japanese word for soft blur, so what we're going to do is we're going toe drag that slider to the right and what's gonna happen is photo shop is going to go find our lightest highlights and scoot down the image because there they live right down here at the bottom, right, it's going to find our live ist highlights, and we're going to begin to introduce more of the blur to that upper end of highlights can you'll see that there it's really pretty effect? So depending upon the strength of the blur, those highlights will be more pronounced when you drive that focus lighter to the right, so I'll go ahead and back off the blur a little bit, and you can begin to see how photo shop is really lightning and blurring those upper ends of highlights. Now you have complete control over which highlights you want to blur in that way, and you can affect that by using this light range slider at the bottom right here. So right now, this is telling photoshopped that on ly add this book it effect, teo the highlights or the brightness values that fall in between these two sliders, so shadow slider highlight slider and you can scoot these guys around if you were to drag the shadow slider to the left, then we would begin to see that book in effect on a wider range of colors black that once you have started adding, uh, the book effect, you can bring some color back into it by choosing this book a color slider and dragging it to the right, and you can see how, as I do, that we're being really extreme just to kind of illustrate these controls are like, oh my gosh, she doesn't to her images so as you drag that book a color slider to the right and you start to bring in a little bit more color into those highlights so it just depends on the look that you're after remember, this is your image so make it look the way you want it tio so there's all kinds of neat things you can do now it is a little bit difficult tio really appreciate the changes we've made on this image with all that on image hoo hah stuff going on so what we can do is temporarily hide all those controls by pressing and holding the h key and they temporarily go away while you're holding down that age can you get a much better idea of you know where you are with your image to evaluate it and then if you want to see it before and after, you can toggle this preview button often on so there's our before there's our after so you can see could make some really need effects and of course when you're finished, just click the ok button appear in the top and photoshopped applies it to that layer now let's say you think that effect is a little bit too strong just back off the opacity of it and you can get other interesting effects so all kinds of neat things you can do with those filters let's take a look at the same technique on another image uh come on oh it's so sweet, romantic, disgusting! Eso here's the original image and here's what we're going to create solicits go ahead and step through that again, shall we? So if you're running photoshopped cs six, which is version thirteen, we're going to duplicate the image layer, but if you're on the creative cloud and you've downloaded the latest version, which is thirteen point one, then you're going to trot out to the filter menu and she's convert for smart filters instead of duplicating it. So now we've got to put layer back it to the filter men, you go to the blur category and we're gonna choose iris blur photoshopped ads, a pin to our image, so we're going to position the pin on the part that we want to remain in focus well, actually zoom out of my image a bit more so I can see all my blur control is here so let's, go ahead and blur it a little bit more by grabbing that blurring and dragging it in the circular motion to the left. So basically, the more white you see on your blurring the blurrier the outer bits of your image are so you can adjust that however you'd like now let's, change the shape of our blur area let's make it more of an oval bring that in a little bit and then we can adjust the transition point now let's go ahead and zoom back out by person commander control plus press h to temporarily hide all of those on image controls and that's what we've got of course at home you won't see that big old honkin h on screen let's just showing you the keyboard shark it's but a nice effect that you can easily apply in post so here's our before and here's our after she could spend all kinds of time tweaking those controls go ahead and press ok so that's the bar filter neat stuff so I'm closing my windows by person commander control w for window so now let's come over here and let's do another effect so if you purchased photoshopped week you're going to get all of these layered files and I would divide them up in folders to kind of let you know what files are where so you can follow along when you're doing a re watch so let's dip into the partial color folder this is one of my favorite things to do in photo shop so let's go ahead and open this first image so here is our image that we're going to create together and this is the original image okay? So quite a bit of difference between those two so what we're going to do is use a black and white adjustment layer and adjustment layers just your way of saying hey photoshopped this next adjustment or change that I'm going to make to my image please put that on its own layer that gives you opacity control you have the ability to throw that darn thing away if you don't like the effect things like that adjustment layers also come with a layer mask which allows you to hide that layer content and a layer mask is simply digital masking tape just like you would use masking tape tio put on top of your baseboards if you're painting your walls to temporarily hide or protect the baseboards from the paint that you're applying, we do the same thing here in photo shop at the big difference between real world masking tape and digital masking tape is the color and photo shop it's black so there's a rhyme that creatives used to help them remember what color to paint with win inside of the layer mask and that's black conceals white reveals everybody black conceals why it reveals that will be in your hands now for the rest of the week you're welcome ok, so let's go ahead and play with this image I'm going to turn off the visibility of these other layers when you get these extras filed exercise files trying not to save over them because I want you to be able to come back to these files to reverse engineer what I've done so we're going to go ahead and start from scratch here and the first thing we're going to do is add the black and white adjustment layer and of course there are a couple ways to do that you can trot up to the layer menu and choose new adjustment layer black and white or you can come down to the menu at the very bottom of the layers panel and click the little half black, half white circle at the bottom of that panel and that's exact same menu well, she's black and white go and close that panel so we can so we do need that panel ok, we're going to drag this guy out here so we can see him while we see our layers panel there we go so as soon as you create a black and white adjustment layer depending upon what version of photo shop you're running if you're running cs six, you're going to see the properties panel open with all these wonderful sliders if you're running cs five, you're going to see the exact same panel but it's going to be called adjustment and if you're running see us foreign earlier all this stuff is going to open a dialog box so this adjustment has been around I believe since cs three so if you're running cs to you won't see this black my adjustment layer so what we've got here is footage shop immediately drains the color from our image and gives us the set of sliders that we can use to just the contrast of that black and white so as you drag any of these sliders to the lift your darkening the brightness values of that color wherever they appear in the image, see how everywhere in in the image that includes red is getting darker. Now, as you drag any slider to the right, that particular color is getting brighter wherever it appears in the image so you can have a lot of fun with the sliders tio get some nice contrast in your images and I highly recommend in this with your favorite beverage on a friday or saturday night. You don't have anything else to do in to stay here and play with this stuff, so as you can see, we can really customize are black and white here. This is not my favorite method of creating a black and white, but if there's any column tweakers out there if you really let us sit in, tweak your images than this is definitely the adjustment for you, you'll have to wait till toe tomorrow in my editing habits to break class to find out my favorite way to make black and white ok, so let's say we're finished playing around with the sliders let's, go ahead and close this panel now what we've got here on the right hand side of the layer thumbnail the layer that we just created is that layer mass so this is what a layer mask looks like its flight to start out with and if you remember the rhyme black conceals white reveals than everything on that layer is being revealed one hundred percent right now, so if we grab any tool that we can use to fill in area with black paint or paint black on with a paintbrush, then we're going to start to see the black strokes appear here in this layer and then wherever we paint black, you can think of it as a punching a hole through that currently active layer to reveal that same part of the photo on the layer underneath. Okay, so this layer mask is a miniature of the image just like this layer thumbnail of the background layer is right here, so this is a miniature representation of the entire image. So now let's come over here and start to paint all seem a little bit by pressing command or control plus, because we're going to reveal the color on those flowers is a fabulous way to really pull of years. I'd a particular part of the image and it's just oh so beautiful and I really do believe that you can sell something like this to your clients I really do believe that so now let's come over here to the tools panel endless press being activate the brush tool and where we're going to grab the regular old brush to ok, so if we click and hold our mouse down on the brush tool set, we want this top guy right here. Another thing we need to do is make sure that we're painting with the right color, okay? I love the little heart brush, that's key we're not going to use it, but somebody did, so you need to take a peek of the color ships to the bottom of your tools panel if there anything other than black and white, go ahead and press d for default to reset them, the black and white and you want black to be on top because whatever you're foreground color ship is that's the color that the tool that paint is going to pull from so you can either press the little curved arrow above those color chips or you compress the ex key to flip flop him. So now we're ready to try to the options bar and choose a regular brush, not a heart shape brush so let's click the brush preset picker and you just want to choose one of these fluffy brushes appear in the top row doesn't matter which one we're going to change brush size with a keyboard shortcut. So let's, go ahead and click one of those fluffy guys so that we get soft edges that's going to make the area that we revealing color blend in along the edges with the part that doesn't have a color, so you want a soft brush and they just want to make sure that your mode your brush mode is set to normal and that your opacity is at one hundred percent. So now we're ready to mouse over to our image and start to paint, and wherever we paint were punching a hole through the currently active layer, which is where are black and white is coming from, so we're punching a hole through it so that you can see in that area what's on the layer underneath it, which is where the full color image liz so a lot of times when I do this technique, folks are saying how you peyton on that color so fast I'm not painting it on. I'm revealing the color that was originally there so you can change your brush size with handy keyboard shortcuts on those are the right bracket key to go up and burst size the left bracket key to go down and brush eyes in your bracket keys are next to your peaky on your keyboard for kate pierson, my favorite b fifty teams. Singer I I love her, which I get my hair like her with that big old poofy thing that she does she was playing in boulder with a b fifty ty's last year and my husband jay and I I stopped I mean waited for her to come out of the back of the boulder theater and we got to meet her, but I was so star struck that I didn't think to have her sign anything I didn't get a picture with there as a big a loser, but it was a lot of fun meeting her, okay, so here we've got some nice color revealed on our image now if you were doing this for real at home or for a client, of course he would seem way way in use the space bar to move around the image once yours aimed in and you would adjust your brush and you would come in here, especially if you're charging by the hour and you would make really sure that you were quite careful and precise with all of your painting and all these little baby's breath, but we're not going to spend that much time on it, so it seemed back out a little bit more so it's looking pretty good another thing I like to do at this point is slightly dropped, the opacity of the black and white adjustment layer and that's going to allow a little bit of the color of the original image to come through on those other areas, you don't have to do it if you don't want to course, but it's just another effect see how we're revealing to salah a little bit of that original color, but yet the flowers are one hundred percent in full color, so I think that's a nice effect as well. So that's really all there is to that. So let's, take a look at it on another image, this one, we're going to do the exact same thing, but a steady of these in the brush tool. We're going to use the grady and tool inside the mask, and we're going to get a faded color. Look, this is a great way to fade an image from color to black and white, which is a need if it too, so here's, our original image bunch of easter eggs, so go ahead and create that black my adjustment layer again, I'm going to use the little half black, half white circle, the bottom of the layers panel, and if you'd like, you can adjust the contrast using the sliders and the ciders air really helpful, because if you look at him, they give you an indication of what's gonna happen. Depending on the direction in which he drags, you can see how the slider is black, the far in so that's letting you know that, hey, you drag this thing to the left. Those colors are going to get darker, darker, darker, same thing over here on the right hand side, you could see that it's white at the right. And so that means you drag that side to the right those colors or get a lot going to get a lot brighter wherever they appear in the image of the sliders air kind of helpful there's also some nice presets in this menu here. So again, when you got some time on your hands, feel free to talk through those cause some of them will produce really nice effects or at the very least, they'll produce a nice contrast that you can then further refine using the slider. So don't forget about these presets, so we'll call that one. Good. Close up that panel, male let's. Go ahead and use our way or mask. Okay, so any tool that you can add black paint? E we could if you wanted just to reveal a little bit of color in these eggs here, you could create a selection. And then fill it with black or you create a selection of the part. You want to remain in color before you make the adjustment layer. And if you do that photo shops going feel in that mass for you, which is helpful, and we're going to use the grady and tool in this this time a little bit different. So we've gotten our mask active, and I know my mask is active. Why? Because it's got that extra white bracket around the corners pay. So right now, the adjustment layer itself is active, not the mask. So you want to make sure double check, take a peek in your layers panel and make sure that the mask is active. Once you've done that was taught over to the tools panel let's, grab the grady and tool. Now the grating and tool actually looks. Here it is right here. Looks like a gravy, and so grating is a soft faith from one color to another. So if we apply if we use the colors of black and white with our grady int tool inside the layer mask, where be laying down a nice soft transition from black to white so let's go ahead and choose the grady and tool and now we need to make another change or we need to check some items up here in the options bar you want to make sure that you're using a black to white gravy in and this is your grady and preview appears the top left and mine is black and why but it's only black and white because my color ships happened to be black and white when I activated the grating and tool so if your color chips or something else just go ahead and give this little down we're pointing triangle a click and you're going to choose that third pre set in the first row that will always always always be a black dwight radiant okay so you just go and get that a click you also want to make sure that you've got linear grady and for the style and you probably do unless you messed with grady until before so make sure you got linear letting your grady and active mode normal one hundred percent capacity and then we're going amounts of return image and just click and drag as we do you see how photo shop is filling in our layer mask for us is a super fun if it so the great thing about this is that if you are nonplussed with your first professional grady and dragging attempt you can just keep on dragging around info shop updates the mass free automatically, so just feel free to a drag from diagonal direction from top to bottom, bottom to top and still on the distance in which you click and drag and you're going to see a tiny microscopic cross here in a line as you drag sail across here right there if you click and drag see that line that line and I'm still holding out my mouse button. That line lets you determine how wide that transition point is. Okay, so if you on ly drag just a small distance and you're going to get what kind of looks like a hard edge was never going to be a hard it because we're using the grainy and to also it can't make a hardage, but you'll get a softer fade the farther the distance you draw that line so depending upon the look that you're after so that's a really neat one to have in your bag of tricks again, I believe that's a sellable product to your clients let's take a look at that same effect on another image you can really appreciate different opportunities to use it so here's our before and here's our after so it's really, really pretty effect so let's go ahead and do that when one more time so let's make a black and white adjustment layer make sure the mask is active grabbing radiant tool trot out to the options bar, click the grady and preset picker and make sure you've got that third one in the top row active and then you wanted to be a great a linear grady into click that first button or just peek at it make sure it's turned on and the mouse will reach your image and begin to click and drag. Now if you want to constrain that grading and to be perfectly vertical or horizontal, you compress and hold the shift key while you're dragging so it's a really neat really need effect so you could just play with this all day long so that's faded color, impartial color which I think will be really useful in your business is great for graphic designers to want to draw attention to an ad but saying the magazine so now let's take a look at another creative color treatment and that is cee pia's cd is just a fancy shmancy way of saying brown overlay so here's our original image I love cars I got that from my dad, especially corbett. So this one just begs for a vintage look that's a rather vintage model of corbett, so we're going to do the same thing case I'll turn off actually delete that layer let's, go ahead and create another black and white adjustment layer and this time we're going to turn on the tent checkbox case I'll give that a click when you do for the shop is going to add the ever so popular isi pia light brown early to your image that you are not stuck with the light brown early oh no if you single click being little color swatches to the right of the tent checkbox you're gonna open that color picker and you can choose any color you want I absolutely love adding a light blue overlay two images that's funds not c p a but anyway so if you want to stick with a c p a that's great but let's take a look at a couple of other colors so now that we've got our color picker open let's telephone a shop what range of colors we want to change it to by using this vertical rainbow bar so it's clique within the blue tones and then you can use this other area on the left hand side till photoshopped how light or how dark you want that color overlay to be so we could come up here to the even lighter realm of blues so that it the effect is very, very subtle, so you could apply this toe black and white images and add a little bit more depth and richness into those images just by applying a very subtle color overlay like this or color ten in fact when teaching that photo shot world, the big printing companies like ups, and they usually have a boost with all these big honking printers in there, and they'll have a lot of large format prince hanging up on the booth walls for decoration, and it to show you how wonderful their printers are. Well, a lot of times they showcase black and white images, but I guarantee those images aren't true. Black and white images, most of them have a tiny bit of a color overlay in them, sometimes very, very light believe sometimes other tents of gray show that just adds a little bit more richness, so keep this technique in your back pocket, even if you're creating what is going to look like a black and white image, you can often times and a lot more richness to in depth by adding just a hint of another color very, very light and click ok, so that's, what we would see. So if you saw that printed, you probably think I was just black and white, a little bit of blue in there. So the great thing about using this black and one adjustment layer and the tent option in it is that it's completely non destructive, so if you say this document is a photo shot file by choosing file, save as in choosing photo shot from the format menu, you're going to preserve all of these layers, which means if you send this proof to a client or you print it out and you decide you change your mind, all you gotta do is pop open the layered file doubleclick, the layer thumbnail of that black want adjustment layer and the panel pops right back open so you can quickly go back in here and adjust that color tint to something else. Okay? So it's very, very flexible, very efficient as faras file size because you're not duplicating whole months layers and applying this technique to those actual image layers you did all with adjustment layers, so let's, take a look at that on another one in the vending key doesn't make you want money, so what we're going to do here is going to go ahead and throw away all the layers that I made for you, but again keep these hanging around at home so that you can reverse engineer so here's the original image cute but let's say we want a vintage feel so let's. Go ahead and add our black one adjustment layer again turn on the tent now we've got a nice see pia now another step for making this image look even more vintage would be to add a dark edge of in yet so a little bit of a soft black around the image I call that the on ly mills effect is as a child, I was trying to do only mills in texas a lot, and that was always what they did to their images and I soft black edge. So your image layer let's, go ahead and convert that for smart filters, because we're going to use a filter to create this effect. So I've already got a smart object here, but to create one, all you have to do is trying to the filter mini and she's convert for smart filters. Okay, then you're gonna go back up to the filter menu and choose lens correction. Now, if you're using cs for I think lynn's correction lives within the distort category, okay? But I think and see us five will be liberated it so that lives root level so let's, go ahead and choose lens correction if you're running, see us for, uh, you're not going to have both of these tabs that's no big deal if you're running, see us five and later let's click the custom tab and let's find the vignette slider lives right here kind of the middle right hand portion of the panel and you're simply going to grab a slider and drag it all the way of the lift and that's it now we've got that nice dark edge vignette here's a before here's after isn't that nice that's like an extra technique buried inside of this one? So go ahead and click ok, and when you do now, you can see that our dark edge of and yet is picking up the color ten of that black and white adjustment layers, so it gives it a vintage feel so clearly we're looking at great grandma's benny now so that's a fun one cp is air all kinds of fun, so let's keep cruising on let's talk about another way too ad creative color to your image is what we're going to do here is we're going to use a new adjustment layer that came along in c s six called the color lookup tables, okay or color look up adjustment layer. So what I've done here is added several of those adjustment layers, each set to a different preset okay, so these air new in c s six and a color look at table is commonly used in the film industry tio apply a predetermined look two footage s o really you're saying, hey, photo shop, I know the colors in this image are you know this right now but use this other color lookup table so look at these colors in this other way and apply those colors to the image okay? So you're kind of changing the colors without really physically changing pixels which is neat so here's our original image and here's what we get if we apply this black light poster effect ok, so I'm going to show you these first then we're gonna go back in and do them together so here's a black light poster which is kind of neat this one right here has a green and red kind of look to it and this one right here is I think using this to strip look ok? So there are riddles and gobs of pre sets in there that you can use to create different creative color effects so let's look at look at how to make those so called him throw away these guys here we are back in our original image so let's use that adjustment layer manu the bottom of the layers panel by clicking the half black half white circle and the new adjustment layer and cia six lives right there color look up and the properties panel will open and you've got ah two different poppet menus of process that you can use here so you can just cruise right down that list to see what each one of those presets is going to do to your image now bleach bypass is useful but it's not useful on this particular image but I've got another image that looks really need on so this one is like a candlelight look so you can see all the different looks that are built in to the program there's film stock that would be kind of night foggy night futuristic bleak horror movie blue these names are hysterical late sense it that was nice when light and remember each adjustment layer comes with layer mass so you can hide this create a color effect from parts of your image that you don't want it to apply to attention green and then here's the second set of presets so abstract as the same thing is doing a threshold adjustment which we're actually gonna look at a little bit there's that black light poster so kind of looks like something that you could hang in your local art museum her so all kinds of fun color treatments that you can create using that new color look up adjustment layer so here is the bleach bypass this is a shot I got in hawaii this is a I think this flowers and the berm ely at family is called a hell a konia it was pretty amazing so here's the image I started with and then I just added thie color look up adjustment layer and then I used the first pop it many decided to bleach bypass that's a popular grunge effect right now so that's an easy way to get it done and I've got several exercise files in here for you to play around with so like that one all right now let's take a look at another creative color effect I had such fun gathering up all these spring images this little girl is gonna hate that her parents did this when she's about sixteen okay, so what we're gonna do now is we're going tio created duo town okay, so another way to add created color effects to your images to create a duo telling we actually need to pop into grayscale mode ok, so we're going to do that when you pop in a grey scale mode for the shop is gonna de saturate your image which is kind of a bad thing you've got no control over contrast or anything it just drops the color so you'll get a very flat, very uninspiring black in my image but if you create the black and white first before you go into great skill mode we have to get into gray scale mode to access the duo tone presets if you do the black and white first then photoshopped uses your interpretation instead of just doing a flat de saturation on the image so that's what we're gonna do so let's go ahead and make our black and white by creating a lack of white adjustment layer tweak the contrast to your liking let's say this is all well and fine now we're ready to try to the image layer and change our color moons the reason we're having to change color moment is that duo tones I really don't have any color in them so if you were to create a dual tone and send it to a professional printing press than you would not have to pay as much for the things because there's fear thanks being used black plus another color usually ok so we've got to get in gray skillman so image mode grayscale photo shop is in a start throwing up very frightening air messages or not air messages dialog boxes rather changing moods will discard an adjustment layer change anyway we're going to flatten this file okay it's okay to flat in this situation because you're not going to save this file over your original ok so we're gonna go and flynn so that we apply that adjustment layer to you are imminent another scary message scary message number to discard the color information take a deep breath steel yourself click discard try back up to the image menu choose mode and now we see that dio tone is an accessible command before it was great out so let's go ahead and choose joe tone and you're going to get this wonderful dialog box and I'll skidded out of the way so we can see the image with so many process for beautiful combinations of color that you will not even believe it, so go ahead and click that pre set menu and I'm just gonna let it roll we had all those precepts can I get a holy molly? Adobe paid some serious money tio brainiac color scientists to come up with all these presets and they're in the program that so few people know about them so they don't get used go ahead and use these things so let's just try it down and look at a few of these color combinations isn't that beautiful? I mean, look at that thing that is just gorgeous so that's a black plus orange ok, so here's black plus an aqua green and that nice I love these things black plus brown it's still almost looks like a black and white, but we're getting so much more written richness and so much more depth in these images you're just spectacular, so again great way to spend I mean, look at that one that was using black, magenta and yellow and it's just absolutely stunning another great way to spend a friday or saturday night going through these presets baby so that's how you can access the duo tones so let's go back up here and was picked the one that we really, really like, so we'll do that one cause I like that click ok now if you need tio go back into rgb mode you absolutely can so it's like we're just sneaking into dio tell mode to get the presets and they were sneaking back out so we can come up here to the image menu choose mode go backto rgb and continue doing whatever we want let's say we might want to add a soft edged and yet now they could choose filter convert for smart filters back it to the filter menu lens correction click the custom tab if you're in c s five or six, grab the vignette slider to the left and we've got that extra edge opinion on there if you wanted the as vignettes pick out the color of the dio tone you would need to apply that before you went into detail mode neat stuff on let's take a look at that on this oh so cute picture that she's gonna hate when she grows up so let's go ahead and create are black and white because we don't want photo shop to do that for us black and white adjustment layer now it's coming to the image menu choose mode choose grayscale take a deep breath it's okay click flatten click discard she's image mode dio tone and then just find the precept that you want to use click ok and then if you need to go back into rgb mode so I love doing that and I think you will too. Okay now let's come down here into the photo painting folder this is another friend thing to do start out with this one right here it's serious? Many serious. Okay, so what we've got here is an image in a let us say we want to add a painterly effect we want to take a photo make it look like a painting well, we got a new filter in c s six called oil paying and it is absolutely fabulous and we can run it not destructively by using smart filters I'm gonna go ahead and back out of what I created for you. All right, so now we're back to you original image uncle ahead and rast arises later so we're back to a regular pixel based image later. Okay, so here's our image first thing you want to do is make it into a smart object if your image consists of several different layers and you would activate all of those layers and turn all of them into a smart object ok, so we're gonna activate the layers that we want to effect come up to the filter menu and choose convert for smart filters photo shops going to change that into a smart object which means that the filters are going to run on destructively kind on their own layer a little bit like layer styles we throw him away and you can access other blending options if you like, so we're all ready for the world paint filter now let's, come back up to the filter mini and let's choose oil paint so all paints new and see a six for not running six you ain't going to see it now we have a a dialog box with sliders. Nothing is easy to use the sliders, so this is all subjective just keep dragging these fires around until you get a look what you want in my own work. I tend to push the sliders the first two nearly all the way to the right, but you can do whatever you like scale is going to make those brush shrug smaller, larger, so it just depends on the look that you're after there's no right or wrong with this there's no oil paint police that's going to show up on your porch and say, if you want to add a little bit of a shine, teo the paint, then you can grab the shine slider and drag it to the right see how we're getting shiny and shine ear so it's just what vision you have for your photo think ok photo shops going to apply that now sometimes I will run this filter several times to get the look that I want okay, so an easy way to do that is to come back up to the filter menu and the previous filter that he ran will always be at the top of the list and you can press command f for filter or control f on a pc toe access that safe filter again to run it. Okay, so we could run this again to get an even different like that's starting to look into the realm of van van gough, isn't it? That actually is the way you pronounce it, by the way, I said bingo for years tell him that it was somebody from amsterdam he was like so much during texas education, they can I mean, ok, so now we've got our very painterly benny, but let's say running the filter once was not enough, earning it twice is too much. What do we do? What we can back off the opacity of the filter itself? And you can do that by double clicking these tiny little cryptic icons to the right of the filters when you're running them on a smart object. So the filters air stacking up in your layers panel, I think, click and drag these guys to the trash can at the bottom right of the layers panel from him away, so using filters in this manner is very efficient, so we're gonna double click this little icon to the right of the filter name and what we get are its blending options dialog box and lookie here we've got opacity control okay so we can click and drag atop the capacity of field label in your mouse cursor turns into the soul scrubby bar she can click and drag to the left to reduce the opacity click and drag to the right to increase so we could come down on the second filter you know somewhere around thirty odd percent or so on you can also play with blending mode so we would be changing the blending mode of the filter itself. Okay? So there's no end to the creativity that you can come up with with all this so we'll go back to normal for this one click ok now you'll also notice this big old white square rectangle rather that's underneath our ben layer that is a layer mask technically a filter mask okay if we click inside of that see how it's active now with those white lines around the bracket there if we click and paint in there with black because black conceals white reveals we will be hiding effects of the filter I like to do that on faces and eyes so let's go ahead and reveal the many eyes so we've clicked to activate the mask press b to grab the regular brush tool make sure your foreground color chip is black use our bracket keys to change breast size and we can come over here and we can reveal the original eyes okay again were punching a hole through the smart filters that we ran to reveal the original image. Now it's gonna look kind of weird if the eyes don't having any paint effect to them at all so what we can do is drop the opacity of the mask. How do you do that? Doubleclick the mask this masks uh it'll be masks panel and c s five properties panel and see a six let's grab that density slider and why the hell it's not named opacity? I have no idea should be way and we can just drop the capacity of that mask so that we're allowing a little bit of that painted look to be revealed in that spot but not all of it that's what I like to do with faces and you can see over here in our layers panel that are smart filter mask now it looks like we painted with gray. We could have painted with gray because of black conceals of my reveals grays and do a little bit of both right? So you've got all two hundred fifty six shades of color shades of gray rather in a mask situation, but I find it easier rather than trying toe come up with what tent of gray you want to paint with to allow justin, if the painted looked to come through, it is impossible for me, so I like to do it visually so that's why I like to use that damn city slider in the masks area there. Ok, so let's, take a look at that on another image on the exact same thing going on here ok, I'll go ahead and back out of what I did so we can do it again together, so activate the layers of your document if you have multiple layers, go ahead, activate them all choose filter convert for smart filters now we can safely run our filters let's, go back up to the filter menu, choose all pain, adjust the settings to your liking let's say that looks good to us. This is also a great way to save what I would call a subpar image an image that made you can't get the color to look right to you. In fact, any of the techniques that we've done thus far great for saving an image like that, you know, just take the color out of the equation of your something artistic instead. So now we've got our filter that we ran, but the faces, you know, little too abstract for me, probably too abstract for the client so let's, go ahead and hide that well paint filter from just those areas using the mass that had along with the smart filters, so click to activate the mask if you don't click to activate that master to be laying down black paint on the photo is probably not what you want, so make sure the masses active we've already got our brush to active we have black is our foreground color ship and we can come over here to those faces and we can just reveal the faces but again it's going to look really weird if we don't let a little bit of that paint show through so what I like to do when I'm doing this on portrait is I like tio tone down the effect on the skin because I just think it looks funky but that's just me y'all may use a photo and it may look fantastic to you but and he looks weird ok so let's say that's good now let's double click the mask and grab that density slider and drag it to the left so where he reveal a little bit of the pain but not all of it so you want to keep your face is recognizable here we dio need a fact, huh? Lots of fun didi on animal pictures like that bunny we're taught really well a swell as macro shots, flowers and things like that can make some really neat stuff I love that money that is just screamingly funny now let's take a look at another technique that is not only helpful for creative effect but is also great for smoothing out skin so what we're seeing here in these images is nice new skin they've got a little bit of a glow ok just a little bit so we can think of this as a soft glamour globe ok, so here is our original image and I'm using a keyboard shortcut to toggle off all the other layers except for the one I'm clicking on so I'm pressing and holding the option chiana mac or halt on a pc and if you clip the layer visibility I photoshopped will turn off all the rest of the layers ok, so this is our before and now I'm an option or all click that layer visibility again to toggle the others back on and here's our after see how smooth her skin got just a little bit of the globe so this is a definitely a nice thing to do on portrait so let's go ahead and delete all these layers so that we can do it together lips I'm shift clicking, tow activate all those layers in between so here's our original image was a mammal bit now let's the first thing we're going to do is go ahead and duplicate the layer ok, so if your document consists of multiple layers um you could make a smart object out of it but we're going to end up with if you do it that way you end up with two smart objects and you'll see why here in a second so here's our layer we're going to try it to the filter menu choose convert for smart filters or you could choose the layer menu and choose smart objects convert to smart objects or you could control or right click on near the layer name and she's converge ismar object here okay and I forgot to duplicate us let's go and duplicate it alright so duplicate that image layer now change that into a smart object here we go now what we're going to do is run the gaussian blur filter okay but you only want to run it just a little bit okay, so just a tiniest bit of a gaussian blur and there's an easy way to figure it out if you're going to be just a tiny bit of math so if we come in here and we find out what the largest pixel dimension is on our image then we're gonna multiply that times point double oh seven because that's fun to remember so let's come into the image layer choose image size and I can see that my largest dimension is about seventeen hundred you don't have to be exact ok, so now we're gonna bring up the trustee calculator there we go so seventeen hundred right timed point double oh seven eleven point nine let's, call it twelve come back over here to photo shop that's the strength of our gods, sembler so now let's come into the filter menu cheese blur got simpler and let's enter twelve there we go. Now what we're going to do is we're going to set that blurred smart object layer tio a different blend mode. We're going to use one of the blend loads, and but most folks think of as the contrast category, which is overlay or soft life, okay, modes in the dark and category are going to produce a darker overall image than you started out with moves in the light and kati roy and produce a lighter image, and he started out with mose and over like category or going to a little bit of both, so they're going to increase the contrast, the dark you're going a little bit darker lights for and give it a little bit lighter. They're too. These knows that worked really well for this particular technique, and they are overlay and soft light overlay is going to give you a stronger effect. Soft light is going to give you a slightly more subtle effect, so depending upon what you're going for, use one or the other, okay, now we've got a little bit of seems like we got a little bit of a greenish color cast going on here we may not that may be what the photographer intended it to me it looks a little overly green so let's add a hugh saturation adjustment layer to kind of alter the color just a little bit so let's come down to the half black half white circle at the bottom of the layers panel and choose hugh saturation then we're going to turn on her first we're going to clip it to the layer below because we only wanted to apply to this smart object that we've been messing with we don't want it to apply to the other layer ok so we're going to clip it to just that smart object layer by clicking this ally icon at the bottom left of the properties panel okay let's like a a square with a downward pointing arrow to the left of it so go ahead and give that a click and that's going to make it apply just to that smart object now let's turn on the color eyes checkbox in that properties panel and I'll zoom back out she concealed it so here's our before and our after so by turning on colorized we can then use this hugh slider and as we dragging around on our image we're adding like a color tint to it see how the colors air softly changing as I'm dragging that hugh slider to and throw so I happen to like the way it looks some wherever in the blue range of colors but again that's it that's very subjective so do it looks good to you now if the effect is a little bit too strong still you can drop the opacity of that smart object layer so here's our before here's our after see how much smoother her skin is and she's got like a little bit of a sheen kind of shiny but not tio really done now I will tell you that this technique can sometimes plug up the irises of the eyes they can become too dark easy to fix right because you can use that mass that came along with running the gaussian blur on the smart object so it's click to activate the mask now we can grab the brush tool come over here and hide the effects completely from the iris of her eyes if you need tio or you can use that to hide the effect from anywhere else in the photo that you don't want it to apply to you so just pay attention to the irises and make sure they don't get plugged up so let's take a look at that on another image this key old girl here here's our before here's are after hey I did a whole bunch of other stuff to this image which will be fun for you guys I did some healing all kinds of neat stuff um fine for you to reverse engineer after photoshopped week so here's our original image let's go ahead and do that again together we're going to duplicate the image layer or if your image is comprised of many layers, you're going to grab all those and turn it into a smart object then you're going duplicate the smart object the reason we want tohave tio image layers or smart objects rather is because that gives you the ability to back off of the effect with opacity if it's a little bit too strong. So now it's turned this duplicate into a smart object because we want to run that gossip blur filter non destructively now let's, take a peek at our image size so we've got about oh nearly the same size images we had a moment ago okay, so you want to take that largest pixel dimension and multiply it by point double oh seven so now it's coming to the filter menu choose blur, gaussian blur and twelve is already in there and that's works fine for our image. Ok, now we're going to change the blend mode of that smart object overlay for a stronger effect on that need or soft like for a softer if it in for children, I would definitely go with the softer effect now let's adjust the color cast by adding a hugh saturation adjustment layer we're gonna attach it to the smart object which is the layer underneath it by clicking that clip toe layer icon at the bottom left of the properties panel now let's, turn on the colorized checkbox ox and adjust our colors to our liking and for this one again I like to stop within the blue range but that's up to you whatever looks best to you if the irises become too dark, go ahead and click that smart object mask or smart filter mask rather, and use any tool to paint with black and just reveal the eyes from the original layer the irises rather so here's our before there's our after that's a really pretty effect and here's what the whole thing looks like on a wedding shot. I'll zoom in a little bit so here's the original not a bad shot at all, but that might be something else that you can sell on your photography business. All right now, let's, look at creating a high contrast image. This is super fan. This is a really neat think what we're going to do here is take a regular photo and we're going to add a threshold adjustment layer to force it to be pure black and white. And it's a nice high contrast look, you see this all over the place? I see it in many posters I see in magazine ads I see it all the time I see them rolling stone magazine a lot but it's a really need effect that I believe is also sellable product in your business so let's, take a look at how to create it let's talk just a second about what we see over here in our layers panel so we've got our original photo down at the bottom we've got a duplicate of that photo layer then we've got a threshold adjustment layers that's where our high contrast black and white is coming from threshold adjustment layer is going to take all the shadows in your image and force them tio pure black somebody else has controlled my computer that's fun and the that threshold adjustments going take the highlights in your image and force them to pure white so that's what's happening and the paint color that we have coming behind her is a solid color feel layer okay, so it's an adjustment layer that's got coloring it that's where that pings coming from so let's create this together this superfund lynn let's go ahead and delete all those other layers that we are back to our original benny girl okay, so what you're going to you is duplicate the layer first smart object won't work for this technique okay, so just duplicate them is layer we're going turn off the visibility of the original because we don't need it right now we're really gonna need to go back to that if we miss something that and hopefully we won't so now let's add our threshold adjustment layer so we'll go back down to that half black half white circle that we've been using at the bottom of the layers panel in twos threshold they were halfway there already you can use this slider here to further adjust the shadows in the highlight so if you click and drag this slider to the left, you're going to be adding more highlights if you click and drag this slider to the right, you're going to be increasing the shadows in the image okay? So play around with it until you get a look that's good do you try not tio lose all of the facial features, so for example, if you've got some areas of the face that don't have any shadows in them, they're going to get completely blown out. I've got a fix for that in a second, but do you kind of be cognizant of, you know, the important bits of the face unless you're just going for a different kind of look faceless face so let's say that's good now what we want to do is add our phil layer so let's go ahead and add are solid color film layer so we'll go back down to that same menu that we've been using jews solid color and since we're in a spree fame here I'm going to choose a range in the paint eggs and I'm gonna have a nice light pink and click ok now the problem is the solid color phil layers covering up are bending girl right well that's easily fixed with the change of a blend mode so if we go back up to that blend mode menu at the top of the layers panel and let's choose darker color okay, so darker color is going to basically photoshopped looks at the color on one layer looks to the color on the other layer in the darkest colors remain anything else just drops right out the reason we use darker color when any of these modes would work is that there's no blending going on the darker color okay there's a little bit of color blending that goes on with these other four but not darker color great way to drop out of white background with this blend motor in here so we're almost all the way there. The next thing we need to do is we need to hide the rest of the photo that we didn't force to pure why like these edges right here and depending upon the photo you'll have more or less of that to do so let's go ahead and add a layer mask to the layer that that shadow lives on which is our duplicate photo layer so let's add amassed by clicking that circle within a square icon at the bottom of the layers panel and now we'll do what we've been doing all afternoon press b to grab the brush tool set your foreground color cipto black because black conceals and white reveals and when I'm doing any kind of painting like this in the mask I like to keep two fingers on those bracket keys for change in the size of the brush cursor this makes me a little faster at it so we can quickly come in here and paint away that black well I don't want the edges of her ears to become soft because I've got a soft edge brush active I also don't want to spend that much time painting around those years so I'm going to switch to the lasso tool and I was gonna freehand draw a selection around a bit that I want to get rid of and then we're just gonna feel the selection with black somebody kind of make up stuff as I go right there there you go now I can just feel that selection with black I already have black as my foreground color ships so there's a keyboard shortcut that's really handy to feel that selection with color and that's option delete on a mac are all too backspace on a pc so now we filled that with blacks, we can get rid of our selection by pressing command or control d for d select. Now, it's come down to the bottom of the image into the same thing here son receives in the last of a tool to draw selection around the part that I want to hide with the layer mask, and then I'm filling it with black get rid of this election and their we've got our high contrast bending girl a beautiful, beautiful thing. Now, earlier we were talking about, well, what if some of the facial features become lost? That's kind of happening down here and I don't know laugh because we're going to zoom in on babies here. I want this part of her body is to be darker, ok, so this is how you can create shadows where there were none in order to have those features be visible in your high contrast image here. Okay, so what we're going to do is we're going to use the burn tool to hand darken selectively darkened areas that we lost with the threshold adjustment. All right, that's, why we duplicated that layer and this is why smart object won't work, she can't use the burn tool on a smart object. Ok, so let's click our image layers this is our duplicate now let's come over here to the burn tool listen the tools panel so you've got dodge and burn dodge lines burn darkens so let's grant burn and when I come over here to the image and began to paying on her bodice, see how I'm darkening that area that's revealing that's adding shadows better than accentuated with the threshold adjustment. So for example, if when we did our threshold adjustment, her nose completely disappeared which would be really weird then you could darken it with the burn tool after you've done the threshold adjustment so that you can visually see how far you need to dark and so you could bring back facial features that you may lose with that threshold adjustment by using the burn tool. Now if you revealed too much shadows or feed darken too much, then to switch to the dodge tool and then color back over that area it's a light in that area so this is a way that you confined to this effect and after you've done it so that's anything so let's go ahead and mark should that one again? I'll delete all these layers we're back to our original, so the first thing we're going to do is to duplicate that layer and that does need to be an image layer not a smart object turn off the visibility of the original now we're going to create our threshold adjustment adjust the slider if you want to you now let's add, are solid color film layer back down to that half black half white circle solid color to something in the pinky range now let's change its blend mood so that we can see the dark colors from our threshold adjustment layer. So since we've got dark colors that we want to reveal let's she's a bland mode in the darkened category because in that category the darkest colors win so let's choose darker color because there's no blending going on now it's come down to our image layer at a layer mass to hide any areas of shadow that may be remaining in your image that are attached to your focal point or your subject. So add the layer mask and use any tool you want to either paint with black or fill with black. Yes, I know that there were no we're going to use the lasso tool and then we're going to fill it with black by pressing optionally on a mac or all back space on a pc so you could use the brush tool but you'd want to switch to a hardage brush for this particular technique he wouldn't want to use a soft and brush in my opinion, but it's easier for me to steve's is lasso tool so we're just lassoing the areas that we don't want to remain in the image and filling them with black. Now, if we need to bring back some of the features that may have been lost with the threshold adjustment, we're going to click the image some nail ok, so we were editing the mask. Now you want it at the image so you have to click to tell footage shot which part of that later you want to effect? Come over here to the tools panel, grab the burn tool to darken and then paint across the area that you want to add more shadows to that will then be held on to by that threshold adjustment. And if you go too far switched to the birth or the dodge tool rather, see how now all those areas or lightning so that's how you can find him that effect? I think this is really pretty effect. I like that a lot. Okay, let's, see what else we have here's. Another fun effects for you. This is what we're going to create the oh so romantic soft edvin yet oh, so what we've got here are two images with an oval shapes layer mask so let's create that together, the first thing you need to do is end up with both images in the same document, ok, so several different ways to do that you could open them both and simply copy paste from one document to the other you could drag on the layers panel of one open document to the other or you can use the file place command to bring it in okay let's just go ahead and use a copy paste so command a to select all come and see the coffee come back over to the other document and command v to paste now let's grab either the this issue the elliptical marquis tool the elliptical shape tool victor shape tool would also work either one of these case let's use the elliptical marquis and we're just going to click and drag diagonally downward to draw an oval atop our image use the space bar while you're in the act of drawn oval to move the oval around on your image I'm still holding down my mouse key so let's say that's good release your mouse button now let's add a layer masks let's click that circle within a square icon at the bottom of the layers panel we're almost done on this one all we need to do is feather the edge of that oval so you want to double click the mask to reveal the properties panel or the masks panel in c s five and we're gonna grab that feather slider and right to the right not pretty something else you can sell in your photography business let's do that super fast again okay, so combine the images into the same document we're just using copy paste grab the elliptical marquis tool draw your oval use the space bar to reposition it above your image add a layer mask doubleclick the mask drag the feather slider to the right that's it one more super fast technique and then we'll take questions and that is creative edges using the refined and dialog box it's so easy you guys will not believe it you're gonna love this technique okay? So I'm gonna go ahead and turn off at the later I made for you delete the mask so we're starting at square one here, right? Just open the image first thing you're gonna do is grab the rectangular marquis tool come in about a quarter inch ish from your image and draw box try it up to the options by our click refined edge change your preview toe either on black or white it's going to allow you to see the final effect of this image will choose black then you're going to turn on smart radius and drive the radius slider to the right. I think you can mess around with the contrast slider to make your edges either hard or soft or drag it to the right to make the edges harder, drive it to the left and make the edge is more soft and then you can use the shift edge sliders increase the size of your original selection or decrease it so you can create some reeling, neat effects with this one. Okay, so perhaps I should have done that then we just add a layer mask. Okay, solid color phil there. So let's, do that one more. More time delayed the mask so here's, our original image grabbed the right angular marquis tool. Draw a box, grab the click the refined edge button change your preview to other black or white so you can actually see the edges turn on smart radius, grab a slider, dragged to the right and then adjust contrast and shift edge and then when you get it looking just right, you can even save the step of adding a layer mask by clicking the output too. Pop it many in choosing layer mask. Then when you click ok, the layer mask is already applied so here's another example of that, I'll add a solid color feel layer so that you can see what it really looks like a nice edge on that water and then here's one more example of that. Yeah, well, listen questions anyone have any questions in our studio audience? I mean, you're diameters have swollen tio is just so just so you know you can put all of these effects together, so this was a painting I did for karen will more we got to go to their wedding karen and been wilmore's in january in hawaii and I shot this photo of the wedding and I used most of the effects that we talked about today all in one image and we've got it hanging up here in the studio we're going we're going to send that to her parents in new jersey is a little present for them so you can combine gang up these effects for even more possibilities love that so really quickly let's see we've got about five minutes for questions so ten that's their user name ten is asking it's that they're saying I have come across a lot of wedding photographers who use split toning forgiving their photos of vintage look can you please share a way to do that and photo shop and how does that differ from what you've been showing us we can do that in camera raw very, very easily so I would do it over their camera is an application is installed alongside of little shop so I would pop into camera raw and do it there and there's a there's just split tone panel yes it basically what you'd be doing this map in your shadows toe two one color and mapping your highlights to another color tio it kind of looks like a duo tone but using two colors so didn't camera actually go over that in the camera all deep dive there you go that's where you need to go all right we have a charm pam we do our retouching before we change the hugh saturation or add the effects to the photo absolutely thank you for asking that question very touching first get that out of the way to your color correction to your retouching then start adding creativity so phone photos flag saying should you flatten your files when you finish or save a flat copy and a layers copy another fabulous questions so what you would do is you would have a master file hanging around that is in footage shot format so that all of your layers remain intact there's absolutely no reason to flatten that file if you need to send a sample to the client or post something on a website or email it just open that layered file and choose file save as and create a j peg of it so there's no reason to flatten variety the question from the internet how do you manage layers meaning which layer goes first in which after and what shifting layers due to the actual final product image that depends on the particular technique so all the techniques that I showed you the layer order needs to be exactly as I displayed it so because we're creating a build effect on all of these things so if you start rearranging layer order remember that layer order is just like if you had a stack of construction paper if you put you know, the red paper that was on top under the blue paper when you see the red paper anymore so layers have the ability to cover each other up so to produce these effects the layer stocking or needs to be like it is in these files so going back to that first flower photo that you were showing us let's see amy is asking is there a similar blur? Teo I rissler in c s five there is and I just forgot the name of the command is it lands correction? I can't remember which one it is it could be lens correction actually yeah, I can't remember which one it is it's in my book the full steps on how to do it prior to see a six but it was very difficult to do prior to that I just took a lot more steps and a little bit more confusing but yeah, those those blur filters are new and cs six already gone easy one from yet for you way I've actually seen this question several times over the last three days this one comes from donnelly can you extend or increase the number of steps in your history? Yes, you can try it up to the photo shop menu on a mac or the edit menu on a pc cheese preferences and let's go ahead and open the general paying because I honestly don't remember where it is. It is in the performance pain, so open the preferences, click performance on the left hand side, and your history states air right here. So by straight out of the factory it's set to twenty, so you can change that, just be congress. And though you know that that's, the photo shop is gonna have to remember more versions of your image when you increase that. So if you notice a slowdown in performance and you might want to back off that, you know, don't pump that up to two hundred, people. S so let's, see, that would be insane. Adding, a thousand history stays, okay, so you can absolutely change that. Just be aware. Be on the lookout for any kind of performance loss, performance loss. You don't want that. No promise. Loss is bad.