Work Smarter, Work Faster with Dave Cross


Work Smarter, Work Faster


Lesson Info

Work Smarter, Work Faster with Dave Cross

I like to do things as quickly as possible because I don't want to spend a lot of time getting to someone result when there's a quicker way to do it. So this is all about spending as little time as possible and photoshopped, spending more time doing money, making things like taking photos all that kind of stuff. But having said that, hopefully it's still means you'll go into photo shop not just for oh, I need to fix that little spot on the photo, but from a more creative standpoint, once you see what these things can do, it gives you the opportunity to say I could take a photograph for this purpose, knowing that I can jump in and do it fairly quickly. So I deliberately didn't call this class anything with the word automation in it for a couple of reasons, even though I will talk about things that are forms of automation, my concern when a lot of people hear the word automation is they instantly think actions, and besides the fact that ben is teaching a whole couple of classes on that, ...

I don't want to limit anyone to think we're giving all automation, that means an action, and I also have a very different interpretation of automation my interpretation is anything that can get even part of the job job done quicker for me is a form of automation so what I mean by that is some people look a task they're trying to do and they go I won't bother trying to make an action because I can't do the whole thing I can't record every step so I can't go a dizzy my response is if I could go a decay that's still better and I might as I mentioned that in the last class my favorite phrases compared to the alternative of me having to all those steps even if I could do part of it automatically that's still going to save me time in the long run so don't think of automation as doing a complete process necessarily I mean as great if you can but if it's just I need to do these ten things, I can do six automatically that's still going to save you time because the automated features and photos show no matter how good you are a keyboard shortcuts you could never do it as fast as photos show, so if you do something where photoshopped does the steps for you, you can't do the equivalent yourself it's not possible I mean, I've seen people are really fast I consider myself pretty fast with the keyboard but you can't do it as fast as photo shop so any time you go in thinking how can I do things in ways that are faster and the other part of that is in this class, I tend to talk about things that most people probably wouldn't consider automation because they're not under a menu that's called automation and you could I suppose debate is it really automation? Well, by my definition, if it helps me get things done faster than it's a form of automation, the first thing I want talk about a little bit is some of the built in automation, so if you have no desire whatsoever to record your own actions, I'm a big fan of actions, but if you don't feel like the need to do that or you don't want to try and learn all that stuff, I think it's worth it, but there are lots of things we can do where you don't need to do that. So for example, I have a whole bunch of raw files here and at a certain point I want to take some of these and maybe given to my clients so they can put them on their facebook page or something like that, so they're all raw, but I need to give them some j pigs, so the manual way to do that would be depict the five or six files open them all in camera raw, click ok to open them and photo shop and go save us, which would work, but it would take a number of steps to do that so instead I do this and I should also point out I'm doing this from within bridge for a very specific reason most of the built in automation commands in photo shop and or bridge that I want to show you could be access directly from photo show in fact let me go back here for one second to show you there's this whole command called automate and there's also once called script but with most of these the drawback to them is almost all of them will do the effect to the entire contents of a folder, so if you know you have a whole folder full of image, we want every single image to be effect good, then you can do it from here. My concern is most of time I don't I want to say just thes and as soon as you say just these go to bridge because bridge lets you pick and choose visually theoretically I could go file, automate and then look at file names ago I want for seven, nine, three and four, nine, two, one, right? Like I know what the file names are, I don't know so I do it in bridge instead so I can look and say I want this one and I because I'm not going to pick consecutive images are going to hold down the commander control key it's and also want say this one and this one and this one just for the sake of argument and I won't take those four and convert them to j peg files so because I'm in bridge there's actually two different options that you can do it I'm going to show you both and these are built in we don't have to do any not to create any function to do this or just built right in under the tools menu photo shop and then image processor and it switches back to photo shop because technically the operation happens in photo shop but the set up is in bridge to pick the images visually that you want and the beauty of image processor is its simplicity there's not a ton of choices and that's what makes it good and normally would come open looking something like this where it's saying process the files that you've chosen so it knows that I have chosen for where do you want to save them you can either oh selected different folder I tend to use this command saving the same folder which sounds slightly dangerous until you realize it's really save as in the same folder so I'm gonna make j pegs will actually create a little folder called j peg and all my j peg versions will be in that folder so it's still preserves all my original and saves a copy into a folder inside that same location you could choose to put it to somewhere else if you if that helped you I just found this way I end up in the same folder I have my raw files and my j pegs all nicely separated down here where it says file type of give me three choices save a jpeg saves psd save his tiff and you could pick any one two or all three whatever you want if you want to end up with both j pegs and test for some reason you could do that quality setting I usually because I'm not that concerned about file size I put the quality is high as you can, which is twelve it's not a huge difference between ten or twelve but that's one thing that I just prefer to do and then the one part of this that's potentially tricky for most people it says resized to fit so I want to scale these down because they're big raw files I don't want to give them giant size j pegs I want to give them a certain size well if you remember and if you don't I'll remind you in the four I picked I deliberately picked a couple of tall couple of wide so if I put a number like whoever last uses put ten twenty four by seven sixty eight, well that would be not helpful in my case because I want them all had to have the longest measurement to be some number and the way you do that and it's, not at all intuitive, I don't think is you put the same number in both. Now looking at that, you might think, well, does that mean it's going to resize it to a square? But it doesn't, because this command should be called resize, the longest measurement to fit. So that means if it's a tall document, the height will be nine hundred and the wit will be whatever the math says. And if it's a long document, the length will be or the with will be nine hundred so it's a little misleading because it looks like you're resize into a square you're not you're picking what do you want the longest measurement to be down at the bottom? It does have the option to do things like run in action, so if you had created an action, maybe for sharpening you could do that as well. For now, we're not going to talk about that, and that that point I just then hit run, and it actually does it that you'll see the images kind of flash on the screen and it goes through them. So if you had many, many of them, you would at this point walk away and have as lisa would say, a frosty beverage at this point it came back or the other option is if you have someone watching us never use photo shop is as even just start flashing really quickly just go like this with your hands so people think they're like the speediest photo shop user ever because they're seeing things flash like, well, you're really fast, so if I go back to bridge there's that j peg folder if I look inside it there's my forge a peg files and they're all the right size, no matter whether taller, wide so that's a pretty useful command, the reason that there's an option for a different choice of command is for different purposes, so one of the advantages of image processor is I can choose to save his a j peg or psd or tiff and other net there aren't a whole lot of options, so bridge also has on export function and you could export directly to facebook so you can hook into your facebook account. So if you wanted to post photos from your own business to say here's a recent wedding I did instead of having to go save is j peg long head to facebook you can actually log in to your account and do it that way if you're one of the seventeen people the world that actually use photo shop dot com, you can log into that on dna. Normally, it also says flicker, and I didn't check this ahead of time, so I'm not sure why it's not, but normally is also a flicker log in account, so those are all I won't bother demonstrate that because it's, pretty straight forward you along in your facebook counts is do you want to create a new album? All that kind of stuff, but the one part of this I gotta admit, I kind of threw me off is this little option that says safe, too hard drive because I was like, well, they're on my hard drive, why would I want to save them again to my hard drive? So I thought, well, maybe if it was called, save a copy to my hard drive, that might be a better description, because it's kind of like image processor where you can say, I want to create some j pegs, so it kind of works the same way in that you some images, and then you drag them on top of this, but then when you want to see what the settings are, you double click and it brings up options, which are similar but different two image process, and you'll see the difference between them, first of all, there's no choice it's j peg. So this one should almost be called, although they'd run out of room, it should be called save to your hard drive in a different folder as a j pick to be the the actual name of this. So I'm gonna export to the same place and then under the image options here's where I could choose I said, I want to manually resize, but now they realize it's easier just to put one number in instead of putting one for the width and one for the height. This is the equivalent. It also has a couple of options, one of which is very important a lot of photographers when you go to upload your file, do you want to include all the metadata so people can look at your photo and say, oh, they used a cannon this and this lands at this focal distance with these settings, some people are ok with that, some people would rather not, and they just want the only meta data they want is their copyright information and or contact information image processor ignores metadata completely this one gives you the choice. Do you want everything you want? Just your copyright do you want a copyright in contact information so as you're creating this file, which is going to be a smaller j peg? You can also choose to include metadata so the difference between the two image processor lets you pick photoshopped j peg tiff and run in action if you wish this one, this export function on lee jae peg, but it has the ability to hook right into you things like facebook and also have the metadata options. So that's, why there's currently both and I kind of used them both a lot. The other reason why use this one is it has one thing that I love, which I'm a big fan of throat photos, and that is let's say I go through and I said, I want this here and I'm going toe put in some additional keywords, and at the very bottom, you see, it says, save that, saving a preset so I could call it let's just go with the default name of my pre set, and now, any time I opened this, you see there's that priest, that now I could just drag files onto that and hit go so I wouldn't have to worry about checking the cities because I know I've already done them. So if you have a consistent kind of useless, I'm always exporting it with a width of a thousand pixels with meta data turned on, make a preset, they just dragged them on top of there and go. So the purpose of both of these is to make life simply where you've got raw or psd files that need to make copies that are smaller j pegs for some purpose. So this is all built him, you don't have to do anything to make this work other than the first time type in the settings you like, and then it'll keep using those or in the case of this export, you can also do this idea of doing preset so again, that has the advantage where both of these are just built in we don't have to do anything to create this so now let's, look an example of what I was referring to before when I said this kind of let photoshopped do at least some of the work for me, so here's the situation and I wanted to have a nice demonstration to share with you today, so just so I could do that. A couple years ago, I took my wife to italy so I could take these photographs just for you. I actually, though, that it's funny, because sometimes when I'm taking photos, I just, like, obviously take for my own purpose, but sometimes, like who I could use the senatorial, so I have to explain to people sometimes when they're looking over my shoulder and they see the very poor things on my camera like it's for a tutorial they're like sure is, I think it was really it is because I need something to fix, so I wanted that there's an example of something you might be faced with. I'm trying trying to capture this photo of this nice church through this archway, but it was a very busy spot and I didn't have a tripod, so I'm going to say that I deliberately moved mike cameras. I deliberately moved it between shots so that you can see as I took sort of shots, there's, a bit of movement and you can see there are people moving in each one but there's always people in the photo, so my goal would be ultimately to end up with a photo without those people in there, which means have to combine all these photos into one on layers and then do some masking to do that so that last part still ends up being manual, but the first half of me getting them into one document here's the difference right now I have five raw files, I'd have to open all of those. Make sure they're all set the same way and then go okay, and I end up with five separate dogmas that too, which I dragged them all in together, so eventually I'd end up with one document filled with five images here I instead I do a bridge automated function, which is built in and it's very simple it's actually just called load files into photo shop players, so we'll say, let me take those five files and make a new document, and each photo will be on its own layer. So the good news is it very quickly says, let me put all of those images into one document for you. The unfortunate part is it doesn't do anything to account for the fact that I apparently can't hold my camera straight, so it's got them all in the same document, but as you start to look through them, you can see the problem I face is that there's a slight camera movement, which, again, I did deliberately for the purpose of demonstration, we're going to go with that story. It's actually kind of sending sort of true, so first step it did automatically got them in there. The problem is, they're not lined up, so instead of me spending quite a bit of time going, transform this and tweet that I absolutely love this command and it's called auto align layers so let me actually just explain what I did instead of just doing it so I click on the top layer to single click shift click on the bottom layer so that just means all the layers were selected so that's step one now the command is called auto select layers and as you would probably expect since it's a layer function it's under the edit menu so auto align layers under the edit menu now if you've ever used photo merge you probably will recognise this dialog box this is exactly the same technology where it automatically emerges things together. I have always used auto I don't think I've ever had a case where I tried auto and it didn't work but there are other options where if you try it it doesn't work and always undo it and try with a different setting but what this will do is using some incredibly magical technology it'll just say let me look at all your layers and a line everything for you I have no idea how it works nor do I care because it's so awesome why would you care and you can see now look at the church in particular you can see it's in exactly the same place so what each layer had to do in order for this to work was kind of shift rotate whatever making all that consistent so ultimately I would end up having to do some little cropping or something for that part, but that's, this is so this is where the manual part starts up until now, it's been like bang bang let me get to this point so load files in the photo shop players auto line now I'm ready to start working and the manual way would be click on this layer at a mask and try and hide those people and then click on this one and we're not going to that part because that's the manual part that's the part that takes more time. I do want to show you one thing though that I really, really hope someday will go into the regular version of photo shop and at this point I don't know what's going to happen so unfortunately, this is only available in the extended version of photo shop right now, so if you don't have photoshopped extended, I apologize on behalf of adobe because they should just but anyway, this is pretty cool if you do have it it's worth doing so we take all these layers and we convert them into a smart object, which we'll talk about again mohr in this class but that's going to make it look like it's one merged layer but it's one merge layer in effect that's made still made up of all those separate layers because there is a function that allows me to do this mathematical thing where it compares all the images and it basically removes all the things that are different, so a lot of people actually refer this to this as the tourist removal tool because it would keep whatever static like the church and remove the people and I'm sorry I can't for some reason is not going to show because it describing it doesn't do it justice, so we may come back later and see if we can get that tow actually work later, but we'll see maybe not, but it is only in the extended version, but part of my main purpose for showing you that is too as an example of, they're still going to be some manual effort on my part, but at least the first part was quicker than me going open, open, open, drag, drag, drag, a line, a line, a line it did all that part for me, so any time you can do something where most of the work is done for you that's a good thing. So the other thing I want talk about a little bit, and I know lisa talked about this and one of her other classes, but I like to put this into the framework of not so obvious automation, so there's a few tools and photoshopped that have become a form of automation because it saves me time it's just not as obvious one because it doesn't fit into any categories on action it's not automation it's a tool which does things for you so you probably aware of the fact that a couple of versions ago they brought out content aware technology and content where phil in particular was one of the big things and frankly it was one of the things that when adobe showed pre release kind of examples of it that most people thought the videos were fake because it just looked too good to be true and it really is that true I mean, most of the time it actually works really well although I do have to laugh and I have a lot of good friends that adobe but the very first example they showed of content where phil was a video or they said imagine there you had a photo of a white horse in the field and now you wish it wasn't there I was like why yes I have often thought that that I wish I could remove this white horse from my field so I thought that's not the most practical example this is much more practical as you had a photograph of a man on a stool with a megaphone in a desert and you wish he wasn't there because that's much more practical so the way content aware works is you make a very rough selection and doesn't have to be accurate it all and because I'm on the lock doctor and later I can just press delete to open up the phil command and I choose content aware click ok and it does a fairly decent job although now I have a shadow of nothing so I would probably do the same thing and I could do it pretty quickly once I've done one and maybe try and fix this mountain up a bit now I'm working directly on the background layer which I wouldn't highly recommend that would not be my first choice but up until c s six you had to do content aware on either the background layer or a duplicate of it so I just did it that way because it was quicker however, now I would do a slightly different way for two reasons the downside to content where phil is it somewhat random? So in a case like this it worked quite well because it was very organic, you know sky and and sand all that kind of stuff I'll show you in a minute the first example I actually ever tried with content where phil because I have this philosophy of going oh yeah you think this is a cool new thing let's really try it so we'll get back that in a second but here's how I would do it now is instead of using content where phil I would use the new improved patch tool, so the patch has been around for a long time, but the problem with the patch tool of all two problems, it always would give this weird kind of fuzzy edge thing that wouldn't quite make everything go away. And to me, more importantly, I couldn't do it on a separate layer, and I always like to do my whatever it is cloning we touching on a separate layer. So now, if I go to the past two and changed the content aware, two important things happen. First of all, I can choose sample all layers, which means I can put it on a blank layer. And secondly, now instead of me relying on content, aware to just somehow randomly guess I congratulate, say, I would like you to use this area rye, maybe there. So now I'm choosing instead of letting content where phil pick for me, which some of the times like on this desert it's not a big deal, but in some other cases you really needed to be that brick wall right there for it to work. So let me show you the first example I ever tried with content where, phil, because I was, like, really content where phil so let's, try it so here's the after photo as a aside, tip that has really nothing do with our topic, but I would like to mention this if you're ever compelled to show someone a before and after photo a don't because people's eyes are you could have done the best retouching job in the world, but if you show before and then after they go, oh, you fix his face because they can just see it. So if you really feel compelled to do before and after, then at least doing after and before and by that I mean, if you show the after photo of someone's face and they go what's wrong with his eye that's bad, that means you still need some work to do on your retouching, but if you show the after photo of someone's face, they just kind of go and then you showed before they went, oh, wow! So in this case, hopefully when you see this before photo, you won't be like, well, I could see right there because this was the original photograph. There was a big light stand right in front of it, so I was like, ok, content where, phil, if you're so good, let's, see you take that away because that's much more challenging than like a horse in the middle. The field so what I did now just to save time I just say this election because frankly it took me a little bit of time with the lasso tool to go around it but didn't I mean still we're talking a minute or two I just don't want to waste that time right now but there's no trick to this that's just me saving time by doing that so then all I would do is fill content aware and look at how fast that is and it's I mean, wow, if I zoom in, look at all that detail it's like bricks and things and it did a pretty decent job when you compare I mean there's only a few places where if you look really close, you might say, ok, this part down here even on you, it doesn't look horrible because it's an old building, maybe it's just kind of crumbly there how do we even know? So that's kind of the point of all this thing is that content where phil will do its best attempt for you, it will say I'm going to pick the surrounding areas so I would still always try that first well, most of the time because I know it's going to make a pretty good effort and it will usually do a really good job the good news is if it doesn't do the best job then, you know, you have the patch tool to kind of come back to what I'm starting to do now is look at different situations and saying, just say, oh, you know what I can already tell in this case? I just just just go right to the patch tool because it's more complicated now before I leave the topic of content aware for now I do want to point out one little thing and that is if you're the photographer and you're about to take a photograph and maybe for example, there's people in it. The other option is wait twenty seconds till they leave and just take another photo, you know? So wait till the white horse leaves the field and take another photo just in case because our cameras are digital, we don't have to worry about own oil have thirty six exposures, so take extra ones just in case so don't rely on content aware phil, I mean it's good to have but sometimes photographically just easy to say, I'm just not going to put that in there so here's another little trick that I like to use? I'm a big fan of many bridge because switching back and forth to big bridge is fine and in some cases I need to because those automated commands but often I just want like to use many bridge because it's quicker but then I'm faced with another challenge for example, I look in this folder you'll see there are siri's of portrait ce I want to pick which one I want to work on the challenges I'm looking at photos that are this big and it's kind of hard to tell especially if someone's face is that one more and focus on the other or door like her expression because their little teeny tiny little thumbnails so you can do this next little trick in either big bridge or many bridge it's not really called big bridge I just called them either one it works the same way you just single click on one of them hit the space bar it goes full screen so we're now we're doing a slide show inside photo shop you press the right arrow key toe look through them and it will keep cycling through until you say I think I like this one when you find the one you like you just press the letter o for open so that way I used a little kind of full screen slide show to say where is it? Let me look at them all and then once it's the one I want just over open so that works again and either bridge or many bridge and that's fine if you're just trying to kind of look at them and very quickly pick one the other option which is kind of interesting is called review mode and again this is available from both bridge and many bridge it's slightly different it's almost like you have an old fashioned slide carousel that goes around so uh right error will go through so it makes one kind of pop to the front and then when you look at them and say we like that one you press the down arrow key to take it out of the equation that's not deleting the photo from the folder is you're saying take that out of my comparison now if you look really closely you'll see that the name is kind of highlighted so that's the active one so I'm pressing the arrow key ole that's changing is it's highlighting a different names you won't see any visual change but now when I look and I say ok this one I don't like is much down arrow key and that one and eventually you now down two point eight that's the one I want over open so it's kind of a similar thing to a slide show but it's even better when you have multiple photos you're trying to narrow down your choices they from these very similar photos let me compare them now again most people wouldn't consider that automation in the normal sense of the word but to me it still is because the alternate would be me going let's open this no that's not it let's open this one that's on it so any time you can look at a big preview is just going to save you time and that's kind of the point of all of these things is to get it done more quickly just get cut to the chase as it work whenever you're in any of these moves you have to get out of it if you can't if it's a regular slideshow space bar get you in and out if you're in that review mode you have to hit escaped actually get out of that so you continue doing something else so here's another example of something that most people would probably not consider that most people wouldn't consider this automation but I do because again it saves me time so I'm going to show this first with this layer right here there's just like a radiant layer sitting on here and this is not to suggest that you would often have this scenario having a grady and sitting on top of someone's face it's more to demonstrate the concept of what this function does so you'll see how it works and then we'll look at examples how you can deal with it so this function is called the blend if sliders in the way I got to them was just by double clicking beside the layer to open what looks a lot like the layer style dollar box because it is but we didn't go to like drop shadow or any of those individual styles so down the bottom you'll see these two sliders they blend if and that says this layer which is later I'm on an underlying layer is the layers below now coincidentally, I chose to make this a grady in going from black and white that's not why these sliders looked that way they always look this way so you'll see no matter what later I'm working on, you'll always see a slider goes from black to white this just helps I think demonstrated first seeing a graphic that's the same so if I take the white end of this triangle where says blend if imagine says make transparent if I move the white end in the white areas become see through if I take the black try and move it in the black areas become see through and the further I take it the mohr and mohr become see through because I'm pushing it further along that scale of black to white I could also go the other way and say, well, I kind of like this graphic but let's make the underlying layer start to push through instead of being see through it's going to push through so as I dragged this light you can see anything that's dark starts to kind of come through the layer above or anything that's light will start this will be is obvious, but you kind of see the idea the only problem with this becomes if you look kind of closely here you see how the edge looks kind of jagged that's because this blended slider is so specific that it's saying at this pixel make it see through the next pixel over don't so you often get kind of a jagged as depending on the shading and there is a solution to it and it's kind of hard to see it's this part again I always preface by saying I have the greatest respect for what adobe does but sometimes their decisions I find interesting and one of them is in this case if you look really closely that black triangle has a little tiny lying in the middle of it that's adobes way of telling you if you hold down the option of all key can split into two halfs which is pretty obvious from you know a little line in the middle so if you didn't know that you wouldn't know that now see look at the edge see I'm getting kind of a a softer edge because I'm saying everything on this side will be see through everyone this I will not and this is we like to call the kind his own kind of see through kind of not so you can make decisions on that by moving this around by splitting the triangles there are many of us who feel the's triangle should split automatically unfortunately adobes not one of them so you just have to remember you always have to do option split the triangles anytime you want to do this more gradual type of effect up until cs six when you clicked ok, you had to remember you'd use blend if sliders because there was no visual feedback in the layers panel now there is finally there's a little tiny symbol that to tell you you did something there plus if you look really close you can see the layer thumbnail still shows the whole grady in't but over here it's not there and it's important to note folks in this whole thing that what we're doing here is saying make parts of this layers see through they're not gone in fact as faras full shelf concerned there's still all there. So for example, if I were to add a stroke around the outside, you see it's still putting a stroke around the whole rectangle because far as he's concerned it's still there so that's kind of the theory of how these blend of sliders work. What is interesting about these is you can do some kind of interesting things with them. For example, I'm trying to mock up like a magazine cover here for someone and I want to make it look like maybe his magazines where they put the person in front of the name of the magazine so it's partially covering up so the ultimately the way it have to do that is extract her make a layer mass do all that stuff but frankly that would take a while I want to very quickly almost due in the good old days he's also a mock up we're kind of going look kind like this so it's enough of a representation that people can make the decision do I really want to pursue this or not? But in a way it's going to take you seconds not many minutes now the only way this has even have a chance of working is there has to be some contrast between what I'm trying to blend if in other words the color of the texas read her hair is kind of blondish if the color protects was black and her hair was black blended flyers wouldn't work because there's nothing not enough to play with so in this case I want to keep the type player editable when I double click on it, I'm going to go to the underlying layers so I want to do is push her hair through the letter h so you're gonna have to split your eyeballs and watch two places at once I'm going to move this slider here and you'll see the result over here so watch the bottom of this age is really the most important place to watch and if I go underlying layer as I start to move it you'll see a certain point it starts to go write about maybe there and if I do that will split the triangle thing something like that now is it a perfect extraction no it's not bad but the real point is it took twenty seconds to say here you go this one look like now they go oh that looks cool let's do it then you it's worth investing the time to do it really well with extractions and mass and all that kind of stuff sometimes this blend if slider will mean you look at it kind of go that looks great in this case it's not bad I would probably not leave it that way although it's it's actually pretty good but at least the main thing is it's a very quick way to at least see what you're doing so here's another example of where I might use this one of my least favorite things that happens is when you're working with a client and they're very helpful they say well here I'll email you my logo and you they give you a j peg that's this big and it's like their logo on a white back on your life awesome thanks ever heard of illustrator files so here's an example nice logo on a white background I drag it over to this document and I want incorporated in here I don't want the white on it so long involved manual way would be said hereford twenty five minutes to an hour with the magic one tool or some, my friend said to call it the tragic wand and click many, many, many times to try and get rid of the white option. Two depending on the photograph, might be to try and change the blend mode to something like multiply which, while it gets rid of the white, the problem is, see what's happening. The red is actually multiplying against the background which making it hard to see in certain areas. But I really want to do is preserve the red exactly as it wass. But just get rid of the white so my first thought was let's go to the blended sliders because there's white there's white so as soon as I drag it even a hair, see how it's just gone now I would probably go even further just to make sure there's not a little tiny fringy white things. So that looks pretty good as pretty easy, but once again we have to remember one little gotcha possibility. And that is they say you now, let's. Add one of those nice drop shadows to this layer. All right, now, if I had to drop shadow you the problem it's still seeing the whole square. So the solution is about as odd as it could possibly be, and I have no idea why this is the case. But it's, just one of those you just sometimes have to accept the reality of photoshopped that if I want to make that blend, if permanent, I have to do this. I have to add a new layer below so a command or control click on the new layer button twice, though toe at a blank layer below that I take the top layer and here's, a command called merge down and somehow merging onto a blank layer makes the blend of permanent. So now the white box to truly gone. And now you see, my drop shadow really is a drop shot of the whole graphic. Now I would, of course, only do that if I was a thousand percent sure that the blend of slider was no longer necessary, so if you're using it for a function like get rid of white, then it's fine. If you're using it for that, make the lightning blend through the clouds, you might be less likely to make it permanent because you want that ability to kind of change it. But this is an example where, compared to the alternative I I mean, it would have taken way longer. If I was to do any other wakes, I would have going, try and select all the white or make a selection at a mask or something. This one it's like movies lighter and it's instant feedback so you can tell very quickly. So my philosophy with blended flyers has become, why not try it? Because in no time at all you can say, does this have even a hope of working? Or in the case of that magazine cover will be good enough to do that kind of mock up idea to show someone this is kind of what I had in mind, and then they look at and go, oh, ok, now I get it let's, go ahead with the project and take three hours to do it properly. So now here's, the only other thing, I'd I probably shouldn't even say this, but so I was showing this teo a group recently, and one of the people had been a long time photo shop user. So they put up their hands. And so is this, like new and c s six I would know it's actually been there since photoshopped three, not cs three and he's kind of went like self taught was like, yes, it's, like we believe him teach yourself that. So that's the problem with blended why would you just think I wonder what this is? Let me double click and move sliders because it's just there's nothing about that that says this is what it will do but I can't complain too much because otherwise wouldn't have a job it's because the decisions that will be make that gives me an opportunity to share their stuff because it's so so much of it is not that obvious but the good news is once you see what it does then you can start using it all the time for all kinds of things okay? So in the previous session running was watching talked a little bit about this idea of smart objects I want to talk about this a little more because it's really quite important I think and uh let me actually go back here for second ok here's my little just bear with me for one second I should have done this ahead of time but let's review how you change keyboard shortcuts because I want to change a keeper shortcut for something here. So I'm going to go to the panel menus to these things called layer camps because I'm going to turn photo shop into the world's most expensive slideshow software momentarily so I want to go to next layer comp and let's just make it f one nope ok that's already use how about about if seven so someone remember f seven because I'm sure to forget momentarily as soon as I press the button ok? So here's my explanation of smart objects with some graphics to support instead of switching to keynoter power point I just use photoshopped this my slideshow software which is kind of weird but I live in this program most of the time so normally when you have a photograph on a layer it's a standalone layer and if you make any changes to it it's permanent by using his command called convert to smart object the phrase I like to use is like we've put our photograph into this container so there's my container inside of it is my photograph. The key to this though is it's a special magical container because I can make changes the container without affecting the image inside so that's where the differences so for example what I say f seven right? Ok, so for example, if I scaled the container down, then the photo inside of it by nature would look really small because I've scaled it down. But where it's different as really it's still the original photos you know the container is small, therefore my photo looks small, the contents haven't changed it's still remembering I was this big, so that's as you'll see in a mall when I demonstrate this with a real photograph that's, what makes this so cool is that we can try things in the past if you scale, the photograph is like a well, now it's that size. Now we have more options. By the same token, if I had my container and I applied the blur to the container, the photograph is gonna look blurry because it's in this container, however, inside that container is still my original photograph. So that's, the concept of the smart filter is that you're not really changing the photograph. You're making it look different. So that's, the premise of smart objects is were I have to be thinking of containers and their contents. So let's, look at an example here. So here's a regular old photograph. I'm just going to unlock it so I could do things to it. And let's, add a layer below. It will just fill with white. Just a way of something there. So this is before smart objects. This was how things would operate in photos so I would take my photograph and used free transform. So commanding control. T and I decide I want to scale this down quite small and I hit enter. So as I had enter that's the new size of those pixels. Now if I were to save this and close it that's literally it's new size this I can't undo what I can't do anything so let's imagine I have done that I have saved it just like you see it now I come back a week later and go I didn't make it that small that was kind of odd and I'm sure you probably encountered this that if you ever try and scale something small and make it big it just looks really bad because we're trying to make photoshopped artificially scale things back up and edges look soft and anything curve doesn't look very good it's just never going to look is nice so that's before smart objects that's always the way it worked now and I don't have to have unlocked the background where in this case I just did so you can see this next part before I do anything else at its full size I right click and shoes convert to smart object so convert to smart object in dave speak would be put it inside a container now apparently for some reason on having challenges with that option there we'll see if that could do it another way uh uh okay so apparently the convert to smart object thing is not really cooperating which is going to be a challenge so I don't have to restart photo shop because that out there we go see I just had to threaten it I said to say I'm going to restart you kind of did it sounds like sometimes even though four shop is not voice activated, a little sensitive, so if you threaten it so so now free transform look at the difference first of all and it's subtle but now there's a big x across where there wasn't before that's a subtle indicator that this is smart whether it's not really important but just so you know and I scale it down really, really small and I hit enter now same scenario I save it just as it is I come back, but the difference is it's in this container, that little symbol in the corner again is the I'm in a container and I'm smart symbol now when I go to free transform aiken, scale it right back up the original size that losing any quality because I'm just putting it back the way it wass so it's almost like unlimited undo it any time even though I've quit or I saved normally undue is only available that instant this is giving you in effect. The option of saying I know was two weeks later, but I want to put it back to that size now let's very quickly dispel a couple of things about smart objects that people misinterpret it does not mean I can now still skill a bigger than it ever wass that hasn't changed you still can't go bigger, but you could go back to the original size, so as long as you started off with a big one, you can scale it down, scale it back up if you're smart abjectly starts out being this big, it still doesn't help so that's that's kind of the first thing, but what this allows me to do now is have all this ability to say, well, let's, try and see what happens if I create this effect and do something because now I can so I can start to, you know, scale things around, apply effects, whatever it might be. So in this example, maybe what I want to do is I want to try and create some little layout knowledge I really is have this one photograph to work with if I duplicate the smart object that's like saying make an exact clone of the smart objects I'm gonna take this other one and scale it down like this and you put over here, but I don't want the whole thing, I just want part of it so I can take my marquee tool make kind of a square selection may be an ad, a mask and now let's put that maybe appear I'm just kind of free styling here don't really have a hugely great plan in mind here of this puddle stroke on the inside okay, so now I have something and if I decide at some point I want to make a change to it if I excuse me double click on this it will go on open another document which is the contents of this so for example, if I decided maybe I want to see what it looked like if it was some kind of effect like do black and white and then lower the opacity so it's kind of this very subtle kind of color tone now I just save it and you'll see when I come back to this document see how this is both of them have updated because they're two versions of the same smart object. So what this allows me to do now is we can do things that become almost like a template kind of idea so how you might use that let's say you wanted to do what for a shot I'm used to cold now it's back again called contact sheet that used to be this automated command we could take a photo and put it multiple times actually was called picture package my only complaint with that was it was an automated features, so if you didn't like the results you're only often is basically that start all over again so personally I like to make my own instead using smart objects so let's just say I want on eight and a half by eleven age and I'm going to make you smaller numbers I normally would just because of how long it seems to be taking here to do some of these functions and now I'm probably easily from you do this is to come back here and choose place into photo shop I could also just open the file and then drag it over but the reason I did it this way is I knew was a camera file so because of that it would open camera off first interview choose place it automatically scales it to fit when you open other document, drag it over when they come for whatever size it is so it might be gigantic so I used tend to use this one because I like the size of it so I'm gonna say let's put that there is kind of our main photo and hit enter then I'll duplicate this and move over because I want another second one for her of that same size duplicate again and drag or but these ones I want to be the wallet size so we'll just put one here now needless to say, I could make this as pretty as I wanted to and make sure everything was nicely aligned in space but for now I'm trying to show you the concept one little short cutting time you have a layer that's the size you want and you want another copy instead of going duplicate and then move into the position, just option all drag it, and it automatically does it in one step. But just as I want another one there and that's but one over here, but this one needs to be sideways, whatever. So you would build this up however you want, so I've taken one photograph it's a smart object, and I duplicated multiple times and then organize them. The fun part about this is you want to do this once, so I could add, you know, they've crossed photography on my contact information, whatever it is, so I'm creating like this one, but because I've used smart objects by nature, even though it's not called this, I've made a template long as I say this as a psd file that contains these smart objects, one of the really interesting aspects of smart objects is you have to think back to our original thought of a container, so I have one, two, three, four, five, six containers that all contain the same photo, so it's duplicated that containers. Now I decide of saved this, we'll just pretend I've saved this and it's a week later, I need to make a different picture package for a different person, so instead of starting all over again, all of these layers are exact clones of the same smart object so it doesn't matter which one I pick anyone at all I right click and I choose replace contents which means look inside that container and use a different one instead so let's just take a look and see what we got in here that might I didn't plan ahead for this one so I'll just give me a checking to see maybe here okay so here which one do I have that one so let's use this one the same girl but we'll just say we want a different one I had a place now these ones weren't the same size so that the scales a little off so I should have picked different photograph because that didn't really demonstrate very well let's try a different one so replace contents it's going here I think I have another one that might work better so this one is a camera raw file like their other one was so I start off and say well if I need to weekending results but then when I click ok now it goes through still not the exact same size using the wrong example but I think you get the idea that it's replacing everything and scaling everything with me so if I had planned better and knew they were exactly the same camera ross eyes they would have been dead on here at worst I'd have to go scale little bit but it's still done most the work for me so if I had stuck with my plan and showed you the original one, I was going to show you it probably wouldn't work out better, but that the whole point of that is it's this almost like template idea. So here's another one I did previously this is a smart object multiple times, so really big and it's the same photograph three times, so really big in the background now that one actually scale larger, which I would almost say don't do it, but because I knew I was going to make it really semisi who in the background I don't care in fact, they say they didn't, but sometimes we'll even add a very slight blurts, I'm trying to make it more of a background element, so when you look at this document, you see original smart object to copies each with a mask only show part of it, so I had to scale some of them bigger or smaller than I've got other little text and doodads and other stuff like that. So at a certain point I say let's, hopefully this time I'll pick the right one so once again I do the same thing replaced contents go to our file and we say let's, try that one and we'll just click ok, hopefully this one will work a little better for you now it's a little off but that's ok because now all have to do is say go to this layer and let's make sure these unlinked always have to come here and drag so I see her face and then come to this one and drags I see that and I got this one so it's still taking a second but again, when you think of the alternative of me having to rebuild it from scratch that's kind of the point is it's still a huge time saver? Sometimes you'll look out and you'll replace contest go ok done that doesn't happen that often, but it's still compared the alternative better than me going well, I got to start all over again and import and rotate and scale this template idea means most of the work is done for you. Let me say one other example of this template idea. Now this is an example that it's going to take some time up front to do this so I would do this if I felt here's a functional use on a regular basis. So this actually came out of a discussion I had with a photographer, a friend of mine who said I keep getting all these requests from my clients to sell them the images on disk and I'm really reluctant to do that but I talked to a couple of you know, advisers have said you can do that just you should charge a lot because he's a review images so make sure you're charging a lot of money so he said, well I'm gonna do that I want to make it look nice so I'd like to put their images into a disk on a disk with a nice cover so now he wanted to do that as part of his kind of sales pitch to his clients was oh, by the way, I can provide this nice package so he wanted to mock up what so they would see as part of his slideshow look here's your image with on a disk and on the cover so he found this stock photo of just an empty this waiting and he was starting to put it on himself and with this one customer and I said, well, hold on a second before you do that let's take a different approach let's instead of using your exact photo let's, use what I would call a placeholder that you can then replace with other photos and they'll be worth the time so I'll show you the start of it it took a while so I'm going to kind of cut to the chase eventually but this this is basically the idea that's not it so here I just added a layer this is my place holder layer and I just made it the same orientation as a photo so it's, just the same kind of ratio of size, and I just used a grady in just for the purpose, so I could see what I'm doing. So this is my place holder. Before I do anything else, I converted to a smart object and I'm going to duplicate it. This one I want to try and make fit that case in the background now, one of the more challenging things to do and photo shop is how do you scale something down where you can't see what you're scaling it down too? So I hit free, transform, and then I can lower the opacity enough so I can see what I'm doing so now I would start to scale it and then at a certain point, obviously I can't just scale it proportionally because of the perspective of the case. So one of things you can do in free transform is by nature. When you use any corner, see how it's affecting all corners equally. If you hold down the command key on the mac, control for windows, what lets you do is actually adjust each corner independent of each other. So now I can basically dragged this and say, let's, put that there, let's, put this over here, let's, take this one and put it right. They're now if this was a real project I would be zooming in closer so I could see what I was doing and I wouldn't have a big command symbol right where I want to be clicking with my mouth at the moment so I would get this bang on for now I'm just going to say ok that's close enough for rock and roll then I put the opacity back up and it doesn't look terribly realistic yet for two reasons first of all you can't see the disc and on the original photo you can see how there's this nice kind of shadow there so I want to do two things to make it look more like this the first one is change the blend mode to multiply and now we get that nice shadow effect but I still have this problem so that's where layer mass come to the rescue so I make a selection of all the part that I want to keep including this little sneaky part in the middle here then come back to this one and click on the ad mask button for some reason I'm just having weird things happened it shouldn't happen I should just be ableto addle air mass a let's just that way so let's do it this way there's always more than one way to get the results you want okay, I wasn't so let's do this and that there were normally wouldn't be that difficult for some reason photo shop is miss cooperating right now? Then I have this other one member this is a copy of this same smart object and this one I want to put on top of the disk, so I'm going to scale it down somewhat and I could do the same idea of doing that whole passive, but just today is that look right? Maybe we'll rotate a little bit and then come to here and do that same idea. Yeah, it's just not being nice to me right now, so we'll always this way and this, okay, now, if you look really closely, can you see there's a little bit of a reflection in the case and the diskettes released subtle, but I saw that. Well, I can't not have that because it would look really weird. So this is the long part I'm not going to show you because this took a while, so through the magic of repairing ahead of time, it end up looking like this. So the only difference is I had an x in the middle of my grady and just to help me line things up, but see how you can see the little subtle reflection, so this is if I open this up, this is the same smart object four times one is the front of the case one is the reflection one is the front of the dvd and its reflection so I would take this file let's just get rid of these other ones that we don't need and I would say this and call it my template for dvd cover or something clever like that okay, once I have that because the psd now we go back to this principle of saying replaced contents have to it slightly differently in this case though, because as you saw in that last example when I chose replace contents if the size wasn't bang on, it didn't fit properly. So the other option, which in this case actually works better because I have really have no idea what graphic gonna put on there is remember any time you have a smart object and always look inside the container by double clicking so there's the contents of the smart object. So now I'd say what I'd really like to replace it with this, which is a photograph with some texting see there's three layers photo sent me through through white bar and text take all three of those layers and dragged them into this document that's the contents of my dvd now you can see right now it's a good thing I didn't just say replace contents because it's too big and it would've been way off but aiken free transform this, uh, came down to fit on. Suze, I hit enter now remember, this is my the contents of my smart object. I'm going to actually delete this other one because it's just confusing matters. So now I have two documents. One you can see is the layout of the discoverer and everything else. This is now the contents. So if I close this and save it, you see now see what it's done but look really closely. You can see a bit of a reflection here and there. So any time you have a new customer, all you do is go double click drag in resize safe. If you look at this like for example, in this case, I'm like the only unfortunate thing is I could move them around a little bit more inside because the layer mask is not linked. It means I can move the photograph around inside, but ultimately I'm thinking this needs to be down just a hair well, in this document, that white bar and text doesn't exist. This is the smart object. So what I have to do in this gaze is double click take these two layers and let's say let's, just move these down just a bit now when I save it updates over here so it's a different mindset you're not working directly on this photo all the time and for some people that kind of throws them off because they're used to just click on that and drag it in this case you can't because it's not there it's inside the container now at this point I want to delve into territory that's a little dangerous because it's a little mind boggling so everyone take a deep cleansing breath for a moment and prepare yourself because at this point I have all these separate layers all of which are smart now I want to print this now before printing I would typically sharpen it well but I've got like all these separate layers and I don't want to sharpen each layer so thie some people's reaction we well I guess you have to flatten it remember flattens bad word so ok ready so the solution is you take all of these layers and convert to a smart object so I'm taking a bunch of smart objects and converting them to a smart object or I'm taking those containers and putting inside another container it's kind of like those russian dolls where you looking there's another doll so sometimes the solution is to take smart objects and make them into a smart object which you might then make into another smart object if you need to go that many levels sometimes it's necessary it sounds really mind boggling right now but it makes sense a lot of the time more than you think so recently I was demonstrating this is one of really a funny comment from the audience because I was describing this operation where I end up with like then I took that smart object and turn that into a smart object which I then turned into a smart object that's one guy said you must love the movie deception or inception I was like, yes, I got that movie everyone else is like I don't understand I'm like yeah it makes perfect sense dreams within dreams marty obst within smart objects perfect sense so in this case I would now do my whatever it is sharpened whatever just do something that you can see it because it's a smart object of course that means a smart filter automatically so I had that benefit but even now I look at and I say you know, now that I've done this I don't have cut off that a little bit on the janet I'm not a big fan of it so I have to ready double click to look inside this container and then double click to go inside that container so that I can take whatever it is like the tax and kind of go and then I save and close that one update the first container which I then closes save tow update the second container so this one will update so that's where the slightly mind boggling part comes in but once you start working through a couple examples and people always are surprised when I say it's a lot easier than it think when you look at it it's kind of like what now but when you try it the first time just kind of go ok, well I've opened that container now is inside that I have to look at the next one it starts to make a little more sense I'll show you another example of this that I don't honestly know how would have done this before smart objects really I can't even think sometimes I can think well on the other in the old days I would have done it this way but in this case I'm not really sure how I would have done it particularly while preserving the stability of the text so I was working with a client they wanted to have this effect they said we got a bunch of text this is not if but just some text want to look like it's around the globe so they want to be like almost three d looking now for a shop does have three d capabilities but that's not what they wanted they wanted the illusion of as if it was around the globe so I just took a random text generator just to create some text for this example but I'm gonna do is take my circular marquis tool and make a circular selection and then click on the add layer mass. But and then I'm email to my clients that there you go text around the globe and went no that's not so no, I didn't do that, so all I've done is I basically master, but it still doesn't look very globe like. Well, the next problem I have is in order to apply a filter it's going to prompt me like I showed you before. Do you want to rasa rise? No so I take this layer and I convert to a smart object. Now don't be fooled because again, whenever you take type and make it a smart, it looks visually on the layers panel like has been rast arise because normally only see that layer transparency when it's been rast arise. So now I can do distort and let's do sphere eyes the filter you never thought you'd use. You see it's got this kind of cool look here's. Another cool thing about smart filters is you can apply more than one of the same thing, so I think that's not quite spear ized enough, so I'm going to spear eyes this for your eyes because I could put more than one and just pick something like that, so now I've even more sphere ized. So that's pretty cool but I want to take it one step further and that is I want to have the middle part kind of more in focus and the outer edges blurry well here's where I faced with a problem if I did a blur filter like gaussian blur you'll see over here is getting added to the list which is finds that the problem is I want to mask the blurriness but there's only one mass for all these filters so if I'm asked the blurriness it would also mass this fear rise and record so at the time when I was trying this I recall thinking gosh darn it that is rather unfortunate that I am unable to do that it's probably the exact words I used at that time so I thought I thought well hold on a second if I took this smart object and converted to a smart object it's almost like I'm starting over because now inside my container is this fear rising now I can go blur causing blur and then so it's all way too blurry so I take the radiant tool and say I want to make a circular grady and say let's make the middle part clear and the outside blurry so that's kind the effect I was going for so I'm like yeah I am finished and then my client says you know I hate to point this out but question marks should never be capitalized because we all know that, but now I've done all this work, so I need to edit the type where the heck is the type? Well, russian doll time doubleclick inside to get to this one which I double click inside to get to my original type I love demonstrating is people are like what now? So then, just to make it obvious will change the words even more so I close and save this and it updates my original one, which I then close and saving updates this one with the new text, but it just seems like almost like what? And I felt the same way the first couple times, but then it's just arming, ok it's an extra little open that window thing when that's why, for me it made the best sense to think container so as I thought container and contents and I can put containers inside containers and it starts all become clear and and I said earlier, but I'll say it again. As a result of this, I have yet to run into a situation really well. Now I've got a rast arise or I haven't ever run in a situation where, as always, it sounds putting another container inside another container, and I there's probably some technical limit I did hear a rumor of a guy that tried like eight smart objects inside each other in his brain exploded I don't that's true or not but I think at a certain point it becomes more mind boggling that it does it's technically impossible but as a result you khun mean that everything is always life so you're never worry about going oh, well, I've got to stick with that now it just means you have to figure out a way so you may have heard of a gentleman named scott kelby he works the national association for supper ends his organization I worked very closely with him for a long time and one time I was sitting next to him at an advantage normally scott such a busy guy he kind of was kind of watching this case he watched the whole demonstration and at the end he went well, how you're like the smart object whisperer as like I will take that because some of his nickname sometimes for people are a little bit odd, but I was quite happy to accept that nickname because I find that smart obvious for me have just solved so many solutions and have also meant I can be more creative because I can try things knowing I'm never going to be stuck by going so well I can't change my mind it might mean it's three smart objects deep to be able to do it and I will leave this by saying the first time you try and be prepared that you have to kind of think through and go ok, wait a second now but then once you do a few times it starts toe make sense we start combining camera ross smart objects with this template idea boy the sky's the limit it's really interesting I just have this expectation was going to go from just keel over at this point so the contact sheet let's say I wanted to take a layout I had with one smart object that had, you know filled up ten photos and what to rose of different photos? How can I given that they're all pointing to the same thing? How can I unlinked them or how can I how do I want I'm making it let's say in advance to tell it I really want three difference mourn objects, each of which duplicated getting there right it's a really good question normally when you just duplicate the smart loving it is an exact clone there's another option that's called new smart object via copy, which means it's still smart but it's not connected to the first one it's independent so but you'd have to know that up front you have to say I want this road to be one photo in this sort of another photo unfortunately, once you've created a whole page is there's no easy way to kind of backtrack and say so you just that's that's going have to use at the time where you were creating it? I'm going back to before you blew our lines that this is not object with bridge and still confused about sort of the relation with white women bridge can I do those? Automation is directly from light room I have to give my bridge light room has its own kind of built inability to a lot of things, but bridge was kind of built as an interface to say, let me they're fine files, but also do things like automation and things like that aren't accessible the same way in light room and that's. Why the reasons there's both anyone else? All right, we have a question from martina in north carolina, I'm assuming with n c is there a way to make your control j shortcut not prompt for okay to duplicate? I have this. I had this problem yesterday where my default wasn't set to duplicate, so I created it and it prompts me instead of just duplicating that layer well, first, let me command jr the commands a goblet is the default for duplicate layers, so that must mean something had changed because this the shortcut for duplicate layer it's new layer by a copy of tendencies was called but it's duplicating. So if you were getting that interrupt with the having to click ok then it's a matter of going I would say to the edit keyboard shortcuts and trying to kind of put it back the way it was or putting yourself just make sure saying new layer via copy because the problem is if you put new layer that always prompt you for a dialogue box so if you choose layer by a copy that doesn't prompt you for a dialogue box so that's the one you want to make sure is is the commander control jay all right am I be underscore vd I seven by three ass and you explain the blend if sliders again for us still little confused ok basically the thing that the blend of sliders are doing is they're looking at brightness values and allowing you to change so for example on this layer that has the grady in't I'm double clicking and the slider says this layer is corresponding to whatever's on this layer right now also I'm working on is this great aunt layer so if I take the black triangle I'm saying make anything darker than this triangle senators to the left of it see through everything else will be completely opaque and vice versa if I drag this triangle instance everything the right of the triangle appears to be transparent and then when I put it back or I could do the same thing the underlying layer that's all based on rightness value so the fact that I'm using a grating is just for demonstration purposes it looks at whatever's on your layer and says whatever's dark whatever's lite by moving these sliders that's how you're controlling what it is and it's the kind of thing where the best way suggest to do it is to take a document at a blank layer, put anything on it that has multiple shades and then just start pulling in triangles and usually for most well after three minutes are like ok but you have to sort of see it in action to go as I move this to the left this is what's happening to that layer great we have a question from vintage road who says can you change a single smart object photo on the contact seat without sheet without changing the others? Well that was kind of relate to the audience question and once it's been created no so if you wanted to have the ability to to have a sheet where every photo could be edited, you wouldn't want to duplicate the smart object and want to use his command called new smart under by a copy so each one would still be smart but we independents who could replace just this one just this one so that's another option you just have to create it separately it almost create one that was multiple copies of the same photo another one that was independent smart obviously could be replaced separately julie zulema is asking would something like this work for a template such a cz blogging or albums with more than one image? Well that's and that's the same thing I mean when you're creating smart objects you have to make the choice am I trying to make a lay out that's the same follow repeat pleaded multiple times and if it is then you just duplicate if you're making a wedding album where you're saying I want to always be putting a different photo than each smart object would be an independent placeholder and then you could say just replace this one with photo a replace this one with photo be so that's one of those things where you can create it either way the most important thing is you have to make the decision up front once you've made it you can't say oh now that I've done this I wantto do it independently that won't work it has to be at the time when you're creating we had a few questions towards the beginning of the class about installing the facebook flicker exporter could you explain that? Yeah that's actually built in it's a bridge function so you have to be in bridge and you have to see the tab that says export oh look flicker has appeared magically where does that so this is what it just normally looks like without doing anything it's just facebook flicker photo shop dot com saved a hard drive I have added a preset here so the first time you would have to go in and it says it wants me to restart I'm not going do that you would double clicking in the interface it would say log into your facebook account using your password and then from then on you're logged in and it gives the option of either adding to existing albums or adding new ones so that's just an export function within bridge still lots of questions about the smart objects on and the proprietary of that so memories by elissa from colorado springs, colorado just asked if you have several smart objects nested can you delete one of them in the middle? I have a feeling if you did that something bad would happen that would turn to midnight in the middle of the day or I don't know I just have bad feelings about imposed I don't think you actually technically could because its nest it has to be inside and if you did that something bad would happen for sure a computer with way flames start coming out way need sound effects roberto s is there anything you cannot do it? The smart objects like applying a specific specific filter or effect very little most everything these days has become smart so for example I mention this before I think the new blur filters it photoshopped cia six initially we're not smart but now they've made an update for a creative cloud people where it is and eventually that means in the next version which let's guess is going to be called c s seven because we don't know that it could be called that that will happen so more and more things are becoming smart so there's occasionally you'll go like a filter menu you see a few things great out that means okay I can't do it but that's the rarity as opposed to the rule okay, awesome. Do we have time for one more quick question? Okay. From karen lane in reno just in from the chat room if you wanted to create saying an album layout template could you start with it the lank or do you have to use a photo to set it up? Well, that's your choice? I mean, if you remember in this case with the disk I just made a placeholder that was just a box. I mean it's your choice. Some people like to use some generic photo as a placeholder to help remind them this is what a photo would look like, but once you've done that a few times having just a colored shape works just a cz well there's gonna be no difference in that case so things like album some people like the idea of going I'm going to put a landscape box here with three little squares on the bottom and just make it colored boxes. And then they replace those with content later. So that's more, I would say, a personal choice. It works either way.

Class Description

Everyone wants to work more efficiently (even if you charge by the hour) and this session will show you a ton of ways to get more done in less time. We’ll cover some powerful built-in automated commends, actions and some not-so-obvious ways of speeding up your work. And, because Dave loves Smart Objects, he’ll throw in some more examples of why Smart Objects and Smart Filters ROCK.

Software Used: Adobe Photoshop CS6