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Photoshop is the most powerful image editing software available today — used by photographers and graphic artists for image enhancement and editing, print and web design, and digital art. Adobe Certified Photoshop Instructor Michael Brown is ready to teach you everything learned over his 25 year career applied to the newest CS6 version of Photoshop. His vast experience in real world photography and imaging gives him the ability to present Photoshop from a practical user's point of view suitable for beginner through advanced students. His course will also guide you through how to professionally edit your images, teach you the basics of creating eye catching graphics designs, and show you how to create and modify impressive videos. Professor Brown is a multiple award-winning commercial photographer and digital artist with over 25 years of real world experience in the advertising industry. He is also an Adobe Certified Photoshop Instructor and has been teaching and training students in Photoshop for over 5 years.

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Welcome back to educator.com's Adobe Photoshop CS6 course.0000

We've been working in Adobe Bridge and I'm now going to show you how to create pdfs and web photo galleries directly from within Bridge.0005

Pdfs are printable, or of course email able, and the photo galleries can be directly, if you have your ftp information, loaded right straight from Bridge directly into your websites, so let's get started!0016

Under the File menu let's go to Bridge...and this is my normal workspace, my favorites, I've got this really nice gallery of jazz photos here.0033

We're going to pick jpegs out of it, and we're going to select all of them, click the first one and go Command or Control+A, select all.0045

We're going to go to the Output module in Bridge, and to get there it's either under the Window, workspace, Output...or at the end of the workspace layout you see the downward facing arrow (there's the list again) and we'll go directly to Output.0057

Right now it's set at a web gallery--we're going to go for a pdf, and here's your pdf layout.0075

What's really good about both the pdf creation and the web gallery creation is you can create a preview before you output it, and that way just pick numbers--pick whatever you want, rough it out, check the preview--if you don't like the color, don't like the size, don't like the placement, just correct it, create another preview and once you're ready, down at the bottom you click the save button, and click to view pdf after save--that way it will save it, and then it will open up Adobe Reader or Adobe Acrobat and play it for you.0082

Alright, let's start with a template here--we're going to go...I like these as 4x5 photos, and transitions--there are no transitions at all 4x5 contact sheet, you have the option here...we're going to put it on normal A4 paper which is, in inches, 8.5x11...and the quality level in here--we'll cut that to 150 dpi at the 70 background will be white.0118

On the layout, we're going to go two columns, two rows, and auto spacing...see we're just filling in the information here.0148

Overlays, do the file name and we'll do that in...Cosmos is a particular font that I like...Cosmos, we're going to do it...let's see, these are the names so it's going to be in a light, we're going to make it a dark red...that sounds pretty good.0159

See how easy this stuff is?0180

Actually let's make this 11 points...page number, place it on the footer, and what we'll do there is we'll also use Helvetica (this one) and we'll use 12 point black, make it just regular, align that right.0182

On the header, we'll use a header and we'll center it...text L.D.Stewart Jazz Photo Gallery...and the font here--we'll go with Cosmos again...there's my favorite Cosmos...let's go medium, 11 point, and we'll go with black.0202

The footer you can also put whatever you want--footer playback if you want on the pdf, add a watermark if you choose, insert in the text, so on and so forth, we'll leave that away for the moment.0245

You can affix as you choose, and now we're just going to go ahead and preview this thing...and there we have it!0257

And we take a look at it, and it looks pretty good, so let's go ahead and save it as E.Stewart Jazz Pics on the Desktop (spell Stewart properly) save it, it's going to create the pdf as we speak, saved it out, and then we'll open it up so we can actually see it.0266

Here is the Adobe Acrobat pdf...and notice how it named them, fit them nicely in and they look really great, so there you have...creating a pdf all ready for you to go right directly out of Bridge.0292

So let's go create a web photo gallery now.0310

I'm going to use a friend of mine's imagery, we're going to do this one and do jpegs only, which gives us a few images.0314

I selected them all by going Command or Control+A and these are the images that we're going to put up, and we're going to use a left film strip, gallery title Macedo design, fashion by Claudia Macedo, and we pick some other colors on things here...let's make the gallery size about 600 pixels, 117 with the slide duration...save there...and let's go ahead and preview this in Safari.0325

And there we have it.0368

So, as you see (we'll go back and move this out of the way) we have a left film strip layout here, there's all of our thumbnails.0370

We could also play this as a slideshow, it should give us a 7 second duration and just keep on moving...and there it goes.0379

And I see right here that the Macedo design sketches and fashion by Claudia Macedo--it looks good.0389

We could go back probably and change the sizing somewhat on that, but I'm pretty happy with that, so we're going to go ahead and close that out, and we're going to save this--see how easy this was, I mean this was really easy, and you have all sorts of templates, pick the one that you like as a flash gallery...all sorts of ways to play it.0397

I just happened to go with the light film strip--don't have a lot of time but just fill them in and away you go.0417

Now, I want to show you one more thing--at the bottom here, here's your upload location, that if you have your ftp server with username, password and the folder, it will create everything, but we're going to save this on the Desktop and I'll show you what it...we're going to call this Save Location Field Must Not Be Blank.0425

We're going to save it on the Desktop, add a new folder...Macedo Web Photo Gallery...create it, open it and now we can save it--we have a location.0464

Forgot that...and it's saving it away processing all of our images.0480

Gallery is created and let me show you on the Desktop that we should have a folder...there it is...Macedo WPG, Macedo Fashion Designs, there's the index--that HTML and there are all the resources including all of the necessary images completely created with everything you need to upload directly to a website.0488

So there you have how to create a pdf and a web photo gallery from your images in Adobe Bridge.0520

Hi, Michael Brown here again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In the last three lessons we've been going over the functions and features of Adobe Bridge--the editing program that comes with Photoshop.0006

In this lesson we're going to do a review of all of the principal features, so that I can remind you of what and how things work in Bridge and how easy it truly is, so let's get started.0015

We're going to look first at the workspace and how to customize it--File menu, Browse in Bridge.0028

We have several workspaces available--here's the essentials, film strip in its basics, Metadata--I also have my customized, and the way you customize...you can add panels going to the Window dropdown menu--you can move them wherever you want, I can move them from side to side if I want the collections over here, I'll just move it over to that side next to the keywords (actually I'll put it up by the Metadata, good place for it).0034

And you can adjust the sizing by seeing your double arrow, and pulling the panels up, down to customize them.0064

Thumbnails--you can always add the spacing with the little click box, and once you get them the way you want them, go over to the dropdown arrow to new workspace and you can save your own custom workspace--very easy to customize.0072

Oh, and the easy way of course to get back to Photoshop is the boomerang icon or the File menu to return to Adobe Photoshop.0089

OK, that takes care of the workspace.0100

It's not painting...because it's trying to paint white, that's why!0106

Working in Photoshop and I'm not on top of it.0112

OK downloading your images from a camera directly to Bridge is with the photo downloader (there's the icon) or the File menu to get photos, very simply click it, and when you get the downloader to open up...nothing is connected at the moment but your saving options...where you want to put it, sub-folders if you wish, rename your files if you'd like, and you can also convert them to digital negatives.0116

Save copies, which is a really good idea, downloading your images--one shot to two different places so you already have a copy saved, but do not check the delete original files.0144

You always want to make sure not only are your images downloaded but that they're not corrupted, and that way you need to check them first because if you delete them and there's something wrong, you can't get them back in that card--I always recommend unchecking this.0160

OK, that takes care of the photo downloader.0178

Sorting, labeling and rating...very easy to do.0181

We sort them and rate them via labels, we have star ratings from worse to best--actually zero rating would be the worst, five in my mind would be the all-time favorite...increase, decrease, all sorts of adjustments.0187

You can also do colored labels (notice we have a red label) you could make that a different one, different colors available (we'll take the label off) so you have easily adjusted that way and let's show you how to do a quick edit.0200

We've got two shots here side by side (let's just go to one that's already rated, 278).0217

Command on a Mac, Control on a PC, click on the other image that you want to compare and as you can see here, this was not bad--I didn't like his expression and the guy removing the trash was not good, so obviously this is the better one, and we rated it three star.0225

You can change your ratings by clicking on the thumbnail up and down to wherever you want and now we have edited an image, and we just go on and move them down until you get your final, best images.0243

OK, very simple.0258

A filter panel lets you easily edit your images, separating them by quality as well as other options.0261

In the case of (let's go back and uncheck that) for the...let's see, I'm going to use this...collections, there we are, the Best Flowers, because what I have here in the filter panel, we not only have star ratings (obviously we have several different rated star values) we also have different file types--we could sort them by Photoshop document, once you get them rated and changed over there's your Photoshop documents.0270

I can also separate them by keywords; in this case I've applied keywords to separate red flowers from yellow flowers.0299

Several different ways to easily find the specific images that you have already edited and rated within Bridge through the filter panel.0308

The favorites panel...this is another one that I find...a lot of editing programs require you to import your images and immediately create albums and other things.0321

In here, it's very, very simple.0333

If you have a particular folder that you want to put it in--and I'm actually going to remove a favorite, Control click on a Mac or right click on a PC and you can just remove one.0335

If you want to add one, you just very simply navigate to the place that you want to go and find your folder, and where is it?0350

We'll just fine a different folder here...I can't find my folder, and this does show you sometimes that life is not that easy.0367

You find the folder that you like...this is what the favorites is for, and you click and drag it up--don't drop it in a surround--that will put it inside that folder, make sure that it's an arrow or a line in between, and now we've imported Brian Auger, this was a concert that we went and shot, and now you have these in every folder in here--it was that easy to get the folder so that you can instantly go to it at any time.0376

Now collections, as opposed to favorites which are specific items within a single folder, collections are a collection of similar images from many different places around your computer and even external hard drives, and you just create a collection and drag the images in, and I'll show you...for example, we'll highlight this one and see, here's the navigation bar at the bottom, it's in a flowers, March 16th, 12...this one here came from the same one...this one here's from another one, flower composites.0407

This one here is from flowers from another date, that's three, and here we have again that one, and the flower composite, there's another one, so several different folders supplied images to a singular collection, which is instantly accessible.0444

So you either have folders or collections, that sums up everything in terms of finding your images, very simple.0464

Navigation is very, very simple in Bridge...you simply hit your folders panel, and there is either your normal Mac navigation as with my Macintosh, or the PC navigation method, very easy to find your stuff, just working your way right through.0472

Simple, simple, that's the whole idea of Bridge.0490

You can add keywords and Metadata to your images very simply...in the case of keywords...let's go back to my favorites, let's go to Macedo sketches, we're going to filter it--this is how easy it is...0494

We're going to drop it down to the rated images, highlight all of them (that's 22 images) over here under people.0513

I'm going to create a new sub-keyword under the main heading called Macedo Design Sketches, and all I have to do is hit the check mark under Macedo Design Sketches to all the highlighted.0520

You notice down at the bottom in the navigation, it is now writing that keyword to every one of those images and they will have that keyword forever.0538

If you wish to add Metadata to any specific images, go to your Metadata panel, and for example (let me just scroll down here) you'll see they have all sorts of stuff as we've pointed out before, but in this case I'm just going to put the actual creator (I already did on this image so let's go to another image here) I did it on all of these so let's go over to Bob's big boy, highlight one, and I also did that one too, wow!0550

I've got a lot of mine done here, whoa...went crazy on me.0584

Back to Bridge.0588

I double clicked and it opened it.0589

I know that we have none under Brian Auger...highlight here...there!0592

just highlight it, I'll type in my name...click on the thumbnail and it asks me if I want to apply it, and now on that particular image, the creator is added--you can add anything you want.0599

So there's your keywords and Metadata, and finally you can create pdfs and a web photo gallery, either one directly from within Bridge.0614

In other words, you've got you images in--let's say, for example, with these sketches right here that are all finished (the rated ones) I can go to my Output panel...excuse me, my Output workspace, and with those images already highlighted, I can go in and create a pdf to send to a client or email to a client, or I can similarly create a web photo gallery, and actually upload the gallery directly from here, right to an ftp server.0625

All of the conveniences, all of the features within Adobe Bridge, life is very simple and it adds to your workflow in Photoshop CS6.0661

That summarizes and concludes our lesson in Bridge, we're going to move on now to Camera Raw.0672

Hi, Michael Brown again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

We've been discussing Bridge; the editing and sorting program that allows you to easily find the best images from a collection of images that you have photographed.0006

Once you pick your best images, now you two options: you can open them up directly into Photoshop to work on them, or you can take an intermediate step and open them up into first, Camera Raw, which is a separate program within Photoshop that allows you to do preliminary, non-destructive edits to your pictures, and if it's just general you can actually save them out directly from there.0016

So in this lesson, we are going to look at what is raw, and jpeg, and what is Camera Raw, and then I'm going to show you an example that really illustrates the difference between shooting with a jpeg or shooting with a raw file, so let's get started.0043

In this page right here, I define the differences between jpeg and raw.0064

Let's start with the jpeg image.0071

Most inexpensive digital cameras today shoot in a file format, and the file format is the way the camera saves the data from the sensor so that you can utilize it in Photoshop and make prints or put it on the web.0074

A jpeg is a compression format which takes the data and it compresses it down to create a smaller file size to save space, but to do so, it throws away a little bit of data because it is what's called a Lossy compression format, and when it throws that data away, when the computer reopens the image to work on it, it has to fake it to fill in the empty spots.0089

Now this is not a bad thing because it pulls from the data immediately around the empty spaces and does a pretty good job with it, as long as your camera from the beginning is set at the highest quality jpeg and the largest size to give you the maximum number of pixels, there will be very little difference between the opened jpeg and an opened raw file.0118

The biggest difference is that when you shoot the image with your camera, no matter whether you make any internal camera corrections or not, the camera will automatically apply some corrections to a jpeg, and it typically applies color correction, exposure correction, sharpening and contrast as well as sometimes, it will do some lens correction.0143

Now you'd think this is a great thing, and it is!0168

It depends on the amount of detail, and the amount of sophistication that you want to put into what you're working on--if you're doing a professional grade image, in Photoshop you'll probably want to shoot raw where you get all of your data.0171

If you're doing this just to get a great picture or put it up on the internet, jpegs are fine.0186

Very little difference--the biggest difference is in the range of data in the two images.0191

Jpeg has a kind of a squished color space, and raw has a very wide range allowing you to get much more detail--I'll show you this as we move along.0198

So, what is raw?0210

Raw is a format also, and it is precisely the data that is collected when you click the shutter and the sensor captures it--you lose no data whatsoever, no corrections, exactly what the sensor sees so that you have the option to do anything that you want to that image, and you also get a much wider range of exposure which allows you to dig deeper into the very high exposure areas--the bright brights, or the dark darks, and pull detail that you can't in any other format.0213

If you really want the optimal file to work with, raw is your best way to go.0251

Now, Camera Raw is a plugin which is an internal program similar to Bridge that is within Photoshop, and it allows you to do image correction non-destructively--every single thing that you do to your image is saved as a separate mathematical file, not applied directly to the pixels of the original file, so you can do anything you want to an image in Camera Raw, and if you decide at a later time that you go "I really didn't like that, I'd like to go back and change it", you can always change it and it never affects a single pixel.0257

Now, either image--I've compared them side by side, jpegs and tifs, for the most part they're similar, but the detail is significantly different between the two, and we'll look at this in just a moment, so let's move on into Camera Raw, and show you what we've got.0306

Alright, I'm going to go to Bridge...and I've chosen two images that I shot here, and the way I shot these...my camera has both jpeg and raw in it, and it has a method that you can shoot both of them at the same time.0326

In other words, these two images are identical, and one of them (if you'll see this particular image on the right) says dot NRW and the one on the left says dot JPG and they're both 28-09--the one on the left is the jpeg version, the one on the right is the raw version.0343

Now what we're going to do here is we're going to open them both into Camera Raw, and take a look at them.0362

So we'll just double click...and here they are and this is the Camera Raw workspace.0368

Once again you notice that the similarity of Photoshop, as well as Bridge, and now Camera Raw is similar--you have panels on the right, you have the film strip on the left side here--you can open up as many images as you choose at one time within Camera Raw and they'll stack up over here in the corner.0378

This is your viewing window...across the top here is the Toolbar with the various tools that are available for you to do the image corrections to your image, and we have a whole series of panels with this tab format right here on the right side, that allow you to apply all sorts of corrections.0397

We have some informational points at the bottom, and in the center of course we have our image.0420

Now, before I explain everything here I really want to show you, because we were talking about jpeg and raw, the difference between the two.0428

This is the jpeg image (and I'm going to zoom it up in the window) I've made no corrections to either of these images--we just open them up from the beginning, and I'm going to go to this spot right here on the jpeg, and I'm going to take the raw file and zoom it up to the same magnification, and bring it in also into the same place.0437

I want you to look--I'm going to open up a little exposure here (I'm going to pull up the shadows to about 20, let's even go 30...and maybe even 40...I just want you to take a look at this area) there's 40 on that one and we'll do exactly the same thing in the shadows on the jpeg...there.0463

Look right in this area that I'm circling and also right up here in this particular piece of fabric.0490

You see the detail across this handbag, but it looks like all you have are little black circles in there.0498

You don't see a lot of detail in that bag.0506

Take a look when I click on the raw file right in the same area and look at the--this is uncorrected by the way, I just opened up the shadows, we haven't made any corrections at all, here's the raw file.0510

Look, unbelievable the difference in that image--notice that there are diamond shaped texture and Xs all throughout there--you can see it up in this area and over here (let's pull down a little bit to take a look at edging in this blanket behind here) notice all of the detail in this orange strip down here?0524

If I go back to the jpeg...and we look at that same area, you can barely make out the lines--let's go back again to the raw file...look at all the detail running there--look at the texture that runs down through this dark red, and again you can see all of the detail in this band on that bag.0546

We'll go back again to the jpeg...and you can only see the darkest things--right there, it shows you the difference between the raw and the jpeg and this is what happened with the Lossy compression--it threw away a little bit of data and when it opened it up, it lost a lot of that data.0569

Now, we're at a very high magnification here unquestionably so if I drop back to only 100% on either of these images...everything looks really nice, right?0589

Let's go all the way back to the bottom, and I want to show you a couple of more things about the differences between the two.0603

Look at the sky--we have plenty of detail down here in the shadow areas and in the tree, and even the building, but the sky is absolutely gray in the jpeg.0609

I'm going to take the highlight slider here and I'm going to pull it all the way over as far as I can, and still, you've increased detail in the building (some of it) but the sky is still very, very gray.0620

Let's go to the raw file, and do the same thing.0635

Take that slider--go all the way to the left, pull it up, and look what happened.0638

We have sky...the difference between the two, once again there's your jpeg, and there's your raw file (let's go back again) and even in the brickwork you can see some detail loss, it's hard maybe to see on your screen, better to take a look only at the sky.0644

So you can see once again, that using a raw file, if you have the option, gives you a much, much better image and here we have made no corrections, just opened up shadows and highlights.0665

So...let's wrap this particular lesson up with just the example of the difference between a jpeg and a raw, and we're going to come back in the next lesson and actually get down to all of the features and panels, and all of the tools, and actually show you how to work your images from start to finish in Camera Raw.0681

I'll see you in the next lesson.0703

Hi everyone, Michael Brown again.0000

Welcome back to educator.com's Adobe Photoshop CS6 course.0002

In the last lesson we took a preliminary look at Camera Raw, and I explained the difference between jpeg and raw formats, showed you the actual difference inside of Camera Raw.0006

In this lesson, we're going to take a close look at Camera Raw, the workspace, basic editing and my workflow philosophy--we'll look at the tools, we'll look at the panels and I'll show you how it works, taking an image through Camera Raw, so let's get started.0019

First off, I want to show you this little chart and page here.0037

The first question that always comes up is "why should I use Camera Raw, I came here to study Photoshop and we're working our way into Photoshop?".0041

Camera Raw is a very good tool for initial overall image adjustment.0050

It's not that great on specific areas being very precise, but it does have some tools in it that work extremely well, taking an image right out of the camera, and making some minor modifications that are really good to prepare the image to get it in Photoshop.0057

So, then your next question obviously would be "why bother with Photoshop?" because Photoshop has a greater variety of tools, functions and techniques for a wider variety and more precise adjustments and corrections--that's the big key here.0077

Photoshop also has layers that allow you to add unlimited items, or effects, to an image, and they also provide a means for non-destructive edits and adjustments in a different way but still performing the same non-destructive end product that Camera Raw does, as well as options for blending and adjusting opacity, and entire diverse tools and functions to create all sorts of effects that you can't do in Camera Raw.0092

Then you ask "why bother with Camera Raw?".0123

Camera Raw offers several non-destructive adjustments and edits for quick initial improvement of your image right out of the camera so that you can step it right into Photoshop.0126

Also, there are a few of the tools and functions that personally, I feel that are better than the same tools that are given to us for the same usage in Photoshop.0138

So what I do is, I use Camera Raw to make quick initial overall image corrections very quickly and easily--takes almost no time at all and then move on to Photoshop for more precise and much wider variety of options.0151

So let's take a look at why that works and how it works.0169

OK, principal features of Camera Raw, let's take, for starters, a quick look at the Toolbar and tools, so I want to go in (let's get Bridge open here, it's already open but I want to pop it back up) and I'm going to open up an image that we can use to take a quick look, OK, here we go.0173

Now, I want to show you something here in Bridge--notice this icon at the upper right, that means this image has already been edited in Camera Raw, so we're going to go ahead and open it up, and it's just getting ready--it's all ready to go but what I'm going to do is I'm going to take those...see in this panel the sliders are already set, that's because it remembered what the settings were.0194

I'm going to take...and go to the dropdown menu all the way to the bottom, reset Camera Raw defaults, and now what that did, is it removed all of the changes that I made when I was doing a test on this.0217

So here is our initial raw image.0229

Now, basic workspace, tools across the top, panels on the right...we have a save image, open that we'll save as a regular formatted file--if you save it (I think we went over this before) you have the option of four different formats that you can save an image if you choose.0232

I never do that, I'm using Camera Raw only to get some initial corrections in and move on to Photoshop.0255

So...we can also open image which is the primary button that'll pull it right into Photoshop, cancel if you don't want to do anything at all, and the done button of course will apply the changes as you saw, right back into Bridge (and there was that correction, that will go away once I cancel that) in fact I'll show you right now since we changed it...it should...no, it still has the XMP file but we changed the settings back to zero, that's why it still shows the icon.0262

We're back again, and everything--see once again it did not change that file actually.0293

We're going to reset...OK.0300

If I clicked Done it would go back to zero--so what we have here is a basic image, and I'm going to just run down the Toolbar.0303

My philosophy is: I do not use any of the tools here with the exception of the rotate button, the zoom tool and the hand tool which moves the image around.0313

All of these tools--and I'll give you a quick review of them--we have more precise and more powerful tools to do exactly the same thing in Photoshop, for example, cropping or straightening a horizon...you would remove pixels from the image, why should we do that?0324

We're going to take the whole image into Photoshop, we'll do it in there so that if we decide to make a change, we have all of those pixels right with us in Photoshop, so these two, I don't even consider useful.0340

White balance...our color balance, color correction is right here--these two sliders: the color temperature and the tint, so we don't need this one--it's less precise.0355

The color sampler tool...don't need to make color sample points...targeted adjustment allows you to work on either...you just click in an area--if I clicked here and made adjustments, it would work on medium to high exposure portions or if I clicked in here it would work more on the dark tones.0367

We're going to do most of our work in Photoshop--don't need this particular tool.0389

Again, crop, straighten, don't need that...retouching and removing spots--we'll do that in Photoshop--much more precise and a wider variety of tools.0393

Red eye...we can do that in Photoshop.0403

This tool here, makes masking to isolate areas but it does it in a very broad, general area or general methodology.0406

We have several tools to do this and various functions that are quite a bit more precise and can be corrected a lot better inside of Photoshop, this gives you a graded mask, we can do the same thing in Photoshop and if you put the mask in here, in a gradation, and then open it in Photoshop, you've now put the effect into the pixels permanently and you can no longer remove it non-destructively, so it's better to do it in Photoshop.0416

So we'll use rotate if you need to, or we'll use the zoom tool and the hand tool.0446

That takes care of all the tools, so now we're down to the panels (let me go back out for a moment, and just keep track of where we are...) we have gone over the Toolbar and the tools and we're not really going to even use them, so let's just cross them out of here, and like I said I do not use any other correction or adjustment tools in Camera Raw because we have a wider variety, and more precise adjustments inside of Photoshop.0452

So let's go back and take a look at this image again, open it back up, and we'll use that one for a base and once again I'll have to reset the defaults, so let's quickly go over the primary--it defaults at the basic panel.0488

What you have here is your color correction sliders: color temperature (make it warmer or cooler) if you mis-shoot, for example, if you were shooting strobe and you had your camera set on white balance for strobes and then you went outdoors like this and shot the picture, it would look like this and I'll bet you somewhere in your life you've had one where you've done and you go "oh my God".0504

That's only because the color temperature was off, and the information is in the raw file so all we have to do is take the color temperature slider (excuse me, let me get that thing right there) and you just move the slider where you want it.0528

Now this was shot at 55 hundred...I believe that was the--let's just set it back...it was shot at 54 50, and it doesn't look bad but it's just a taste on the cold side, a little blue tone, so I'm just going to warm up to about maybe 58 hundred, maybe 6000...notice we added just a little yellow and warmth into the grass, it just adds a little richness to the image, very simple, just a little bit of slider.0546

You could also use a color tint...it defaulted at 14, let's go back to zero on the magenta...notice we got a little more green (go in) and there we've got a little bit of correction right there--that just balanced it out, color corrected it to zero.0577

Wonderful stuff.0594

Exposure is all or nothing--if you come up, notice the highlights blew out and the shadows opened up, or if we go the other way and bring the highlights down the shadows block up, it's all or nothing, so I only use this just a tiny bit...you don't want to block up your shadows and lose detail, you don't want to blow out your highlights because if you lose the detail here, you can't get it back in Photoshop--that's a key factor.0595

Highlights...this is a wonderful slider--you can open up your highlights or you can pull them down dramatically--look at the sky change, here's the zero where we were...pull it down and look, we've got the sky, we've got a lot of detail now on the rock and we can pull down--we've seen lots of detail in the shadow here, I can pull down the exposure just slightly, and open up the shadows a little bit.0624

Notice, now we have the shadow detail back--if I take the shadows all the way we can really open then up...in fact, we'll just do that, bring the exposure down just a little bit more.0650

Now we've added a lot of richness let's pop a little bit of contrast in, don't want to do too much, still have detail in the shadows, and notice how much richer--the sky's looking pretty good, the rocks in here have all sorts of detail now.0661

The white and black points...we've got bright whites and we've got dark blacks so we don't want to change that.0674

Clarity changes mid-tone contrast on mid-tone pixels only--and I'll show you how this works real quickly, let's go up to the top of this...this is a good spot to show it right here.0681

Notice we're a little (I'll pull it out right there) everything's a little flat, if I take the clarity--I'm going to do it significantly--look what it did...now we lost a little shadow detail but notice how it popped out so we pull it back just a little, we have some detail in here but the difference between zero and about halfway--notice how much it popped...we'll come out a little bit, go back to zero, watch all this just bland greenery right there just snap just a little--didn't overkill it...you don't want to overkill it, we can add more sharpness and contrast in Photoshop.0696

So we got that.0733

Vibrance...saturation saturates everything, which isn't too bad, but vibrance saturates non-dominant colors, in this case, see how that blue just really popped and it didn't kill the greens too much.0734

If we go all the way in saturation to get that blue, the greens are just overboard and you really don't have as much blue, so we'll go back and leave the saturation alone.0750

Pull up the vibrance, look at that sky, and in there...and actually we've done a pretty good job!0760

Actually, a little bit too much on the vibrance...there we go but don't overkill it here, you can always pull more in Photoshop.0766

So there we've done almost everything we want to, to this image with the exception of a couple of other things.0774

In this image actually, that's all we need (let's take a look here) noise reduction we don't have to worry with, we have low noise, so this image itself, I would consider is done--we'll click Done, and that takes care of the basic panel.0781

You see that that's the primary panel and for this image we just did...that's it, we don't need any more, so we got the basic panel.0797

Now, let's go back and open up another image...and I'm going to do a little bit of correction on this one as well.0805

Here's another image...and it was shot--it's a little way over blue so we're going to warm that up just a little bit...notice that the shadow detail is a little dark so we'll pull the shadows open a little bit, and just a tiny bit of exposure increase (that's about all) highlights down slightly...that's an improvement there, but the biggest problem with this image is two things: notice it was shot with an 18mm on an 18-200 zoom lens, very wide angle, and we got barrel distortion, the horizon is bode, so we can correct that.0814

We're going to go all the way over to the lens correction tab...this is absolutely remarkable and this tab is better than Photoshop.0851

Photoshop can do the same thing but believe me, this one works even better than Photoshop.0863

You're going to be amazed.0868

Don't blink, don't turn away from your screen--watch the horizon line when I click the enable lens profile corrections.0869

Inside of Camera Raw are built in, all the details from almost every manufacturers camera and lens that exist, they keep updating it, and you should go to your Adobe website to make sure that you have the most current updates for the lens profiles, but watch what happens when I click it--keep an eye on that horizon.0879

I'll just highlight the box...and look at that!0900

It snapped it, corrected the horizon, absolutely amazing--I'm going to uncheck it...look at that!0903

Bode, complete correction, that thing is absolutely the way we want it, and didn't even have to do anything but check that box.0911

Notice it knew that the camera was an icon, it also knew that the lens was an 18-200 lens, it had the profile in there for that very lens and went away.0919

You can do more if you wanted to, but believe me, that's all you need to do--now we're going to go over to the color tab.0930

I'm going to zoom this up a little bit further...since this was a wide angle and way out at the zoom lens at the wide angle lens, you're going to get chromatic aberration, and that is red-green fringing, and if you notice you can see it (I'll zoom up even more) see the edges around the greenery, we have kind of a cyan on the left and red on the right, that's red-green fringing.0937

You can see it here in the chimney, a lot of it, and as we come over here you'll see it on this pole, on the edges is where you see that red-green fringing, but watch what happens when I click the remove chromatic aberration button.0965

Now again, it has the lens profile so it's already going to correct it--watch...gone, look at that.0982

There is no more red-green fringing, just a tiny, tiny bit--I'll take that away, notice all of the red around the edging where my cursor is, put it back in, and you can actually de-fringe a little bit further if you want to.0989

If we want to take a green amount, we can pull that down even more--notice it took a little bit away right there, and the purples a little bit more, we've pulled it down just even further, if there was anything left--look at the edge...in fact we took most of it away anyway but the removal is completely clean and with just those two tabs and check boxes, we cleaned this image up absolutely great, and with a primary tab, the basic tab, we're all ready to go into Photoshop.1008

We're going to cancel--we'll click Done on that one as well, and we're back here so the lens correction tab deserves a double axe, it's a fabulous tool--always use that, so you're going to use your basic panel, then you're going to go check your lens correction, and grain in vignetting...I do not recommend doing this, I said you don't want to make either of these before working on any image.1040

If you apply in vignette, it's permanent when you open it in Photoshop.1068

You can do that in Photoshop later--wait until you're done, put another layer on so you can make it go away if you want.1073

Grain...you certainly don't want to add it until the end anyway so that's an absolute not.1078

Camera calibration...you already got your camera there--presets and snapshots, you don't need that.1084

Split toning allows you to adjust hue saturation separately, for highlights and shadows.1091

If you happen to have a photo that has some real color hues deep in the shadows or only in the highlights, you could try this.1098

It has possibilities.1108

HSO grayscale...you can make overall adjustments--I'll show you that here on another one--let's go back and take a look at one more image...I'm going to open up...let's go back to Union Station...let me find Union Station here very quickly...I'm not sure where I put it...(Union Station...Union Station jpeg...) no, we don't have it, so we'll deal with it on this other image, sorry about that.1110

Let's go back and pull it from right here...OK...here's another image I took on the Queen Mary, and let's zoom this image up...and you can see, as we get it zoomed up, a whole lot of noise.1156

See the noise, very grainy look.1176

This was because the ISO was very dark in there and handheld...ISO 32 hundred got a lot of electronic noise in the image and we'd like to remove that, but we don't want to destroy the edge sharpness.1179

So you don't want to pull it all the way out or you'll lose detail, it's very simple--you go to the third panel, which is the detail panel, sharpening doesn't work very well inside of Camera Raw.1194

I have a personal method of sharpening that I'm going to teach you that'll blow your mind, you can sharpen an image without adding significant noise at all.1208

Most of the tools in Photoshop don't do that...I'll show you that in the future.1218

We're not going to use sharpening, but noise reduction--watch.1222

Leave the color alone, luminance noise is your grayscale noise, that's the predominant noise...add about 30 or 40%, and look what happened...you lost most of it but I want to show you that the detail still remains.1227

Let's go over here and look at the name, and the detail in there--we're down at zero, look at all of the noise, go to about 30, take a look at the letters and the detail of what's in the shop window.1242

Notice, we removed most of the noise and preserved most of the detail and when I sharpen this in Photoshop, look at that, it's just nice and smooth--a really, really nice tool.1257

So, the sharpening and noise reduction...we're going to pass on the sharpening...but definitely the noise reduction feature is better than Photoshop, love it, so as far as the noise reduction, absolutely we're going to use that.1271

The tone curve, I'll give you one quick look at the tone curve (let's go back and open up any old image here--we'll pick this one, why not, we'll do a different one) the tone curve is an exposure color adjustment, and what it does is it...this is white down on the left, black on the right and it allows you to isolate brights, light colored areas, dark colored areas and deep shadows.1294

But we can do the same exact thing in Photoshop with even more precision, so I don't recommend this particular slider either--we'll check off the tone curve.1324

HSL we can do in Photoshop equally as well and split toning as well, so primarily you'll use your basic panel, you're going to use noise reduction, and lens correction, and then off you go into Photoshop.1335

So that takes care of what we've used in Camera Raw and how to get your images started.1350

That'll wrap up Camera Raw.1356

In the next lesson, we'll start in Photoshop.1357

Hi everyone, Michael Brown back again.0000

Welcome back to educator.com's Adobe Photoshop CS6 course.0003

We've wrapped up Camera Raw, and now it's time to get started learning the specifics of Photoshop, but before we go right into it, I want to talk to you briefly about file formats.0008

There are several formats, we've already talked somewhat about jpeg and raw and how they differ.0022

I want to show you the primary formats that you will encounter with Photoshop, what they are and how they work, so let's get started!0029

Here are the primary, and I say primary, there's a lot more as you pull down...if you go to save this file, for example, under the save menu under format, there is a huge list here you see of formats, but of all these formats there are only a principal few that we will use 99.9% of the time, so let's talk about most of them.0042

The most commonly used one that you're going to deal with is the .psd and I want you to see up here in the title bar for this file which is a Photoshop file--its file format's EDUC.psd, that's your suffix that indicates the format.0071

Let's go take a look at some other ones here.0090

Here's a .jpg format right there...let's see if they have anything else in this particular one...let's take a look at some others...these are all psd files here--you notice there's a few jpegs in there--here's some tifs, .tif is a different format so you see various different formats used but they're always the suffix dot, whatever the format is.0093

Alright, let's cancel out of that, I don't know how we got into the Camera Raw again, but that shows you your various formats.0122

Dot psd...the native Photoshop format, it supports all layers, it supports all the channels (channels being transparency) when you compress it you lose absolutely no data whatsoever--it is the number one format you will be working with, with your images.0132

No matter what the usage, no matter what the final format that you're going to use it for, whether it be any of these, I highly recommend and I always save out a psd file--that means I have all the data, all the layers, all the information 100% I can always open that file up and save it as another file, I'll have the original psd and also have another file.0155

You always want to keep that psd file, number one.0182

OK, that takes care of the Photoshop.0186

The second one is tif, you just saw some tifs, .tif or .tiff, it has been around actually longer than Photoshop, it supports all the same Photoshop attributes including layers and channels.0189

They can also be saved with a flattened version so that software that can't deal with layered files can still open the tif up even though they will only have the flattened version.0204

This file tifs are used principally for CMYK printing: cyan, magenta, yellow, black, those are the big printers, lithographers, they always use tifs in CMYK, even though the Photoshop file will work you're normally working in RGB.0216

What you will do to generate a tif is you'll take you Photoshop file, you'll convert that over to a CMYK format mode, do some color corrections because there's fall off in the color space, and save it out as a tif, and off it goes to the printer, that's what your tifs are.0235

Sometimes you'll get a tif in, you'll open it up and it'll be just fine working it and saving it back as a Photoshop file.0254

The third and actually, probably the most common of all file formats is jpeg: J, P, E, G, .jpg.0260

As we've talked about, I've showed you comparisons between a jpeg file which you shoot from your camera versus a raw file: R, A, W, which has all the information.0271

Jpeg is a Lossy compression format, that when you save it, it actually compresses it and throws away some of the data, and when you reopen it, the computer has to figure out how to fill up those areas and if you remember in the first Camera Raw lesson, you can see a direct comparison between a jpeg right out of your camera that has some minor correction but it is a jpeg, versus a raw file--you can already see that the resolution quality and the data has been degraded somewhat because of the Lossy compression.0283

However, this is the perfect file for the internet or for emails--almost every single photographic image that you see on the web is a jpeg, so you'll be using this a lot.0318

The one drawback of a jpeg--it does not support either layers, or transparency.0332

If you're working on a Photoshop file, and you're designing a logo, let's say, that's going to go on a webpage, and you have the logo on a separate layer, and the entire background is transparent.0338

When you save that as a jpeg, the transparency will be turned into pure white.0349

Now, you say "OK, that's a drawback"--the solution to that is the next format called png, ping.0356

It's basically a jpeg format that supports transparency--when it's saved out it compresses, and it's a slightly larger file than a jpeg, but it does allow transparency so it makes it great for web design when you have transparent areas.0364

That's your png files.0380

Gif is also a file format that is used principally for the web; it only has 256 colors where all of the other four here can be saved out in either 8...psd and tif can be either 8, 16 or 32 bit, which has 16 million or more.0382

Jpeg is 16 million, png the same, gif is only 256--it's perfect for web graphics when you have solid colors, it allows you to compress that file down to a real, tiny little image so it opens very quickly, and still looks good.0402

It's not good for photographic images.0418

Pdf is independent of software or hardware, it can be read with an Adobe Reader, and set either to read both, or read only a print only, and it can contain text and either both vector and raster images.0422

You're not going to work much with pdfs, the only time you're going to be doing this is you're going to send them out perhaps to a client, so that they read it and so that you can make the pdf, as we pointed out in Bridge, you work your files, then you go to Bridge, you combine them along with text files, and output as a pdf.0438

And the final most commonly used is the dng, all of the raw formats--it is a raw format.0460

Now, RAW is not a specific format, raw images, even though it shoots in raw.0468

For example, if you saw my Nikon images (let me see if I can pull up a Bridge real quickly and show you) that in Bridge...my images always say .nef or let's see if we have a .nrw in here...if I shot anything else--the guy at Union Station--you notice .nrw, that is the raw format for my P7100 Nikon and the other Nikon is .nef.0473

So even Nikon for each of their cameras, they create a new raw format.0496

Dot CR is Canon's prefixes, so there's a whole raft of raw formats--dng is an attempt to create a universal digital negative raw format, it's gaining popularity but it's still not there, you might be able to use it for some situations--I have yet to find a specific client that has ever asked for it.0522

Most of the time you will work with psd, tif, jpeg, png, gifs and sometimes you'll output in pdfs, as well as a dng.0549

That wraps up the principal file formats that you're going to encounter and use in Photoshop CS6 or any of the earlier versions of Photoshop too in that matter, so let's get on and move further into Photoshop in the next lesson.0560

Hi, Michael Brown again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

We're getting started here on Photoshop, and you may be just a little bit apprehensive, but I want to assure you that although I said this earlier, that Photoshop is a very large program with a lot of stuff, it's really fairly easy, and I have taken Photoshop and simplified it and almost everything that you will be doing or can do in Photoshop can be organized down into four primary categories.0007

And if you learn all the tools and functions in those four categories, you have at your fingertips more than 95% of what Photoshop has to offer.0039

The rest of it, you will utilize all of those functions to do, so that's the key--the four primary categories.0049

Also in this lesson, I'm going to go over some essential tools and the shortcuts, and I'd like to stress again that in an earlier lesson I showed you the single key and two key shortcuts and hopefully you took screenshots and printed those--if not go back and find the lesson and do that.0057

If you learn the single key shortcuts for the tools, and the two key shortcuts--and I mean Command on a Mac, Control on a PC plus a single letter, simple shortcuts, it will cut down your work time dramatically.0081

The amount of time it takes me to go to the zoom tool and back to do something, that was about one second, maybe even a half second at best and then go back again to go to another tool and back, and back to the zoom tool and back, and another tool.0096

If you can knock that down completely and save a half a second and move, you multiply that out over hundreds and thousands of moves in a couple or three hours, you've saved yourself an enormous amount of time, and it also allows you to focus on what you're doing.0111

I can't stress enough the importance of learning the shortcuts.0126

Alright, so let's get started.0129

Here's the chart that I have here where I divided Photoshop into its four basic categories, and the tools and shortcuts--I might suggest that you stop the video, take a screenshot of this chart, and print it out for reference.0133

That way you can be aware of everything as we move along and how they relate to each other, so let's get started and talk about the basic categories in Photoshop.0150

I've broken this down into the four categories: selections, corrections, retouching and manipulation--almost everything you do will involve one of these four categories or multiples.0161

These are, by the way, in order of priority.0178

Selections are the most important technique to master in Photoshop, we'll spend a lot of time on selections.0181

Once you learn to master these, life is really simple.0189

Selections allow you to isolate specific areas of an image for either correction, retouch or manipulation.0194

In some cases, the selections will have sharp, clean edges such as cars or buildings or people, and you want to make sure that those are perfectly clean so that when you apply a change, it will blend perfectly right along that clean edge and you see no evidence.0205

In other cases, maybe in landscapes, you will find that selection edges need to be very, very soft because there's no distinct transition, and it needs to have a very gentle blend to achieve a very natural look, and again, they have to be flawless-that's the whole key with selections--they must be flawless, otherwise it will be a dead giveaway that you've Photoshopped, so that's why selections are so important.0225

Corrections are very simple...they're exposure and color, brightness contrast levels and curves, and shadows and highlights are you four primary exposure adjustments.0254

Color balance, hue saturation and variations are your three principle color corrections, and all seven of these are very easy to learn, and they all involve selections--you select an area, apply the correction, and you must make sure that the blend is flawless.0265

So this is easy; retouching tools, a rubber stamp, a cloning tool, the healing brush (which is a magic spot and imperfection removal tools that really are magic) blur and sharpening, dodge and burn, they're all important but very simple to do and off times, you will make selections to protect other areas while you're making retouching in one area that it doesn't carry over into another area and so you don't see the affects there.0286

So retouching involves selections as well, and it's very easy to learn...takes a while to master some of the techniques in retouching but that's just a matter of practice.0320

And finally, manipulation.0331

In manipulation you use transform tools to stretch or distort images as well as cropping and rotating.0334

Puppet warp is a new addition and has been improved in CS6 that allows you to actually move limbs on people and adjust things this way.0343

Some of the other panels that you will utilize here--you have alpha channels, which are selections, layers, image and canvas size has been changing and there're some filters that allow you to manipulate, so everything in Photoshop boils down to selections, correcting with selections, retouching with selections, manipulation with selections...there it is, right there.0353

That's all we're going to need to learn plus a lot of other techniques of course, but there you have it, very simple.0377

Here are some important tools and valuable shortcuts to help you save time.0384

The hand tool...you'll use this all the time--it's right down here--there's the zoom tool and the hand tool, they're right here and the move tool, those three tools.0391

The hand tool is the hand...it allows you to move your entire image around.0400

It's independent of how many layers you may have in the image...everything moves with the hand tool, but the shortcut, no matter what tool you're in, if you want to move the image--let's say you're working here and I need to see more over here, just hit the spacebar and your tool, as long as you hold the spacebar, becomes the hand tool.0406

I can move the image, release, and I'm back at that tool.0429

Spacebar again, now I can move over and work over here--spacebar, move down here--very, very simple, beautiful shortcut.0432

The move tool moves layers--not a particular shortcut for it, the actual letter for your shortcut to change to that tool is the letter V, notice it became the move tool.0441

Move tool moves layers.0455

If we highlight a layer, and I click and drag, you notice I'm now moving that text layer around, and not affecting anything else.0458

The move tool moves layers, the hand tool moves the entire image.0466

Those are the differences between those two.0469

Now I have three shortcuts on the zoom tool...if you're in any tool, it doesn't matter what tool it may be, if you want to zoom in or zoom out, you don't need ever to access the zoom tool.0476

If you're in a tool, simply Command on a Mac, Control on a PC, the plus sign zooms up, the minus sign zooms down--you're holding down the Command or Control key--Command+, Command-, and Command0 (the number zero) will fit the image in the window no matter whether it's zoomed up or zoomed down, that's the number one tip for the zoom tool.0491

The number two--if you happen to be using the zoom tool itself, we have what's called Scrubby zoom--if you just click and drag to the right it zooms up, the left it zooms down, and at any zoom level if you go up, it zooms up gently...if you go down it zooms down.0519

In other words you get fine control--gross control right and left, fine control with up and down.0540

OK, I'm going to go Command or Control zero again, that's number two.0549

Now, if you're in any tool, Command on a Mac, Control on a PC and the spacebar, changes to the zoom tool--you can zoom in, release and you're back to your other tool--Command or Control spacebar, zoom down, and you're back in your tool again.0553

Those are your three zoom tool shortcuts.0575

You're going to use the quick mask a lot--this is to allow you to see and to also alter by painting a selection.0578

I'm going to make a freehand selection with a little bit of a soft edge here (just going to draw one) and the outline, the border of the selection is what you see--these little dashed lines.0587

This icon, second up from the bottom, is the quick mask--the shortcut key, if you'll notice when the tag comes up, is the letter Q...it inadvertently de-selected.0600

The letter Q...you see right there--quick mask mode.0617

There's the quick mask mode--it is a transparent overlay, the transparent color is the protected area, the white or clear area is the selected area, and you notice I have a soft edge on this selection, if I wanted to have a hard edge, for example, I'd make it zero, and now you will see that the edge is hard, so you can adjust your selections.0622

You'll use quick mask a lot using the letter Q, in other words you don't even need to go over to the icon, just hit Q and you've got it.0648

The gradient tool--you'll find you may use this sometime, and you will either be creating color gradients for graphics, or black and white gradients to create actual selections and masks.0658

So there you have some important tools and valuable shortcuts, and the four basic categories to simplify Photoshop: selections, corrections, retouch and manipulation.0670

So now, let's get into Photoshop and learn how to this.0683

I'll see you back in the next lesson.0686

Hi everyone, Michael Brown back again.0000

Welcome back to educator.com's Adobe Photoshop CS6 course.0002

We've got your image out of your camera, into the computer, edited in Bridge, did a little correction in Camera Raw and now you're ready to go onto Photoshop, but before we start working on the image, in this lesson I'm going to talk to you about image size, increasing and decreasing your image (in other words enlarging or reducing the image) canvas size, which is actually adding area to an image, where you leave the image the same size and create more canvas to the outside.0007

And we're going to talk about resolution, and what it is, and how we deal with that in regards to print--in other words printing your images, or displaying them on a monitor, so let's get started.0038

Here's an image that I shot with my Nikon D7000 camera which is a 16 megapixel camera, that means the sensor has 16 million pixels, but it shoots a red, green and blue channel, which means the final size is three times the megapixels or 48 megabytes, with a tiny bit of trim that the camera's computer does.0052

And so if we go up to the Menu bar, go to the image, image size menu, you'll see at the very top of the image size dialog box, there's the file size of the image--it's 46 megabytes, just a little less than the 48 we talked about.0075

Now, the dialog box has pixel dimensions, so the actual image is just under 5000 pixels and just over 3000 pixels...49--28 wide, 32--64 high.0092

If you multiply those two together, you will get 16 million, but there are three channels so the file size is triple that.0107

The actual document size was determined by the resolution that the computer set the image at--it defaulted at 240 pixels per inch.0117

And the reason that is, and most camera manufacturers have adopted that now, is that when you print an image from a printing press at a lithographer, a professional printing press--not any jet printer, but a regular ink printer with plates...they print at between 150 and 200 dots per inch maximum.0128

If they go any more than that, the actual ink droplets will begin to clump and you'll lose detail.0157

So traditionally they're printing between 160 and 175 dots per inch for fine work, and the rule of thumb is they would like to have the digital file presented to them for maximum quality at between 1.5 and 2 times the dots per inch that they're printing at.0163

And if we're averaging it at about 160, one and a half times 160 is 240, so that's how they came up with this.0179

Now, that is the document size at that resolution equals a 46 megabyte file.0188

Over here we have three check boxes; one to resample an image, which is either enlarging or reducing an image, adding pixels or removing pixels, constraining proportions...if you have it checked to constrain, it will keep this aspect ratio constant--you can actually stretch or squish an image by unchecking this and changing some of these dimensions.0194

Scale styles...if you're adding drop shadows or other layer effects under the Layer menu, layer styles.0218

If you don't flatten your image (all the layers) and apply those effects directly to the pixels, if you enlarge the image, the scales will not scale up--they stay the same, so in other words you've got a drop shadow if you enlarged an image that would stay small, that wouldn't match up with the type.0226

So, it's necessary to check this if you want the styles to expand properly.0247

Alright, and down here we have the dropdown box for interpolation...smoother for enlargement, sharper for reduction by cubic automatic, new in Photoshop CS6, it automatically determines--remember we set that under our Preferences, so there we have everything that's in here.0253

The auto button applies to an auto set for the dot...the maximum efficient dot per inch for a printer--I've never used that box, I just discovered that and learned it today, you don't even need to bother with this.0255

Alright, so there's that.0294

Let's say I wanted to make an 11x14 photo print of this image, but I don't want to change the file size because I want to maintain the same quality.0296

I can do that on an ink jet printer with a larger resolution, so I uncheck all three of these boxes (notice the pixel dimensions are not there) if I change my width down to 14, notice that the resolution went up to 352 because the number of pixels in the image are exactly the same--the file size is still 46 megabytes.0309

So, a smaller size meant that it had to have more pixels per inch--the quality level of your image is unchanged whatsoever, and this will print no problem on an ink jet printer, but if you wanted to do this for the lithographer, they don't want it this large; they would prefer it to be 240, so now you check the boxes again, resample, constraint to proportions, scale the styles--we've got the size now at 14, now we change the resolution to 240 by cubic automatic, no problem, it'll do it.0335

Notice up here, it was 46 megabytes, now it's going to be 21 megabytes, knocked down because we reduced the number of pixels in the overall image.0375

If I click OK (watch the image) it now will drop its size, and if we go to the image size again, notice 21.4, 14, 9.275--the same size, document size relationship at 14 which will accommodate an 11x14 print at 240 DPI.0388

That's how you reduce one, so we're going to cancel that for a moment, and go back to the larger size.0412

Now...if we enlarge an image...let's say I'm going to use another image to show you this one, I'll do two things.0419

This image was shot on a 4x5 camera, notice that it's a little higher in its aspect ratio than the previous image.0429

Image size again, now we have a 57 megabyte file that was a scanned transparency at 305 DPI, if we just knock it down to the 240, which is our normal for the printer, a file that's 21x16, and that's roughly 4x5--4 times 4 is 16, it's just about a 4x5 image, but I really want to kick out a 30x20, so I don't want to change anything, we're going to come back and open it up at its original...get the maximum number of pixels in there, and I will knock it down to 240, that's no problem.0442

But what we're going to do, is we're not going to constrain the proportions this time...I want to make a 20x30 image--I'm going to stretch it slightly--I figure I can do that and it won't hurt it, so now the height (I've already set the resolution at 240, it's there) 20 on the height, 30 on the width, and if you notice it's going to up that file size from 57 megabytes to almost a hundred, because we are now stretching it in addition to increasing it we're changing the aspect ratio--we'll click OK, and it's going to cook for a moment, and now we have...I want to go undo it, see how it's a little bit squished in and up, and this way it squished it out.0489

It still looks good because it didn't hurt that to stretch--there wasn't anything that got distorted tremendously, image size is now 240 DPI at 20x30 inches--it's now a hundred megabyte file, much larger, but it's ready for the printer.0536

So that shows you how you deal with--you can actually alter the proportions, or just scale them up, that's how you deal with image size.0555

Now, one other thing I want to talk about (let's cancel and go back to this other image...make sure we're back at the original) if you're not dealing with a printer, the last two examples were dealing with preparing the image to print, if you're working on an ink jet printer, don't worry about your pixels per inch at all, you can leave your file size the same.0566

If you wanted to print at 11x14 here, you don't need to resample it, very simple make it 14 inches, the 352 resolution doesn't matter on your ink jet printers, so it's very simple--you didn't have to change the file size at all, just change the document size, no problem.0592

OK, let's go back to the original on that again, and leave it this way.0611

Now, if you're preparing an image to view on a monitor...monitors today have variable resolutions, so you don't necessarily know what it's going to be viewed on--if you're on the internet, it could be anywhere from an older monitor that has 72 dots per inch, up to the modern ones like this is a new MacBook Pro, that could be as high as 1680 by 1050, as low as 1024 by 640, who knows what it's going to be, but the best thing to do is set your image up for the worst case scenario.0616

Now, most websites are approximately 900 to 1000 pixels wide, so if I'm sizing this image for the web, I'll go to my image size menu, and I will pick the worst case scenario--now remember we're going to resample and we're going to do reductions so by cubic sharper, I'm going to automatically go 72 DPI is where I'm going to start, and since I know that this is just an average, most websites are somewhere around 8 or 900 pixels wide, I'm going to set this at between 8 or 900--usually 850 is what I go for.0655

Now you can always contact, if you're doing a display of art on a specific website, and ask them the horizontal or vertical width that they want, and you set that up at 72 DPI, or if they have a different one, they'll still go for 72 because it's on a website, that's the way we're going to automatically do it.0685

Now it's 850 pixels wide, the proportions are no problem--we didn't deal with the document size, we just changed pixel dimension so 850...it becomes 563, drops it from 46 megabytes all the way down to 1.37, we click OK, and watch what happens.0716

I'm going to zoom this up...there's 100% magnification, and you notice it views great on the screen, it still looks beautiful, but it's at 72 DPI now, and this is all that it's going to be used for, so you have no problems with that at all, so that's how you size your images.0735

The difference for print at about 240 DPI, for the web, 72 DPI and you can contact the particular website that's going to display it or you can just default at about 800 and some odd pixels...there we go.0756

Alright, now we're going to talk about canvas size...and I'm going to go back to the original size for this thing, that should be...240, 20x13.6--we're going to sample this down to 240 at 14 inches wide for that 11x14 again...we've got it.0774

Now, I want to print this at that size at 240, I also want to put it inside a...16x20 frame, and that means that my image is going to be 14 inches wide, but I need extra space--either they're going to mount it or I give them a larger print, and I'll want to put white around the outside (this is just for a print, there's other things you can do with this).0795

So we go to image, canvas size, and this allows us to add more space around an image.0829

In this case, we're going to be putting it on a...I'll tell you what we're going to do...no, we're going to go with the 14, we'll just leave it here.0838

This is an anchor box...the little dot can be positioned side to side, corner, anywhere--when it's in the center, if you only increase the width, it will equally go half of that distance to the right, and half to the left.0852

If you increase the height, it will go up and down equally.0869

Let's just say, for example, we wanted to stretch this image vertically--I could resize it, or I could do it another way.0874

I could say--let's say I want to make this 11 inches high, and I want to add space at the top, so if I put the anchor at the bottom, notice the arrows indicate I can go right or left, and I can only go up, so now if I make the height 11 inches, and I pick my extension color at--let's just go with white, it's fine, and I click OK--I did not change the width, it automatically made that (just check that image size) notice it's 11x14 now, and I added the space only on the top.0884

Now, if I want to do a 16x20 document size with this image the same size, I'll go to image, canvas size, and now we're going to leave the anchor now in the center.0924

We're going to make the width 20 inches, we're going to make the height 16 inches because it's going to go in a 16x20 frame...and we click OK--remember it's going to go equal right or left, top or bottom.0941

And now you have basically your picture mounted on a white background, but I want to show you the layers...0957

It puts it on the background layer...on the lower most layer, so that if I have this image...now I'm going to just take the background layer for a moment, and I'm going to make it all white, just a second...0965

I just want to demonstrate that if I had made that size, and I keep this image separate, I can now move the layer independently (so both will be able to move...) I can adjust that more for a normal print methodology equal around here, a little more space at the bottom.0988

Now we could have done that another way, let me demonstrate...image size down, we're now at...OK.1011

What we're going to do, is we're going to canvas size...we're going to add 20, that's 3 inches on each side--14, to make this 20 wide is 3 inches on each side.1021

So we're going to go 3 inches also at top and bottom--we're going to make it 20, and the height, if you add 6, is now 15.271, so I'll do that, and now we're adding 3 inches all the way around equally...1035

But it's not quite right because it's supposed to be 16x20, so what I'm going to do is put the anchor up at the top, and now add that little bit more space on the bottom, and effectively I did the same thing.1055

We've got the traditional print mounting methodology with a little extra at the bottom, and you could go in here with a text tool...it's going to initialize this, and...grind for a moment--you could put your signature, or whatever is necessary at the bottom--there we go.1078

You could put photo by...and I will very quickly change that to like 20 point, change the color to red, and you can see what you can do down here--you can add a signature underneath that.1102

So that's what image canvas size does--it enables you to add space around your image for various purposes--let me go back and do one more for you, I know I've taken a lot of time with this, and I'm going to take (and make sure there's two layers) I'm going to do it on the bottom--image, canvas size--I'm going to add a little bit on the bottom.1124

So I'll put the anchor at the top, notice it'll add to the bottom, the height's 13.6, we're going to make it let's just say 15, and that adds it on the bottom.1152

Now I can take the upper layer, select the layer, go to edit, transform, and I can...oops, got the wrong layer, excuse me...select the layer, edit, transform, and I could stretch it down, and now we have a stretched image (let's go back to that) try that one more time.1164

I cancel it, edit, transform, pull it, enter it, there we go...so there's several ways to use the canvas size feature to add space around and different methodologies.1193

Remember, the anchor points allow you to control where it's going to go, you can also go relative--in other words if I wanted equal amount of space around this--I just wanted 2 inches to the height and 2 inches to the width, I click OK and it comes in equally, just adds that relative.1207

So you have all those options, and the image size, remember, you can change your document size independent without changing the file size, or you can resample to either enlarge, or reduce your images.1227

So there you have image size, canvas size, and resolution.1247

I'll see you in the next lesson.1252

Hi everyone, Michael Brown back again.0000

Welcome back to educator.com's Adobe Photoshop CS6 course.0003

In this lesson, we're going to discuss sharpening--very important factor that you need to do to all of your images.0008

Now if you remember, when the image comes directly from the camera it's either a raw file or a jpeg, if it's raw it has no sharpening whatsoever, if it's a jpeg, even without any custom settings, the computer in the camera will automatically apply a little sharpening, so it's up to you to look at the image very closely to see if the pixels are sharp enough.0016

Now, as we go through this lesson I'll show you sharp versus non-sharp.0041

One of the things you want to make sure of--a lot of people say that you should work on your image first, and do you sharpening at the end before you output or save--I disagree with that, because the original pixels on a raw file or even the jpegs that don't have a lot of sharpening are soft on the edges, and if you're working on soft edged pixels, it tends to smear things, so my philosophy is that you apply some sharpening to get it clean, but don't over-sharpen it, and I'll define that as we go through this lesson, and then work on your image when the pixels are clean so that they don't muddy up, and in the end, if you do need a little bit more, then you can always add some.0045

So, let's get started on this lesson.0094

In Photoshop, there are five different ways to sharpen an image--they're all under the filter menu under sharpen--there is, one, two, three, four and five.0097

There's a sixth method that I use that involves another filter called the High Pass Filter, and I like this one better than everything else, so let's get started.0108

You're going to run into the amount, radius and threshold sliders in some of the sharpening filter.0121

What this is...the amount--the computer is really taking and looking at side by side pixels, bright pixel and a dark pixel, when you're sharpening effectively the computer makes the brighter pixel brighter and the darker pixel darker, and therefore increase the contrast, and if those pixels...are along an edge, the edge gets more distinct, which sharpens your image.0130

If they are not along an edge, however, what you end up is getting electronic noise, so there's a big trade-off between sharpening an edge and getting too much noise in an image, so we'll go over that as we roll along.0164

The higher the amount the more contrast, but also depending more noise.0179

Radius is the area that is affected by the amount slider, and that is the area that goes beyond a bright and dark pixel.0186

More radius, more area.0199

If it's at a lesser radius, a lesser area--in other words if you had just an edge, you could add more radius and it wouldn't hurt anything.0201

If you have the entire image, even if you have a sky, if you increase the radius, it will begin to affect lesser contrast pixels, and you will begin to get noise--that's what causes the noise.0209

Threshold calculates the amount of difference in contrast between neighboring pixels, similar to the radius in some respects, so the larger the threshold, the less areas that will be affected.0224

This is kind of the opposite of radius--they do similar things.0242

What I tend to do, is the threshold, I can't quite figure it out completely, so I keep the threshold low, so I know that's going to apply in contrasting areas only, and I'll work the radius to move it away to see how far out that you can affect the area without killing it with too much noise.0246

You could play with these back and forth, let me demonstrate...alright, here's an image...this is a landscape, and let's zoom it right on up here, and what you see--it's a raw image right out of the camera, if you can see that the greenery is a little bit soft, the detail on the mountains is indistinct, and so we're going to apply some sharpening.0266

Let's start off by going under the filter menu down to sharpen, to the sharpen filter, and I'll zoom it up...you can see in the mountain we see more detail, I'll take it away, it's very soft--bring it in you begin to see a little detail down in the greenery--take it out, notice how soft and indistinct we begin to see it, but what happens here is up in the sky area...as I add it's easier to see--it's very hard to see because it's not putting in a lot.0294

There's nothing, and now there is--there's a little bit of noise I can begin to see--it's hard to see, but I'll show you a better way to look at it, so it doesn't do a heck of a lot.0332

Filter, sharpen, sharpen more does the same exact thing--it works on every pixel, just adds more, and now you can see lots of detail in the mountain, beginning to see a little color fringing, a lot of what appears to be detail down in the greenery, but what you've got up--watch the sky--I'll take it away...put it back it, see the noise, take it away, back in.0342

It adds a lot of noise because these two: sharpen and sharpen more, both work on every pixel, so me personally...I don't like these two (let me check those off) sharpen and sharpen more, it does a little, and sharpen more does more...but both of them are noisy...so I tend not to use either one of those two.0371

Let's go back here, and now we'll try filter, sharpen edges, and you don't see very much at all, but I'm going to apply it a second time, and a third time, and see what happens as you begin to apply it more, you can begin to see that it's sharpening around the edge areas--not much detail in either the mountain or the dam but see what's happening with the colored pixels?0413

The pixels are beginning to get way over-sharp and that's what I was talking about, how it degrades the pixels.0440

Let me pull that back...that's twice applied, you can begin to see that it's colored the pixels...one time, not too much and not too much effect either, so the sharpen edge doesn't work real well there, but if we go over here to an image that has distinct edges--let's just go ahead and look at the eye on our friend here...this is a raw file, we're going to go and apply the sharpen, we're going to apply all three--there's sharpen, not a lot...you can begin to see some, but you can also see right here--watch what happens, you're starting to see noise already because it does every pixel.0447

We'll do sharpen more, lots of noise.0489

Clean edges, lots of noise.0492

Let's go to sharpen edges...now you can begin to see that edge has been taken away, and bring it back--you can see that the edge...look at the soft edge right down in here, see how it's getting sharper?0494

It did not destroy--I'm going to apply it a second time, and you begin to see harsh pixels so you can only do it once, there's a little bit of effect, and no effect at all, on the noise--it does a little bit on the edges but if you put in too much, it starts to hurt the pixels.0508

So...if we deal with sharpen edges...sharpen edges is so, so to OK, depending upong the edges, so now let's go back and take a look (make sure this has no sharpening whatsoever at smart sharpen...get it right here) filter, sharpen, smart sharpen.0525

Now we've got--and by the way, you can work smart sharpen, you can do this also defining only in the shadows, or the highlights separately, so that you can go into detail if you want, but we'll just work with this one right now.0560

I'm going to bring it back to zero--there's your radius now, we have no sharpening at all in this image, and if we bring the amount up with no radius, obviously nothing is happening, so I'm going to move the radius up to about one pixel, and start to add an amount.0581

You can begin to see a little sharpening, a little bit more...notice the detail that's starting to come into the mountain somewhat--I'll up the radius a little bit more...now you can begin to see detail but what you're starting to see is this 'haloing' effect around the edges, and also we're starting to get noise.0599

Now I'm going to apply it, and I'm going to remove it, apply it--lots of detail, not too much noise--certainly better than the other ones, but we have a little bit of 'haloing' in here, so you can use it (let's try it one more time) smart sharpen, and I'll pull it back on the radius just a little bit--there you go!0622

We got minimize there--it got some detail--not a lot of noise...it's not bad, not bad at all, but you had to play with it a little bit so smart sharpen is pretty good!0644

Certainly better than the other three.0664

Now we're going to deal with un-sharp mask.0669

We'll open this up...filter, sharpen, un-sharp mask--this is my second favorite actually.0672

Now, we'll drop the radius to one, and we'll play with the amount.0682

We can go way up and you're starting to see a lot of noise, but we have a huge amount in there--drop it back to about 88, something like that, and we'll pull the radius down to zero--there's nothing--we start to bring up the radius, and if you'll notice, we have a pretty good amount of sharpening here, very little 'haloing' and not a lot of noise.0688

Now there is some noise (let me take it out) and back in--a little bit less than the smart sharpen, I think they're fairly equivalent, the 'haloing' is down just a little bit, we'll double it up, and obviously that was too much, but un-sharp mask is pretty good--I used that for years and years and years.0715

Un-sharp mask I would say is good, that's my opinion.0738

Keep the radius low, around one, and play with the amount, so of these five I would personally rate the un-sharp mask as number one, and the smart sharpen is number two--some other people might reverse that, sharpen edges is number three, and no rating on the other two.0745

Let's now take a look at my all-time favorite, which is the High Pass Sharpening, so let's go back over here, make sure that this thing is just open...let's get that back up there and find that same spot, there we go.0767

Now, the way you deal with High Pass Sharpening...you duplicate your original layer twice--once...a second time...go to your blend mode, go down to overlay--you can also adjust this--soft light is the least amount, hard light is the most, overlay is in the middle.0787

The image gets very contrasted--what it's doing is all pixels that are brighter than neutral gray (50% gray) are made brighter, and those lesser are made darker, so it is increasing the contrast, and in doing so (if I just undo that) you can see it actually is pulling a little detail just by that, but we're going to add another feature.0812

Filter, other, High Pass...the High Pass filter only looks for edges--you see in the box for the High Pass filter, if the radius is zero, it only finds neutral gray and it does nothing if you have any normal--we'll do that at the end--other, High Pass.0836

You see only neutral gray with a radius of zero...if it's all the way up you see full color, just like the overlay mode, it doesn't even show with the normal mode, but if we back off between two and six pixels and you look in here--what you're looking for is edges, you don't want to see color because you're beginning to see the 'haloing'--see it in there and see it over here, so you back it out to maybe three, two-ish, somewhere in there--you play with it until you get it where you want it (we'll drop down in this case to about 1.9, not bad).0863

But what I want to show you--watch this, look, there is no noise in the sky at all, because it only works on edges--anything else that's neutral gray is absolutely unaffected with the High Pass filter.0901

So we've sharpened this up, I'll turn it off, and turn it on.0919

We've got decent detail and zero noise in the sky.0924

Now if you need more, duplicate that layer...and you've now doubled the amount of sharpening and you can see we've got some 'haloing' so we can take the layer opacity and drop it down to wherever that doesn't look so bad, and there you go, almost zero noise, and significantly good quality sharpening.0929

Let me show you that also on Mr. Bob over here on Bob's Big Boy...we'll duplicate the layer...duplicate the layer a second time, apply the overlay mode, snap that contrast--go to filter, other, High Pass, and we'll just look for edges--when you start to see color, you've gone too far--see the 'haloing'?0954

It's not actually hurting us too bad but you can see it down in that eye in the white there so we'll back it off to about 1.5, and notice that in his skin, there is almost (I'm going to go to 2) even with a little 'haloing' showing we see no noise whatsoever (let's back it down...click OK...zoom him up one time, turn it off, turn it on) we've got good sharpening, no noise whatsoever--I'll duplicate it again to double the amount, and you can start to see a little 'haloing' so we'll pull that back to about 50%--very little noise, and we've got a really good, crisp edge.0979

So if we go back to the list of sharpening, High Pass sharpening in my mind is a three check mark...let's even give it a four check mark, my favorite.1029

So, there you have all five sharpening methods that are under the sharpen filters, plus the High Pass sharpening which uses the blend mode of overlay, soft light or hard light, in conjunction with the High Pass filter.1043

Remember, don't over-sharpen your images--if anything go a little less than enough, get some sharpening, and you can say "well maybe I could use a little bit more".1064

Don't over-do it, you can always add a little more at the end.1075

That sums up the sharpening features in Adobe Photoshop CS6.1079

Hi everyone, Michael Brown here again.0000

Welcome back to educator.com's Adobe Photoshop CS6 course.0003

We've been talking about the workspace and identifying the various features there of, and we're going to talk in this lesson about the Menu bar and all of the individual dropdown menus that appear across the top of your menu.0007

Alright, so let's get started.0023

What I've done here, is I've listed them all and we'll check them off as we go through them.0024

I also have an image open so that I can demonstrate some of the particular features, so let's first of all talk about the very first dropdown menu--the File menu.0029

Now remember, when you open up a file, that's the file menu is dealing with--your entire image, layers, everything with it, the entire file.0041

So if we hit the dropdown on that you can create a new file, very simply comes in--you can give it the width-height resolution, whatever you want, and adjust the various options on that.0052

We're going to close that one out...you can also open, which means it will go to your navigation, either on the Mac or the PC to find whatever you want, or here's Browse in Bridge; that's how you get to the editing program.0064

Minibridge will open up this little Minibridge panel down here at the bottom which, as I told you, I'm not a particular fan on.0079

In the Bridge section we'll talk about that in a little more depth--Bridge is much better.0088

Open as a smart object--what it will do is take whatever file you're trying to open and create it automatically in its base layer, like we have over here--in the layers panel, the base layer, background layer, as a smart object.0094

We're not dealing too much with smart objects in the basic and intermediate, so you're not going to really work with that too much.0109

Open recent is pretty cool, because what it does is list...I think it lists 10, and in the Preferences I think we can adjust that (let's take a quick look here how far we can go back...ah, there it was) recent file list contains--and you can add the number of files to that--in fact I'm going to actually change that to 15 on my own Preferences so when you go to File, open recent, it will list--and you can see it went back--the last 15 files you worked on.0117

This is really a nice feature, so before you go searching, you can just check here to see if the particular image you want is available, and you can adjust that again, as you saw that was Photoshop, Preferences, and I think it was File Handling--and it is, right down at the bottom of the File Handling panel in the Preferences, OK?0152

So...obviously with a file you can close it, and of course, remember I talked about one or two key shortcuts, Command or Control on a PC and the letter W will close an open window.0176

You can close all of the windows (forget the shortcut, I hate three key shortcuts) close and go to Bridge...you can close out the entire program and just go to Bridge.0190

Save is grayed out--notice you have items that are grayed out that are unavailable, and the reason save is not available on this image, because we have not made any changes to it, so the other option that's always available (and this is my favorite, we'll talk about this in another lesson on saving) the Save As panel, it's the best panel of them all; saves you a lot of trouble.0202

Check-in--don't even know what that does--save for web, very, very good panel to use--it allows you to optimize your image for putting on the web--really a good one.0227

Revert brings it back to where it starts from, placing is putting an object in, importing, not too much you're going to work with here--exporting, not too much here.0237

Automate is a good one under the File menu.0247

Here's where you access...excuse me...the batch commands which we'll be dealing with when we create actions which is a panel.0250

This allows you to perform multiple operations that you would use, the same operations in a sequence on several images; you can batch them up and do it all in one shot--you can make a pdf presentation here, a droplet is kind of like a mini app, crop and straighten photos--you really don't need that there because you've got your cropping tool right over here on the menu...let's get back out of the cropping tool.0260

So, there we are at the automate, merge to HDR effects pro--now that's a plugin from Nik, that's not Photoshop's HDR pro, that's down here at the bottom, so you have contact sheets you can create, lens correction is available from here as well as in the Filter menu.0290

Merge to HDR pro as I mentioned and photo merge, which is taking a series of images and putting them together as one, so all of that is under the automate menu.0311

Scripts, which are additional kind of apps, image processor is here, this is a new feature that's very cool--delete all empty layers.0321

If you have a layers panel like I do over here that has a bunch of layers and some of them you may not have used and get confused, this will just automatically take out those.0331

Flatten layer effects; that allows those--that there are no effects here, flattened masks, and a lot of things to do with the file in the layers panel are here--layer comps.0341

Layer comps...we'll talk about those at a later time but what they are, are different versions of a layered file that are saved up...very cool--you can make them as files, pdfs and web photo galleries.0352

Export layers to files...and that's about all you'll do with that.0367

This is the File menu--in other words, it's everything you would do to an entire file.0372

The Edit menu...you are undo, which is back and forth Command+Z or Control+Z on a PC, allows you to go forward and backward one step--in other words, if you've made a correction on an image, you can go backwards by going Command or Control+Z to see where you came from, and then you can do Command or Control+Z again and it goes forward, so you're toggling back and forth so you can see the effect; very good idea.0378

Cut and copy--copy you'll use a lot, obviously you're going to copy something.0409

Paste, which in this case is nothing to paste, and again the two one.0413

Paste special is very cool because it allows you to paste things into selected areas, clear, check spelling here, this is in other words editing your file.0417

Find and replace text filling, in other words, if I wanted to take this layer and fill it with a color that's where you fill.0428

Stroking is making a border around the edge, content where a scale, we'll talk about as we go along--it's really cool, I won't even deal with that.0434

Puppet Warp...think of a spider with its legs out and you can move the legs anywhere you want to, very cool.0443

Free transform and transform--these are your transformational tools that will allow you to stretch, as you can see scale rotates cube, distort perspective, the various things you can do to a layer inside an image.0449

Auto-align layers and auto-blend--these are for graphics work, which we're not going to deal with here, and most of the rest of it you can adjust your color settings right over here, as well as up color profile or convert from one profile to another.0464

The keyboard shortcuts are all listed here in the menus as well.0481

So the things here--this is what you're going to do, the File deals with the basics things you do with the file, the Edit menu you're going to edit an image, so let's go back.0485

We've gone over the File menu...and we've gone over the Edit menu (why am I gray here, I should be in black, good enough anyway).0494

Alright, so let's talk about the Image menu.0507

Image...this is the modes available for your images.0509

You are predominantly going to work with either grayscale--and probably even not with grayscale because, if you want to convert an image to black and white, you don't do it here, there's another way to do it--we'll talk about that before.0515

Predominantly, RGB or CMYK is what we're going to be dealing with.0527

CMYK if you're going out to print, RGB color is 99% of our work, so it's going to be RGB...8 16 or 32 bits in this particular course, we're going be dealing 99% of the time at 8 bits per channel.0533

Adjustments--here are your exposure and color adjustments, and a few other things that are available...down at the bottom, HDR toning, shadows and highlights, and a couple of other things that we're not going to talk about, but predominantly it's up in here; exposure and color, plus shadows and highlights.0548

Your auto-exposure color controls are right here, and here's where you adjust your image size, canvas size (which is adding area to an image) all the rotation features for your image are right under here, duplicating an image right here, calculations, which has to do with combining and creating new selections from others--we'll deal with that a lot--and that's about it, so this is where the image is where you apply your effects to the image.0569

File deals with the files overall, Edit deals mostly with layers, Image--this is where you do your corrections, Layers, as you see over here, this is the Layers panel, and we have various layers in this particular image right here.0600

Everything to do with layers; creating new ones, duplicating them, deleting them, producing styles, renaming it, all of the things--and we'll talk about this at length, everything that you would do with a layer is very conveniently under the Layer menu.0615

Type...what do you think we're going to have to do with the Type menu?0631

Could it be text and type; everything to do with type is under here, some of the various things you would do--let me switch to a type layer, and they'll highlight up.0635

You can see that when something's grayed out it's not available in that situation--if I was off here on a non-type layer, notice almost everything is grayed out, but if I switch to a type layer the options are back in here.0647

You won't work a lot with this, there's not a lot that we use it for, most of the type work is done under the panels for type which are the character panel and the paragraph panel--we'll talk about that in just a moment.0663

The Select menu--everything with selections.0681

Filters...could it be everything to do with filters is under the Filter menu--all of your filters available are listed under here plus the cool ones--Vanishing Point, Liquify, Oil Painting, Lens Correction, Adaptive Wide Angle which is brand new, and the Filter Gallery, all under here and I also have some plugins from Nik on this one--Silver effects and the Vaser are two incredible pieces of plugins.0684

So we've got the Type menu; everything about type, Select; everything about selections, Filter; all of your filter contacts are under here.0713

The View menu has to do with graphics, so we're not going to deal a lot with graphic design in this program, but here's where you do your proof setup for working with CMYK to see what it's going to look like, you've been working on it in RGB and you want to output it to a printing press, this is where you make the checks on that and your proof colors.0724

Zoom...we don't really need that in here, I know they have it under the View menu--that's because you're working on a graphic layout but of course we've discussed the zoom tool.0746

Print size, screen mode, as we also know, is down here at the bottom and the shortcut letter F, so it's not really a lot over there.0757

I'm going to view rulers, which is also Command or Control+R, and there are the dimensional ruler for your image--if you notice this corner here is at zero, and down here it's a little, so the image is a little more than 4 inches high.0766

Under the View menu, you can go down and show--this is a grid, remember I had you set up your grid with .25 and 4 separations--this is very good for aligning objects precisely, and also guides, which are objects to precision--remember where one is, you just grab in the corner here, drag it over and there's a guide for the right side--grab one from the top, drag it down and there it is.0783

If I go View, Show, Guides, they will disappear--View, Show, Grid, it will disappear, that's where you get those, and that pretty much sums that one up--oh, one other thing I wanted to show you, because this thing's a nuisance sometimes.0813

This is a pixel grid, and by default, it is checked, so we're going to check it back on--let's go to this other image, and as I zoom up, once I reach a certain magnification...it should pop in--I guess I turned it off in the Preferences?0831

It should show that...I'm wondering why it didn't--View, Show, oh, I didn't hit it right, there it is.0852

Once you get past 500%, it shows you the actual pixels, and I don't find this useful at all.0863

I want to see the edges of my pixels, that's what I'm up there for, so if I go to View, Show, and go to pixel grid and just get rid of it, now as you see when we zoom up, we can actually see the edges of the pixels and see how crisp and clean and how they blend, so I find that important to remember: View, Show, get rid of that pixel grid.0872

The rest of it, pretty much, so that's graphics under the View menu.0894

The Window menu is all of your panels, your ways of arranging--we talked about that in the workspace, how to arrange your images, and saving custom workspaces and having pre-set workspaces.0898

I will talk about all of these panels in a separate lesson on purely panels, so let's go back and see where we are here.0912

We went over the View menu, we went over the panels briefly, and then we come to the last one, which is Help.0921

Online, this is very useful and very important, because even I reach points--sometimes I don't know a specific thing, if I'm teaching and I need to define it properly, here's the Photoshop Help, and you can use this for any of the Adobe products, in this case I have it set up here for Photoshop--just type in whatever your question is and all of the search options will--in fact here...Photoshop Help (I can't even spell, H, E, L, P) click Enter, and there you have all--and you click on that, and here's all of the information.0930

Basically, a textbook on all of them--there's Bridge help, Light Room, all of the things that you need, you can find in the Help menu if you get lost.0971

So that covers the Help, so there we go, really a quick recap.0981

Everything with full files under the File menu, editing layers under the Edit menu, making your image adjustments; exposure and color primarily under the Image menu, everything about layers on Layer, everything about type on the Type menu, selections--everything about selections, all of your filters under the Filter menu, the View menu has to do with graphic design, and the Window menu, all of your panels and Photoshop Help.0986

So that sums up the lesson for the menu bar in Photoshop CS6.1014

Hi everyone, Michael Brown again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In this lesson, we're going to discuss saving your images--quite important--and a couple of things that will: number one, save your life, number two, save you time...life is more important in this case, not losing your images, and a couple of new features in Photoshop CS6 and we'll discuss saving images for the web, so let's get started.0006

Here's an image--we'll check the image size...original image is 32 megabytes at 240 pixels per inch.0028

It's a layered file.0038

If we were to--now right at the end of the Title bar you see there's no asterisk, same thing with this other image--now this one has been altered, so we made a change and have not saved it.0041

Same thing with this image--the little asterisk indicates it has not been saved after you made a change, so if you go to the File menu you'll see that the Save command is highlighted as well as Save As.0055

If it is not worked on, such as this one, when you go to File, Save is grayed out but Save As is live.0069

OK, so now, if we make a change on this image--let's just make a couple of changes here...I'm going to drop the saturation, make the yellows down a little bit, make them a little red...there's a natural change.0076

Now let's just say...what happened there, that's OK, it went crazy, that's fine with me, I'll take it...so we make some wild change here, we flatten the image, we've seriously altered our original image--we go to image size, let's knock it down to 72 pixels per inch, we'll just do that.0095

Now we have a small file with no layers, and if we go to the File menu, Save is highlighted.0125

If I release right here, or if I was to use the shortcut Command or Control on the PC +S, it will save this image right over the original file because the name is still the same, it will not ask you, it will not prompt you, it will just plain do it, and what that means is that you will wipe out your full sized file that we have here--I can still go back because of the History panel--it will replace this full sized file with this tiny little off-color file and you've wiped out your original and you can't recover it.0133

So I recommend highly making a habit out of never using the Save command.0173

Instead, use Save As, because when you do, you will get a dialog box that gives you several prompts.0180

What do you want to save it as, where do you want to save it, and what format do you want to save it in, and it will remind you that...oh right, I changed this image so I do not want to save it as the same name, I want to change the name, so I'm just going to hit a slight name change...modified...and now I've changed the name, I'm going to save it in the same folder, save it as a Photoshop file, I'll click Save, and now we have Claudia Mod.0190

If we go back to Open Recent Files and open the psd file (it should open up...come on...there it is) we're back, and we have both files.0224

Let's go to Bridge, and I'll show you that there they reside, there's our original that we did not accidentally save over, there's the small off-color file, we changed the name.0239

This is why I highly recommend that never use Save.0249

In 20 years of doing this, I've been working and working and working along on an image, and inadvertently you go...let's say you make a change like you flatten it, let's do something here--there's one way you can save it (let me show you what we do here, I'll just go craze it...flatten the image) instead of saving I just go to close the window, I go Command+W, or Control+W on a PC, it will prompt you--and it says "do you want to save these changes?" so there's a safety valve on closing a window.0257

The other safety valve is you Save As all the time, Save will never prompt you, Save As always will, and if you try to close the window after making some change and instead of inadvertently--notice the button is highlighted, so your instincts are to click the Enter button and you go "oh no, I don't want to save that", I can cancel it and save it as something else or I could click Don't and it will go away.0297

Be very careful in saving that you don't save over images.0323

So now, we're going to go back to this and we've dealt with...the Save command, which I suggest personally that you never use.0328

That way it will save you from yourself, instead use the Save As command always.0344

That's my recommendation, your call, but my recommendation.0354

So that takes care of the saving.0358

The wonderful Save As command always saves you.0360

Let's look at saving background and autosave.0365

I have a large file I opened up here that's 840 megabytes.0368

Previous versions of Photoshop...if I was to save this file right now...I'm just going to make up...do a Save As, and I'm going to change the name just slightly, now when I click save, it will start to save it, and you're going to see a progress bar which is new at the bottom left of the File window, but in previous versions we could not continue to work until it saved it, but watch what happens now.0374

I'm going to go ahead and replace it--see, it was prompting me--I know that this exists and it's the same file so it's not a problem.0407

Watch what happens down here...it's saving.0414

Now, previous versions I couldn't do anything, but we're going to go ahead and work!0418

We're going to go into our Preferences, Photoshop Preferences--File Handling on a Mac, Edit, Preferences, File Handling on a PC and notice behind us in the background it's saving.0422

So here we have three check boxes in the File Save options: Save As to original folder, that always puts a modified version right in with the original so your organization is nice and clean, Save in the background which is what it's doing right now, checked we're continuing to work while it's saving--saves time too--and this one is a life saver; automatically save recovery information--every, and you have the option of between 5 minutes and an hour, I leave it at 10 minutes, it doesn't slow the computer down very much, that means if you get a power failure or a crash in Photoshop which it doesn't usually do, but you never know, sometimes things happen, instead of losing umpteen hours of work, if you've been working on a file for a long time, worst case scenario, you'll only lose whatever your setting is.0435

In this case, it will open the file back up when you reopen Photoshop, re-access only at 10 minutes maximum back from where you are--a very great addition to Photoshop.0485

Notice, this has been saved in the background, so we go here and there is Save in background, and autosave, so now let's talk about saving images for the web.0499

Now, obviously you're going to work with jpegs--we'll go back to Claudia, and we're going to bring her back to the beginning, we'll check the image size out--this is a 32 meg' file.0511

So if I take this file and Save As, and make this Claudia Original, and save it as a jpeg, and then save it on the Desktop.0523

I'm going to save, it's going to prompt me as to a quality and I'll pick a medium quality, let's just say 9, and click OK.0537

Now, that file size is going to be about two megabytes, which is transferable but it's an awfully large file to be trying to open on the web, so what Photoshop has, under the File menu, is a Save for Web dialog box, but before I jump there I want to explain something.0547

This file here is about 32 megabytes in size--it will open up in the File, Save for Web dialog box, but files that are 60, 70, 80 megabytes or higher than that, in that range, have a tendency--first they'll take forever, if they opened, to open in that Save for Web dialog box because it is very file intensive as to size, or it might actually come up with a dialog box telling you that the file is too large, so what I do as a habit, instead of trying to open up my files into Save for Web directly, I size them down--you can size your files down in the Save for Web dialog box, but I prefer to do it beforehand.0573

So we'll go to the Image menu--image size, and I'll knock it down right off the bat to 72 DPI--there's a lesson on image size so I'm just going to quickly go through this--change the resolution, resampling, 72 DPI, let's pick, say, 2000 pixels, and we've now knocked it to 7.8 megabytes.0620

Click, and it's smaller...just double check, it's now 7.8, so this is the file size that's going to be taken into the Save for Web dialog box, but we'll do it very easily--we're already sized for the web.0642

The Save for Web--here's your dialog bar, excuse me...you have an original, you have optimized, you have two-up, which shows you the original and the optimized jpeg side by side, or you have a four-up, which gives you three different quality levels--I prefer two-up and to adjust it and to compare them side by side.0656

Now, you'll see down here, there's your image size--you could have done the image sizing right in here, but it takes a lot of time if it will open a large image, so by doing it before we saved ourselves.0681

So, you have the option of saving as a jpeg, a gif, or two versions of PNG.0694

The PNG aid has 256 colors, PNG 24 has 16.7 million, the same as jpeg.0701

The advantage of a PNG, the only thing that's different between a PNG and a jpeg is it supports transparency.0709

If this was a logo against a transparent background and we save it as a jpeg, it will make the transparency white.0718

As a PNG, which is a slightly larger file--still has 16 million colors, it will save the image, optimize it down, but it will also preserve that transparency so you can bring files into a website or a web design with transparency and move the layers around--very, very cool.0727

Alright, but we're going to deal with just a simple jpeg here.0748

You have progressive or optimize--progressive is when it opens up and it scrolls its way down when it's opening, takes a lot of time.0752

Optimize is the way you want to leave it, embed the color profile is just fine...let's see, it's converting it to SRGB--you want to do this because monitors are SRGB.0762

Preview monitor color--that's what we're looking at in the preview box to see what it looks like, and we have the option to throw in some Metadata, a good idea for copyright and contact info.0778

We've already sized it, and the quality level--we don't need to deal with that one.0789

Now we come up here, and we can adjust our quality level of the optimized image--notice at 100% quality, the 7.7 megabytes goes down to 2 megabytes, if we go down to zero and we zoom it up, you'll see the quality is terrible, it's just blocky, and the file size of course is very small.0793

As we increase the quality--we'll go up to about 40--you can see it's improving, but look at the lips on the left, on the right, they're still a little bit blocky.0819

Once we get up close to 60 or so, those images look pretty close to the same--there's a little degradation here, but not much.0828

If we get up close to 70...it's very hard to tell any difference between the original and the optimized image, and the jpeg has gone down from 7, almost 8 megabytes, to 760KB, which is not necessarily exactly the way we'd want it for the web, but certainly to email someone a test image for good viewing, it works well, so we're happy with that, we'll click the Save button, and we're going to save this as a Claudia SFW--Save for Web--on the Desktop, and we'll click the Save button, and now let's go to the Desktop and look at those two images...there's the original, there's the full sized jpeg, and there is the Save for Web.0838

I think the FS image is 2 megabytes...the original one knocked down is two, they worked the same--that was the 100% full size--and here is the Save for Web image; 780KB, and let's open both of these in Photoshop, and I'll show you that, from a viewing point of view, they work quite well.0888

We'll select both of them and not touch them, just open them in Photoshop...there we go...and what we're going to do here is we're going to close out the car...we're going to close out the full size image...actually we won't.0919

We're going to go Window, Arrange, float all in windows, and we'll just put this one away for the moment, and put the three of these--that's the full size file, and this one here...coming up...is the Save for Web image viewed on the screen, and this one here is the full size jpeg.0938

If you'll notice all three of these images look--and there was the whacked out one that we don't need to deal with--all three of these images on a monitor look equally as good, but this one is 32 megabytes, this one is 2 megabytes, and this one is 700KB.0972

But all view perfectly when the Save for Web with the 700KB looks just as good for emailing and on the web as the other ones.0996

So let's go back to Photoshop, Arrange, Consolidate to tabs, and that takes care of the Save for Web.1006

So now you have learned not to use the Save, always use the Save As, leave the save in background and autosave on, and you can now see how you can knock an image down for viewing very well, and still have a small file size for your save an image for the web, and that wraps up this lesson on saving your images.1014

Hi everyone, Michael Brown here again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In this lesson, we're going to discuss one of the most basic tools in the Toolbar and in Photoshop, and that is the Crop tool, and we're going to talk about cropping our images for composition as well as straightening horizons, cropping for perspective--a new feature to correct perspective directly in the Crop tool.0007

The comparison between CS6's interface and CS5; the new CS6 interface and actually to start with, correcting your images for lens distortion and camera vignetting, which is probably the very first thing you should do before you even crop your image.0030

So let's get started.0051

I want to open up an image...and this is going to open in Camera Raw...here's the image right here, and what you notice is the horizon line is almost straight over here--it's actually tilted slightly but it's mostly curved, and it may be hard to see on your screen but notice how bright the sand is, and it begins to get a little dark just along the outer edge on both sides here, that's vignetting.0053

From the fact that this was an 18 to 200 zoom lens, shot at 18mm wide angle, so what I would like to do is remove this distortion before I even crop, and that can be done here in Camera Raw or in Photoshop.0086

So we're going to go to the lens correction panel in Camera Raw, and just click the enable lens profile corrections, and notice magically it straightened out--it knows that this was a Nikon camera, it knows that the lens was an 18 to 200 zoom lens, and it has the profile for that lens and it corrected the problem.0104

So I'm going to undo that and open the image in Photoshop--see you can do it right here in Camera Raw--I kind of like doing it here, it's your call.0129

Let's open it up in Photoshop now...there it is, same situation; we can go to the Filter menu down to Lens Correction, and one of the cool things that I'll show you (there's a trick we can play but we're here) it's already corrected it once it knew it was a Nikon camera, the lens, all I have to do is let it know that it's an 18 to 200 356 zoom lens, and it has removed that vignette and straightened up the horizon.0142

You can do this either here, or in Camera Raw but since we make some initial corrections in Camera Raw, just as a workflow efficiency method, I like doing this feature in Camera Raw, so we'll click OK.0178

Now, in Camera Raw, there's also a Crop tool, but when it crops it, it crops and throws away all of the pixels and you're left with it.0197

The tool in Photoshop for cropping is much more robust than the Crop tool in Camera Raw, so lens correction, sure, do that in Camera Raw first, bring it in here then do your cropping from that point on.0205

Alright, so now we've talked about how to correct for lens distortion, and Camera Vignette, either in Photoshop... or Camera Raw, and I prefer doing this in Camera Raw.0221

OK, so let's get back to our image.0245

Now we need to straighten it and crop it, so here is the Crop tool in the Toolbox, and if you hold down--you see there's some sub-tools, the Slice tools are for web pages, but we're dealing with the Crop tool, and there's the Perspective Crop tool which allows you to do perspective corrections with the Crop tool--we'll talk about that in a minute.0249

So here we are, here's your Options bar for the Crop tool.0273

Starting at the left we have a dropdown box that allows you to select several pre-sets for fixed cropping aspect ratios.0279

These are pretty much the ones you're going to use for anything--there's a square, 8x10 which is a photo print, 8.5x11 which is a standard piece of paper, 3x4; some cameras, 5x7; photo print, 4x6; photo print, 9x16, which is the standard high-res, high-def monitor now, or you can type in your own.0290

The rotate button is to rotate the crop box to a vertical or a horizontal just by doing that--it just enables you to have a better starting point--it's still, if you leave it unconstrained as I do, it allows you to do what you want with it, and here is the Straighten tool.0313

Two ways to straighten your horizons: one is with the Straighten tool; you very simply click and drag a line parallel to what you want to make it to--and this is going to be the horizon, it rotates it right into that horizon.0330

You can also do it by going outside the bounding box for the Crop tool (let's move that back to the edge) turning the cursor into the curved arrow, click and rotate your image, and you'll see a grid appears, and now I can line it up with a gridline, release, and there I have a straightened horizon.0348

Either of the Straighten tool or rotating with a grid; that's how you straighten your horizons--very simple.0371

So let's go back to our image again.0380

Now we're going to deal with basic cropping, so let's--oh, moving across the Options bar, you have a methodology of viewing once we start to crop.0383

If I click on the Crop tool, notice I got this rule of thirds photographic composition grid, that's because that's the one selected on the dropdown menu.0397

You can also have a grid, there's that grid again, or other ones that some of--I don't even know what they're there for, they're really weird, like the triangle...I've never seen this cropping methodology before but it's there, and you can auto show which is, as you see, when you click it, always show which means it's there forever--let's get back to the rule of thirds...or never show.0408

I like the auto show, sometimes I want to use rule of thirds--if you want it, it's fine...actually I'm pretty used to cropping so I can go with never, but auto show--here I'm seeing the final image, now I just click and drag and there I am (by the way my horizon got straightened up so we're going to fix that again) and there it is!0434

OK...but I do want to undo that for a moment.0458

The next and final thing is a dropdown gear; classic mode was the previous versions of Photoshop, for example, if you rotated to straighten a horizon we'll go with the classic mode--notice we have the different little buttons, we go outside and we get our curve and now when we click it turns the box, that's the way Photoshop used to work, now it's straight with a horizon, and then when you click Enter, it crops your image and rotates it level.0462

Well it sure is a lot neater--I don't know why you would want to use this but if you want to, it's there, leave it with the regular methodology of cropping it by rotating the image and now you see it level before you set it in place.0492

You also see the Crop Shield...if I take that away there is no Crop Shield--it's just like it used to be, now we have a semi-transparent shield, you can adjust your opacity, you can also match the canvas or make a custom color if you wanted--you could make it black, I like it at the match canvas, those options are available, and so there you have that.0508

So let me just go ahead, unconstrained and crop this image and I'm going to over-crop it farther than I would normally.0533

In the old days with Legacy, once you click Enter such as now, you have removed all of the other pixels of the existing image, but in CS6 notice it says "delete cropped pixels".0542

If you have this checked, it would take them away--if you leave it unchecked, let's say in this case I over-cropped it and I come back after I've done some other work, whatever I wanted to do with it, and I go "you know what, I really wish I had more sky", you'd have to rebuild it or start all over, but in CS6 since we did not check the box, once I click that Crop bounding box--look, it's all still there, and we could go back and re-crop the image, and when I click Enter it will still be there any time you want to change it.0558

It makes obviously the file size a little bit larger, but it's very, very convenient, so let's go back and see what we've got.0595

We discussed the new interface, we talked about the old version versus CS6, and now all that's left is Perspective Crop.0603

I'm going to show you all about Perspective Crop.0612

Here we have an image highly perspective from wide angle--the first thing we want to do is correct the curvature--see that not only is it distorted inward, it curves, so we want to go to the Filter, Lens Correction, and when I did it with an icon, notice it now bows outward a little bit.0616

For some reason, that algorithm is just a little bit off here.0637

Here's a trick: instead of with an icon, pick another camera model...let's try Leica and see what that is...actually look at that, it's absolutely perfectly straight, so the Leica algorithm did a better job in this case than the Nikon did, we'll just leave it right that way--you can also play with the different lenses until you find one that works 100% perfectly, so that was a little trick on initially straightening some of the curvatures that may not work if the algorithm on your camera isn't exact.0642

So we'll click OK and this sends--now we've got straight lines but they're inward, so we're going to go to the Crop tool, the Perspective Crop tool, and this one you click and drag...you get this grid, and now I could go inward to line up the lines to the building and crop it and what it's going to do then...is crop it pretty much on the money, but we got a little too much, so let's go try that one more time.0680

Instead of doing the outer edges (let's go line it up with the street sign...right there, bring this side in and line it up with the building edge right there, that looks pretty close...it's not very good on that side, let's come in a little more, there we go) click it, but now you see it took away that excess outside space, so there's another way to deal with this...here we are, try it one more time.0717

Instead of coming in and removing it, go the other way...pull your line outward, and that way it will actually make more space...there we go, click Enter...and you see now we still have the original space that we had.0753

Now we can go back to our regular Crop tool and bring it in to the edges--and I could probably even do a slight additional amount, but that gives you the idea of how this tool works for perspective cropping.0773

We have an image that is now nice and straight and we started there, and made it nice and correct for an architectural perspective crop.0791

That takes care of Perspective Crop, and that sums up all of the available features in the new Crop tool in Photoshop CS6 as well as a couple of tricks on using the lens correction filter to correct for...excuse me, not for perspective but for lens distortion, and if it doesn't work on your camera, play with the other ones, and we've also dealt with the Perspective Crop tool.0802

All of these items' features for you in Photoshop CS6.0833

Hi everyone, Michael Brown here again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In this lesson and the next one, we're going to talk about one of the most important items that you're going to be doing to your image, that is exposure and color corrections, both auto and manual.0006

We're going to deal with auto exposure and color, manual exposure and manual color and how they relate to each other.0020

Here are the various controls, and the mantra of exposure and color which you should remember and apply--exposure affects color, color does not affect exposure.0029

Very simply, that means you do you exposure corrections first.0043

If you do color corrections and then exposure, you will affect the color and have to go back and do it again, but if you do exposure first, then the color, you only have to do each one, one time.0047

Now, the auto exposure color controls are auto tone, auto color, auto contrast; they have algorithms, mostly it's a contrast adjustment which affects both exposure and color simultaneously, each one uses different points of choice: the color uses dark and light colors, the auto tone uses a monochromatic black and white contrast, and the auto contrast uses brightest and darkest of the existing colors.0059

Auto brightness contrast is just an overall snap of the two--this one is new, and it's the default auto control for CS6.0095

Manual exposure controls, as I pointed out before, are brightness contrast, levels, curves and shadows and highlights.0106

Brightness contrast does everything, curves gives you a little more control with mid-tone contrast, curves can be set to control any portion of the exposure spectrum, and you can lock off any areas that you don't want to affect, a beautiful one.0115

Shadows and highlights does exactly that--it opens up the shadows and it brings down your highlights, a really nice control.0133

Under your color control, we have color balance, which is like a filter--you add or subtract color.0141

By using opposite colors, for example, blue is the opposite of yellow, so if you add blue you're removing yellow, so it's blue and yellow, red and green, cyan and magenta, it's just a filter.0148

Hue saturation adjusts the hue and saturation either overall of your image, or of specific color channels; red, green, blue, yellow, magenta and cyan, so you can specifically target individual color channels.0162

Vibrance is like hue saturation, but it only deals with non-dominant colors--doesn't affect the very saturated colors, and it protects skin tones, so let's get started and take a look at an image.0179

Here is a well taken image that, if we look at the histogram for this image, it will show you the black is at the left, and the white is on the right, these are all of your color channels right in here--you can see that it extends all the way down, very little darks, that's just the deep shadow areas in the trees, and there's just a little bit of brights, that's the snow on the mountain--everything is distributed in the center which is exactly the way you would want it, so overall this is nice, we just like to bring it up a little bit, and we'd like to bring the color up a little bit.0195

We don't want to kill the whites, we have detail working in the mountains, so we don't want to kill that, and in the shadows and the near shadows are the trees, we don't want to kill that--and look down along the water line, we don't want to make that too black.0236

This is just a general well-done image, so let's start by demonstrating brightness and contrast.0252

We'll move the image over and zoom it up just a little bit...under the Image menu, adjust--before I do the brightness and contrast, sorry, we'll do the auto adjustments.0261

The three of them are right here but it's better to go to either levels or curves, either one of those adjustments has an auto and options button.0271

The options has four choices; the auto button here happens to be the enhance brightness and contrast so you don't even need to do it.0284

Tone, contrast and color are these three right here, so all four are under the options, and you can see right away, in the curves dialog box right here is the black point for your image--there's the histogram--up here is the white point, and this is all in between.0294

If there is no adjustment, it's just a line.0312

White, black, mid-tone gray just linearly right up here--as soon as we hit it with brightness and contrast, notice it bent the curve, it pulled down into the shadow areas and it pushed up the highlights, and notice it blew out the whites and it blocked up our shadows, and we've lost detail in the cliff face, so that one--notice the detail that came back in there, we don't like that one, so we'll move up one to dark and light colors.0317

And that's kind of nice, it adds a little tonality, a little warmth to the image, and we didn't lose much detail at all up in the mountains, and we didn't lose it here--it's not bad.0349

If we go to per channel contrast, the only difference between these two is in the coloration, and if you like the warm tone that's fine, if you want the more neutral color just a little snap per channel--I like this a little better, we can always add color later.0362

And then basic monochromatic burned it out--it just did black and white...look up here in the mountains, subtle, a little brighter...just a little bit...I prefer, of these four for this shot, the per channel contrast--we'll click OK, and we'll take a look at a before and after...there's where we were, and there's where we are--it pulled the color up a little bit and the exposure all in one auto move--a nice starting point, in fact, it's not that bad!0383

This particular image, you could actually just go into your color control, hue saturation which is the primary one or vibrance, and just jack up the saturation a little bit--notice in the mid-tones there, and we'll take that away and bring it back--notice how the water (let's go zoom it up) the water became more saturated, and so did the grass, but even then we could still use a little more, so we're going to deal with (let's take that away and go back to our manual exposure controls).0424

Image adjustments, brightness and contrast I will deal with very briefly.0465

It's all or nothing.0471

If you notice if we move down and we get detail up here and darkened down this, the shadow detail gets blown away or gets blocked up and if we come out to brighten it, notice in the mountains it kills all the detail in that, so that doesn't work very well.0475

Contrast is mid-tone contrast only--it's not killing the whites, I'm looking up in the mountain too badly, but it's still taking the brights making them brighter and the darks making them darker, overall, doesn't work very well.0491

I don't use this very often.0506

Levels is the next one...there's your histogram, just a little bit of shadow, a little bit of highlights, this spike right here is the white areas in the cliff side, not the whites up there, that's the real whites right there, give a little detail, that's that spike, but we have plenty of detail.0508

Now if you take it this is the black point, wherever you set it will become black and everything below that will also be black, so we already have black in the shadows--watch what happens to the dark greenery if I move the black point--notice, it's getting very, very dark because everything from here down that had detail doesn't, so we can't use that.0532

On the white side, if we go over it all, up in the mountains we lose all that detail at the top because everything to the right of the white point, which was this detail down in here and also details in the cliff, is now white (that didn't work).0554

Again, snapping the contrast does a little bit, but not too much, but what we can do, it's mid-tone, we can snap the contrast a little bit, and we can take the output levels and open them up a little bit, that preserves some of the detail on the black end and the white end, notice in the mountains, we're getting detail back in, and that was not too bad (undo, redo) but it made it overall a little dark--I don't tend to use levels either.0572

Curves is the one that works the best of all.0607

What you have here--that same black point, anything to the left of it is black so we're not going to move that, the white point--anything to the right is white, but you can come down from the top and reduce the white point slightly, so we get a little more detail there, or you can open up the shadows by going up, notice, so you have that control, so we're going to move it, see with the shadow detail is right there, we're going to move this up to match it, and we're bringing down just to that point where that detail is on the cliff.0611

It kind of flattened it out.0650

This is neutral gray--white, black, neutral gray--you click on the curves to add a point, and now you can click and drag that point around--either brighten or darken--or you can leave it to lock that spot.0652

We now want to protect the dark areas--the dark areas being this section and the curve, neutral gray, black...dark, real dark, so if I put a point right here on the histogram and don't move it, just leave it, and I do another one right in here and don't move that, I've locked off the deep shadows, remember this is bright, this is dark, this is neutral gray, that's dark shadow between those two points.0667

If you put another point somewhere...and you don't want it on there, just click and drag away and it will come off the curve, so we've blocked up the brights, we've protected those, we've blocked up the darks and protected those so now we can snap the contrast in the mid-tones by putting a point between neutral gray and shadow, and pulling down.0701

Notice how the mid-tones are snapping a little bit--they got a little darker but the shadows are still good, and we can open up just a little on the highlights without killing the details, and we've put that curve it there, we darken the mid-tone shadow areas a little bit, and we opened up just a little the brights, watch this.0731

Undo, redo, look in the mid-tone areas...undo it's flat, now you notice we have the contrast--we still have shadow detail, we have detail in the cliff face, we still have detail up here, it looks really good, there was our original and now we've got the exposure good.0761

All that's left from here with this image is to go and increase our color which we're going to talk about in the next lesson.0786

I'm going to end this lesson with one more demonstration of curves, and then we'll move on to more exposure with shadows and highlights and the color controls in our next lesson.0796

Here is (let me pull open one more image for curves--open recent, I think that's the one we had there, and this one...right here) here's a good demonstration of a high contrast image, and I'm going to demonstrate once again--I'll duplicate the background, and we're going to go to our curves.0810

Now, if this image--what we would like to do let's say is everything else looks fine; the brick detail exposure, but I'd like to open up my shadow area.0849

In other words, take the shadows and open them up but I don't want to affect anything else--remember, this is the black point, darker, white point, brighter, neutral gray, we'll leave that alone.0863

If I take and put a point between neutral gray and black which is shadow area, and I pull down or to the right, I make the shadows darker--watch...notice how all of the shadow areas got much darker.0877

If I open it up and go the other way, it gets brighter, but notice that the midpoint stays put, it's locked, so neutral gray stays neutral.0893

Now you notice the curve did bow, and that the brights came down a little bit.0904

If I put a point here and move it back up, we've pretty much locked everything from neutral gray up and all we can do is either darken the shadows or open them up, so if I open them up a little bit--notice that's where it starts--we open it up (and let me zoom it up a little bit) and remember that curve, just a reverse S difference...there's the dark shadows, we pulled up a little more--watch over here in the grate, see how that opens up and down in the shadows.0909

Now we pulled more shadow detail and did not affect the bricks at all, and did not affect the white which is in that sign because of the way we locked the curve down.0945

Let me just show you one more...let's pull this one...and this will show you one more time another shot at how you use curves.0960

I suggest using curves over either levels or...there's the finished product, here's the original shot.0974

Notice we're burned out in the sky, not too much detail, burned out in the rocks, but we've got good detail everywhere else.0981

So in this case, we just want to pull down the highs, not open up the lows.0992

So I'm going to go Image, Adjustment, curves...there's the box again, there's a nice distribution once again, a little more shadow detail--you notice all the shadowing that we have over in the hill--that's where that is.0998

So this time black is on the left, white is on the right, neutral gray in the middle (a locked neutral gray) and now, I'm going to lock the shadows.1014

So everything below neutral gray doesn't change--this is the light area, I want to pull down that so I'll put a point between neutral gray and bright white and just start pulling it down...there you go...and we'll undo that and redo that, undo it and I'm going to show you that once again so you understand quickly how we did it.1026

Neutral gray blocked it, we need to bring down the brights.1053

Lock the shadow areas and just put a point in and pull the whites down a little bit, notice how they dropped.1057

We could actually pull down that just for a little, and we locked in this case the shadows and worked the highlights--in the last image, we locked the highlights and worked the shadows.1065

That shows you how we deal with curves, and what we have gone over in this lesson so far is (let me put a layer at the top here) we've gone over auto tone, auto color, auto contrast and auto brightness, brightness and contrast, levels, and we've really worked on curves which is the most powerful exposure control, and we're going to wind up this lesson at this point with curves and come back in the next lesson, do a little more curves, more shadows and highlights, and the kind of color controls.1079

I'll see you there.1122

Hi everyone, Michael Brown back with you again.0000

Welcome back to educator.com's Adobe Photoshop CS6 course.0002

In the last lesson we took a look at exposure and color corrections part 1, and what we went over (let me find that) we went over the auto exposure and color controls, auto tone, color contrast and brightness which are contained here under the Image menu, as these three also under the curves or levels as the options which are the first three are the same as those three, and the fourth one and hence brightness and contrast is the same as your auto button.0007

That is your first shot at correcting exposure and color when you open up an image from Camera Raw--if it needs anything at all, just give them a try anyway, you know, it might improve things, it might not, but it's worth just going click, click, click, click four times to see if anything improves, good thing.0045

We talked about brightness and contrast in the last lesson which is all or nothing, which I don't find extremely useful; I need more detail.0064

We looked at levels, which gives you a little more detail--you get contrast adjustment and you get a little more adjustment on highs and lows, brightening and opening up shadows and highlight details, but the big dog is curves, which gives you total control about everything.0072

So, in this lesson we're going to take up from there, I'm going to talk a little bit more about curves and levels, show you the shadows and highlights control, and the hue saturation and vibrance controls which are very, very similar--subtly different but worth playing one against the other to see, in a specific circumstance, which one might be better for you--gives you a variety of choice.0091

And finally, the color balance control, which is basically adding and subtracting overall color throughout an image, so let's get started.0116

I wanted to go back and show you (let me pull up an image here...I've got to find the one I'm looking for, where is it...hey, don't do that...3679, there we go) here we have an image that needs a little help, so right off the bat, let's start with levels (I want to go back to pulling these two out of here and we'll just go to levels).0126

Now, image adjustment--there's levels and curves--these are called adjustment layers, they're the same adjustments, but they become layers that you can actually turn the adjustment on and off--we'll be talking about that, but for demonstration here I'm going to use this one.0155

You could go Image, Adjust--actually I'll just go ahead and stay with this one, don't want to confuse you yet (cut that one out).0172

Alright, here's our histogram, here's the levels dialog box, in this particular shot, we can see that the darkest--this is a little washed out, and we can also see in the histogram that there is no black point...the blacks stop right about in here, so right off the bat, remember the adjustment; take the black point and slide it back to where the blacks start--notice how the image is getting a little more contrast--watch the neutral gray slider, it's always going to stay halfway between black and white unless you change it; notice when I move it, that one moves to the right as well, so it affected the mid-tones.0179

We got a little more of the contrast which upped our colors just a hair, but now that looks fine.0221

Let's also try our four options, I'm not happy with the brightness and contrast; the dark and light colors washes--it's putting too much yellow in, notice how the blue is getting an intensity drop, per channel contrast, monochromatic per channel, monochromatic...I'll click OK, and I'm going to reset...come back to here, I think I like it just the way it is without any other additions at all.0230

We've done the best we can with this adjustment.0268

Now, one of the other things I want to show you in the levels dialog box...look at the pre-sets up at the top, we didn't talk about these--you can also go per channel if you wish, which is a very complex one because as you effect each color channel with exposure, it will affect the color--we don't want to deal with that in this course, that's a very advanced color correction method, but here's some pre-sets.0271

Here's a brighter mid-tone, watch what happens to your slides that we have here...notice, the black point moved back over and the slider for the neutral gray went to the left, so what we got was opening up or flattening out the contrast--we don't like that one at all, so let's go back and try contrast 1, which did move the black slider a little bit, but also pulled the white slider and it killed our detail on the whites.0298

These are only pre-sets, so you can change them, so we can move the whites back, and if we move the blacks back look what we have, right back where we started, so what we did was a little bit better--in fact, we can even go a hair more of contrast...no, I don't want to mess with that too much.0333

There are all these choices here that you can play with and then move from there.0349

OK, I want to cancel out of that, move over to curves, and once again we have the same histogram, the same situation, and we have all of the same tools.0354

Here are pre-sets again up here, but first let's take--and we can move the black point slightly, and remember how to do contrast--you set a point halfway between the white and the black which is neutral gray, take a point mid-tone between neutral gray and black, which is in the shadow areas, pull that down a little bit, and you snap the contrast, but you notice the whites got a little brighter--we'll pull them up away, we can grab the white point and pull it down, and there we have fixed that just the way we like it.0367

I'm going to reset that however, and just remember the S curve.0405

We're going to the pre-sets, and let's try increase contrast...and look what we got, severe contrast--the same kind of curve I talked about with several points, but it extremely moved the whites up, I don't like this point being on there, I like the whites where they are, and I can take the contrast and move it up just slightly, and basically we've got what we had before.0412

So these pre-sets (I didn't mean to make that go away, sorry) are a good starting point--let's try another one--medium contrast.0440

That's almost what we had ourselves except I don't like that white point being messed with...put a point in the middle and pull that down a little bit, so you can start with a pre-set and modify it, but then again it's showing you the generalities.0448

OK, so there you have about the pre-sets.0464

Alright, so let's go back to this and we've talked a little bit more about curves now with pre-sets, and one more thing I want to talk about in both levels and curves--let's go to the Coca-Cola can, I know it's here...must be this one...there it is, here we have a shot I took, and I took this down at the beach, actually at the shore on a day when it was overcast--flat, gray, that's why you see open shadows, I like the overall, it's a little bit bright in the water, but I see generally it's got a little bit of cyan in it and a little bit too yellow.0467

That's from a cloudy day, so we'd like to try to counteract that, so let's go to the Image menu, Adjustments to curves, and what we're going to deal with these three eye-droppers.0515

This is a white point, a gray-neutral gray point, and black--what this will do is set one of those three, whichever you choose, for your particular image, so let's try neutral gray--we've got a lot of gray rocks in here--all we have to do is click on a point that you think should be neutral gray, and it will adjust everything in the image accordingly and make that point neutral gray and everything else is adjusted by the same amount.0530

Let's do it on a red just for the heck of it to show you what happens, and it made that neutral gray, and everything else adjusted accordingly so obviously that did not work.0560

Option or Alt on a PC will change your cancel button to a reset--let's try on this rock over here...we click that and almost nothing changed, which shows you that although it has a little yellow cast and a little cyan cast for the day, neutral gray is accurate on this image in what appears to be neutral gray, so there really is no additional correction we can make overall with these three correction controls, so we'll just go ahead and cancel out of that.0572

So now, that sums up the controls, additional controls--the presets, and the three color choice dropper; the white, gray and black point for curves and levels, so now you can go in and you can play with the presets and then modify them from there if you're unsure with levels or curves.0610

You also see that once again curves gives you a lot more latitude than levels--with levels you've only got contrast, that's it, with curves you can lock off various areas, you can keep the brights the way they are and lock and work with shadows or vice versa--anything you want, so I suggest that you really practice with curves.0636

OK, let's reset these--there's curves and levels.0657

Let's talk about shadows and highlights--a really cool feature.0660

Let me find a very contrasting image (I've got it here--there it is) this is a shot I took that same trip with that same area that I just talked about--you see the same lake back there--but from a different angle.0664

You see on the lady here, you can see that the light is slightly from the back, she's got a black jacket on (and I want to open this up because that was already corrected, I was practicing) this is the way I took the shot, and you notice that the highs are burned out a little bit, the blacks are blocked up a little bit, but overall the exposure is correct, so this was the best exposure I could get with a camera, and it would be hard to do improvement even with curves--let's try it!0679

We want to lock off neutral gray, we want to open up the shadow detail, and we'll bring down the highlight detail...it's kind of working, but look what it's done.0709

It's (remember how exposure affects color) since we're flattening things out the color went down--we get detail in the gray, we pulled a little detail on the jacket but look what it did--it just kind of really made the image muddy.0722

Better tool...under the Image menu, over to Adjustments, down to shadows and highlights--cool tool.0736

Now when you first open it up, this is the box you'll get, this is just the basic box that allows you to play with shadows and highlights--it defaults at a finite amount of shadow removal (we're going to go back) this is the original image right here...if you take your shadow slider, look what it did...it's opening up the detail in her jacket and in the side of her face, but at the same time, it's flattening out the mid-tones.0745

You see that?0776

It helped, and if we take the highlights and pull them down, it's dropping the highlights and you're getting more detail in here but it darkened the image up but we kind of get this flat look--it's not bad!0777

However, if we click the show more options, we can adjust the tonal width on our shadow detail--now if I pull the tonal width down and increase the amount, notice what happens--let's take that highlights back to zero--notice by the tonal width, we help the mid-tones, so we don't want to hurt the mid-tones so we reduce the tonal width and we can still pull more from the shadow detail--look at that...we got, and this is what we want, from zero to 45, and now we have lots of detail on the jacket, and we still preserved the mid-tones.0789

A lot better than with the basic just pulling the shadows, so the tonal width helps, the radius--it plays with a little color in the shadows, watch on her wrist here, as I open up the radius or tone it down it got really flat color, just play with that until it looks about right, and that's good for the shadows.0832

Now we want to pull the highlights a little, and let's run that tonal width down and try the highlights.0852

It's only taking the very highlights off the sky. As the tonal width comes up, notice the sky is coming and so is the concrete (let's go a little bit more) but we're getting a little 'haloing' here.0859

So if I increase the radius, or decrease it, that's what you play with--see the 'haloing'--the radius is how many pixels out the effect is taking place.0865

So what we're going to do is pull that radius way back so we get very little at zero, and yet we've got a lot of improvement.0879

We'll go right about to here, we'll click OK, and I want to go Command or Control+Z, there was our original image, and there's what we accomplished with shadows and highlights.0890

Far more than we could get with curves and look--the sky is more saturated, the lake stays the same, the mountains are pretty much the same, most of the greenery is but we got all that shadow detail, and now we've got a highly usable image.0905

There you have a demonstration of shadows and highlights--a really good tool, and be sure to play with the tonal width and the radius just a bit to see how it affects your image as you are taking the shadows and opening them, and taking the highlights and reducing them--a really nice tool.0923

It's actually magic, I'm amazed at what it can do.0943

So let's talk about hue saturation, that's one tool--hue saturation, and vibrance is another tool.0946

Let's go back to this image, and we're going to go back and open it up...that's the original image right there.0953

Image is a little flat, so the first thing we would like to do is we're going to try the auto controls for color; we'll just hit our Options button, brightness and contrast--kind of blew out the highlights a little--dark and lights, not bad, a little too one-tone--I see red, I'll pull down on the blues, per channel looks pretty good, monochromatics a little bluer, this is the one right there, we'll click OK, so we've got a preliminary start.0963

Now our exposure looks pretty decent, we could actually increase the contrast just slightly--center point, knock the shadows, now you notice that it blew the highlights, it blew them up so we'll pull that down--there we got that.0994

So we went from here to here, now we need to pull up our color, remember we've done the exposure, now it's time for color.1009

Image, Adjust--I want to show you, here's hue saturation under, and vibrance, right below the levels, curves, exposure--we're going to have hue saturation and vibrance we're going to work with but I want to do it this way--in the layers panel at the bottom, here also is the same thing but it makes layers that can be turned on and off so I want to do one of each over here, so you can compare the two.1018

We'll start with the hue saturation...here's the hue saturation dialog box, I'm going to move the image over so we can see it--zoom it up just a little bit so we can see the water, sky and the marsh land.1045

Now what you have here--you have several pre-sets for different kinds of effects--there's a sepia tone effect and all sorts of weird stuff just jacking up saturation, we'll go to default and work on it.1059

Hue takes the entire image or selected area and works the color wheel; it's just changing every single tone uniformly around the wheel, we're not going to deal with that.1072

Saturation--if you go and reduce it, you now have no color.1083

If you go all the way, it's some sort of electronic image, but back here we'll just pull it up, and I'm looking more in the marsh land to try to get the color right on the grass, and I got that, and the hills look nice, and actually it's not too bad--it's a little bit electric in the water, but that's not too bad, and there are other tools that we're going to deal with here--you can also work on--that was the Master button.1087

Here's reds, yellows, greens, cyan, blue and magenta--individual channels.1121

I think the blues are a little bit too much, so we'll take the blue channel and drop the saturation down just a hair...that balances it out a little bit more, and let's take the greens and see if we can bop them up just a little...there's not too much green--when it goes all the way up and it gets electric it's mostly yellow in there but...yes, just a little bit--didn't have much effect, and if we pull the yellow up just a little...there we go...yellow channel's up.1126

Now the reds are getting a little bit overkill right down in here, so we can counter that by going to our red channel and dropping.1161

Notice if I pull the saturation the reds go away completely, we'll come back right into here and that balances it out pretty well, and there you have the image adjusted by hue saturation control, not only using the master overall all colors.1174

We have, let's see, we've upped the master and we've upped the yellows a little bit, we've reduced the reds and reduced the blues, and that gives us a nice balanced color image overall.1187

So let's turn that layer off, go back to the beginning and demonstrate to you vibrance.1204

Vibrance...overall you don't have channel controls, does a little more subtle color change in your image.1212

If there are, in this case, most of the colors are pretty much the same in their density; the blues are a little more than the yellows, but this is an even image.1223

Vibrance takes the more dominant colors and does not increase those as much as the non-dominant--it tries to balance up the intensity of all of the colors.1235

In this case, it will just probably do a uniform job so we bump it up all the way, and notice how everything balanced.1247

If we compare that...take a look, the yellows come up once here...there's what we did by just hitting the vibrance alone and not having to work anything, and there's what we did with the hue saturation--we could even come up maybe a little bit more on the hue saturation overall...and that would probably match up...yes.1257

You know the vibrance pulls the blues a little bit more--it's a little more careful on the yellows and reds, but pretty similar, and without having to do 43 different options, the vibrance did it in one shot, so there you have a demonstration--let me see if we have one more image that I can do for you that has a lot of color in it already...let's see, let's see, let's see, let's see what I've got here...let's try this one with the vibrance control and see what that does.1289

Vibrance...notice in the background, it's pulling up the blues more than the red tones...notice it affects blues and yellows a little more than the reds--if you have a portrait shot which I don't have pulled up here, and you have a colorful background, by playing with the vibrance it tends to protect skin tones--I'll demonstrate this in another lesson, but vibrance is a very, very good choice for subtle changes, not to kill colors, so there you have a demonstration of the hue saturation and the vibrance control in Photoshop CS6.1328

Let's take a look at color balance, which is really a pretty simple...let's just work right here...oh, first off, let's try vibrance on this one and see what happens just for fun...there's a perfect example right there, there we go, I knew I could find one.1373

In this image we've got intense greens, the blues are held back.1394

If we hit vibrance, notice how the greens didn't change a lot, but we got blue in the water, green in the water and blue in the sky--we just changed that by simply pulling up the vibrance.1398

If we do hue saturation on this image, watch what's going to happen.1412

When the sky gets up there, notice, the greens got killed, so there's a demonstration on how, in this case, vibrance worked well with the blues and preserved the greens.1418

Alright, we were going to do color balance...this image doesn't need a color balance.1429

I'm going to find one here that's off...let's just--I'll go back to that one, that's good right there.1436

We've got her corrected, this is a little cold, color balance is a fairly simple tool--once again Image, Adjustments, under vibrance, hue saturation, here's color balance, and I'll just bring it up this way so you can see it.1444

You have three sliders; you can adjust the tone and the shadows, mid-tones, highlights, preserve luminosity keeps the tonality a little bit better, that's by default, just leave that, and you have opposite colors--you add red and you subtract cyan.1459

In other words look what happens; the image overall got red and pulled cyan, or the other way you get cyan and pull red--it's just a filter overall.1475

And the same with green; knocks magenta--magenta knocks green--if you wanted to knock the blue and add yellow--in other words, it's an overall tone corrector, so if you have an image that's a little off on the overall tones, you can try the color balance.1489

It's not quite as effective because it does change every color--what it's doing here, now it adds blue and pulls yellow, so everything is affected--not individual channels like we had with the hue saturation control, we can increase or change the hue of individual channels, but it's useful for minor color corrections.1507

OK, so there you have a little more on curves, shadows and highlights, exposure control, hue saturation and vibrance--both of them work well--with the hue saturation you have channel choices, and color balance is a filter that adds or subtracts the various primary colors, and there you have exposure and color corrections one and two in Photoshop CS6.1533

Hi everyone, Michael Brown back with you.0000

Welcome back to educator.com's Adobe Photoshop CS6 course.0002

In the past two lessons: exposure and color one, and exposure and color two, we went over all of the auto and manual exposure controls that are available to you in Photoshop under the Image menu, Adjustments--you have brightness contrast, levels and curves.0007

We went over also (come back here) vibrance, hue saturation controls, color balance, the auto controls which are one more also on the levels and curves dialog boxes, as well as one of my favorites, shadows and highlights.0024

By the way, when you see something that is grayed out...does not mean that it's not there, it means that on the particular layer--we haven't got to layers yet but this particular image has a bunch of layers--they are unavailable for that layer.0040

If I go over to just an image all by itself and go Image, Adjustments you notice now that they're all available to you, and I also want to show you again, which we'll deal with in a few more lessons, this is my layers panel--in this particular image there's only the background layer, but at the bottom of that panel in the center is a dropdown menu--there's the same controls: exposure, brightness and color, levels, curves, vibrance, hue saturation and color balance--the only one that's not on there is shadows and highlights, and these create independent layers that are not actually affecting the pixels and can be turned on and off--a very valuable tool.0056

I may use those here to demonstrate the effect so that you can see everything that we did right in front of you rather than just piling it up on the image where it's already embedded.0101

OK, alright, let's go back...so we went over the exposure and color controls, I also showed you how to do some color corrections on your image with the eye-droppers and using hue saturation and so on.0114

In this one, we're going to take an image, add a couple of them from start to finish, and go all the way through the workflow into corrections, so let me start with these right here.0130

What I have done is I shot five identical images at my friend's house in her front yard, except I changed the white balance for each of these frames--in other words you have very good exposure with different white balance settings in the camera, so I can show you quickly how you can counter a problem.0145

For example, this particular image that's highlighted--I titled it Daylight--it was shot--if you notice that the white balance at the camera was set at auto, and the white balance settings on your camera--you have specifics; flash, cloudy, shade, tungsten, a few other ones in there, fluorescent, but each one of those is a finite setting.0169

The auto setting doesn't give you a complete spectrum of settings, it just picks the appropriate one that it thinks is the right one for the conditions and applies it, so the auto one is actually the same as the daylight setting because it picked that right on this spot.0196

Same shot with the tungsten...you notice we shot here it says tungsten--you notice it's very, very blue, because if you shot this actually under tungsten which is indoor lighting, you notice your bulbs at home are always this reddish yellow color, that's because the color temperature is very low down in the red range, so the camera needs to counter that by putting blue filters in--in this case we shot the daylight lighting with the tungsten filter so it became overly blue.0214

Shade is also overly yellow because shade is usually a higher color temperature--shade, if you're on a sunny day and you're shooting in shade your light comes from the blue sky, so the light instead of being like tungsten--very warm, runs very cold as a blue, cold light so the camera adds yellow to counter that when you set that white balance, that's why the sky is muted and the fence has a lot of yellow tone and the greenery is kind of yellow--the camera added yellow.0251

Our cloudy day...similar but not as intense a shade, it also adds yellow, and flash is very close to daylight, but it's a little bit on the blue side--a little bit colder, so let's open all of these up in Camera Raw...and right off the bat, it shows you exactly what happened here.0285

Let's start with the daylight, which looks just fine--you notice in the color temperature slider, it's 4950--approximately 5000 degrees Kelvin, that is standard daylight--about 5000 degrees, and everything is balanced.0314

The blues in the sky are right, you notice the fence is nice and white, the street is pretty gray with just a tinge of yellow because the sun was over toward the afternoon and it tends to get a little warmer in the afternoon.0327

But when I shot it with the tungsten setting you notice everything is blue toned, so remember the color balance filter.0343

let me show you something right away--we're not going to correct this one right now, we're going to go ahead and open it or we could correct it immediately and let me show you, we were talking about workflow.0354

The color temperature is 3000...all you have to do is take your temperature slider and move it until the image looks right--I'm not even looking at the color temperature--I'm looking at the image, it looks about right, and on the 4700, and the higher you get the warmer it gets so 4950, that's fine, it's a little warm, I could even come down just a shade, I like that, it's plus or minus and the...actually, this was set, I'm going to reset it.0373

By the way, if you want to reset a bunch of settings that you've made, go to this little dropdown menu in the corner, down at the bottom: reset, Camera Raw defaults, and it goes back where it was.0404

The cloudy day, which went yellow--notice it's 5100...cloudy, think of clouds--they block the sunlight, which means you're still getting the yellow from the sun coming through, but it also blocks the blue sky, and daylight is really the mixture of yellow from the sun and the remainder of the blue size, so it's kind of a balance, so it cuts more blue out than it does yellow, so it becomes just slightly cold, and there's the 5100--daylight's 4950--it's very, very close in this case.0420

Shade would be pretty blue, and in this case you see when I do that...oh I'd already set that one, the shade back to--let me reset that...shade is 7750 because again, as we talked, shade is under an awning protected from the yellow and you're getting all of the blue, so the camera puts a lot of yellow in to counteract that--you see how much yellow came in?0459

The sky's almost gray, and everything else is overly yellow.0489

That cloudy day--let me go back, I think I must have corrected that...there, the cloudy day is colder, it's like 6000, and if we set that back and cool it off a little bit, there it comes back to normal, but I want to take the tungsten--and now you understand, we can come right in here and the first thing is to correct your color temperature if you have a problem--right off the bat you can probably solve it, but if you can't, let's say somebody sends you an image from a client and you don't have the option--it's a Photoshop image, not a raw or a jpeg, so you can't take it into Camera Raw--and here you've got this blue thing, so we're going to go and use these layers again--we're going to try that color balance, remember, that is a filter.0495

So, we're going to try this...it's very, very blue so the first thing we're going to do is just add yellow, and see what happens...it's coming down...it's not too bad actually...but I still see some cyan kind of look--it's kind of very cold, so let's add a little warmth in the red...and see what that does...and right about there, I see maybe a little magenta...there, that's not a bad balance.0543

Let's save that...as Tungsten Balance With Color Balance, and let's compare that to the...0589

Let's go back to Bridge and open up that Daylight one--I want to make sure it's set at neutral...Daylight...come on now...oh, open it up in Camera Raw, make sure that it's at its defaults. 0595

Open it up, and let's put the two of these side by side--Command All, copy, let's get that tungsten color balance--we're going to go to our canvas size and we're going to double the width to 14...0610

Whoops, try that again...double the width to 14, oh, 27, silly me, and we're going to paste in this other one, and just to make sure that you understand which one is which, I'll put a little piece of text on it to say that this is daylight...OK, and we'll put over here tungsten...corrected...there.0630

Now let's just set this on black, move it up one, and compare the two--whoops...here's our tungsten that way originally very blue, that we've corrected with the color balance filter, then we added the other image in next to it, and this is the uncorrected daylight versus the tungsten corrected.0698

We could actually probably have been a little yellower on this but overall this is not too bad--we could go back to our color balance layer...and add just a little more yellow to that image, and there you go.0727

We corrected it, in this case, by using the color balance filter, but we had to--I want to show you--it wasn't just, in the case here the filter was just blue.0746

But when we added yellow it affected other colors so we had to correct the blue by adding yellow, we had to add a little magenta and we had to add a little red to counter this.0759

So the three colors involved to rebalance this image to get what we needed and we could even use still a little bit more yellow in this image, but it's pretty close, so that shows you how you can correct an off image.0777

You can either do it in Camera Raw (let's just go ahead and close this out and go back to Bridge) and here's our images here.0793

You can take any of these off color images, open them in Camera Raw, use the color temperature slider, and that will fix it for you right away, or if you get one from somewhere else when you can't use the Camera Raw, you can use the color balance.0801

Sometimes it works, sometimes it doesn't, it's a little tricky sometimes.0815

OK, so let's go back to Photoshop and open up this image right here and I'll show you one more example of working on our color and exposure corrections.0819

Here I have an image I took over in Palace Verdes which is on the coastline, it's an average exposure, the land is dark and the ocean is over-exposed--if I exposed it for the ocean the land would be really black...I suppose for the land it would have washed out the ocean, so we need to counteract everything, so the first thought I have here--we have a high contrast image.0833

Two ways to deal with it: curves or shadows and highlights--let's try curves first--I'm going to do it over here so that we can preserve it and show you...here's our curves, so what I'm going to do is reverse curve it--let's start by doing a...there is no decrease the contrast--we'll do it this way--put a point in the center, open up the shadows and bring down the highlights, and it go really flat, didn't work really well at all--it's just too contrasted even for curves to handle.0858

So we're going to delete that layer, so we're going to use the magic...we'll duplicate this background...Image, Adjustments, shadows and highlights, remember that one, it was just the magic tool...set the shadows and highlights to zero at the moment, and let's start with the shadows and open them up to start with--looking pretty decent here--play with the tonal width a little bit...that looks pretty nice.0902

Notice the highlights are unaffected in the water, but that looks pretty good on the shoreline--now let's play with the radius and see if anything happens here...snaps at contrasts just a little bit...there, that looks pretty good doesn't it?0936

Now we're going to go with the highlights, drop the amount down on the highlights--the ocean's coming in--let's play with that tonal width...see how it's affecting the land--I don't want to mess with that, try the radius.0950

Come down on the radius and up on the amount...up on the radius--see it's starting to get that 'haloing' so we'll pull that back and leave it just about like this--it's a little flat, so we'll snap mid-tone contrast just a little bit, and there you have shadows and highlights...we'll name that Shadows, Highlights...we'll turn that off...text layers, we don't have text layers...off and on, so we went from there to there in the first shot but we're not done yet.0963

Now let's try curves...we'll open up our curves because the image flattened out a little bit.0998

Let's open it up overall...there, see how the mid-tones are coming in?1005

We've got--I'm ignoring the sky for a moment, just going to open it up--you could also have done this with a pre-set for a lighter...and adjusted the way you like it, and now I'm going to snap the contrast just a little bit...there we go, that's looking pretty nice--I'm going to pull the highs down just a hair...and snap those just a little if I can--not too much I can do with that.1011

Alright, so there we go with that.1038

Now, we need to play with the color--I want to play with vibrance to start with because vibrance usually works on the non-dominant colors.1041

Notice these colors in the land are the predominant color, vibrance should pull up the blues, let's see what it does--there it's coming...the blues came up pretty good right here, so now we're getting there, so now let's go hue saturation...and what I want to try to do is isolate the cyans and blues and see if we can pull those up.1050

We got plenty of color in the land, I don't want to use master saturation increase--see if I do that it just goes berserk, but we'll pull down to the blue, and we're going to pull that up and see what happens on the blue--not too much, see what's happening inside the cove, right about there still looks pretty decent--let's try cyan, see if that comes...not too much more that we can do right there.1079

That pretty much takes care of it but what we can do (that's actually a little too much, we'll leave it right there) we can bring down the color of the land and then increase exposure which will change everything so let's go and take the yellows and move them down just a little...take the reds, pull those down a little bit and play with the hue on the reds--see if we can get it to go more green...that's not too bad, we'll leave it like that...what other options--the greens, increase, decrease...it's mostly the yellows.1108

We've got a little improvement there--we got a pretty good overall, I'd just like to see what I could do up here in the top, now, normally as we move forward in Photoshop we could select this and deal with that separately but this is an overall, so let's go back to our curves again...let's see what happens if we drop--ah, there it comes...right about there, and then snap those plan details--there we go, not too shabby.1146

OK, so I want to show you now all we did.1177

Here's the History panel--we opened the image--it was right here, we got it to here, but we started with curves...actually we didn't even do--went through the Type tool, Type tool, Type tool, shadows and highlights got us to here.1182

The difference between Shadow, Highlight to the end, we just played with that.1198

Then we went with curves...modified it again to brighten it up a little vibrance...more vibrance, that's bringing up our blues.1202

Hue saturation to try to adjust--there we did--adjust the land tones, and there's our final one, so we went from here--we utilized curves, shadows and highlights, hue saturation and vibrance, almost every control we have, and we took the image start, to finish, right there and we came up with a pretty nice product in the end, so there is how to take an image right from the beginning and we worked some in Camera Raw if you remember for initial, but if you don't have the option go right back and here you go--once again open, and with all our controls overall we got to here using the exposure and color correction controls in Photoshop CS6.1212

Hi everyone, Michael Brown with you again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In this particular lesson, we're still dealing with exposure and color--I'm going to show you a couple of nice, neat features in Photoshop: colorize and black and white conversion--there are actually three ways to convert to black and white, and colorize is how to change color of an object or objects in your image, so let's get started.0007

We'll talk about colorize first, let me go to this image which I already did this, so I really want to go back here.0030

Alright, I'm going to flatten this image out so that we can just get right to it.0040

Alright, here I've got this shot I took of a red Mercedes at a dealership.0046

Let's say the client likes the shot, except they go "you know, we didn't want the car red, we want it another color, can you change the color?" and everybody goes "oh yeah, sure"--your normal thought is that it's very easy to do, we just select the sheet metal which is a particular channel that I've already made a selection isolates that area, and there it is...and so now I have a selection of the sheet metal, and so you go--alright, we'll just take the hue saturation control and we'll change the hue, which is the color wheel, so let's give it a try.0053

I could go to the Image, Adjustments down to hue saturation but I'm going to do it as an adjustment layer so that you can see it and we can alter it if necessary.0092

Here's the same control, under here that resides up here--the difference here is if I take these controls, it works directly on the pixels and I can't go back and show it to you, where over, it preserves it as an individual layer that can always be changed.0102

There's the hue saturation--same control box, so we have--and if you look up here you can see a tiny little thumbnail that has the isolation of just the sheet metal, so you go "fine, I'll just change the hue" and you go like this, and all of a sudden you go "wait, wait, wait, wait a minute, what happened here?0120

I've got yellow at the top of the car, yellow/green down here--somewhat a green tone here, we've got purple working down the side here, what happened?"...well let's take a closer look from the very beginning.0143

Alright, let's close this box up...what happened, is this is a location shot, not a studio shot, and so as the light and the angle of the object towards the sun, which is the only light source here, the sky's a light source too but less prominent, you get subtle changes--let's take a close look.0161

In this section right here you can see three different colorations; in this upper right section it's a bright red, kind of with a little yellow cast--you can see the same up in here--this is all reddish yellow.0193

But in this area below where the sheet metal bends under or gets a little flatter to the side so the sun is less direct, and you're getting more light coming in--more shadow light from the blue sky, the red is darker and it's hard to see but it has a little bit of blue cast to it.0208

You can see more of that as we get up where the angle goes away from the sun up here--the color gets washed out, but it's got bluish tinge in it, just as you see in the windows.0230

They're all blue, and right here where you get the shadow cast by the rearview mirror, look closely--it doesn't even look red, it's just purely blue, and then when you get down to the bottom...0242

It's very hard to see on the monitors, even mine--you're getting an impact from the green grass reflecting up which is actually affecting the color underneath on the lower parts of the car.0254

So that's why when we did the color wheel, you get--notice how green it gets at the bottom, you get this orange, you get this yellow, you get all sorts of different colors and you even get purple, and the other thing you get since it's not completely uniform throughout, you get a very speckled look.0263

So, changing color under natural light is not that easy.0289

Again, if this was in a studio where every single studio light is exactly the same color temperature, it doesn't matter whether it's shadow or highlights, you could do a color wheel without anything else, so you go "how do we do this?"...it's very simple.0294

In the hue saturation box down here, look down--we have this little check box called Colorize.0311

All we have to do is click the check box and what it does, is it runs the hue down to zero, and it de-saturates and makes it all a neutral color without even changing it--let's take a closer look.0318

First of all, it isn't speckled as much--it's uniform--yes it's bright right here, but it's the same color.0333

Over here where the shadows were look; the color is now unaffected by any shadow areas and down at the bottom where it's dark, again, it's all uniform.0340

It just de-saturated it and made it one even color tone with different brightness's and darkness's so all you have to do is adjust your saturation back up to the level you want it, and change the hue to match whatever color on the color wheel you might like for your automobile.0353

Let's put it at a kind of a mid-blue and take--actually let's go away from blue because that's too close to the sky, don't want it purple, but even at purple you can see that the color is the same--let's go back for kind of an orange look...that's a fairly acceptable color right there, and we'll zoom it up and look in the dark areas it's just dark, where before it was red and blue--notice it's just lighter or darker--same color.0375

Up in the highlight areas, again, same color just lighter or darker, and the proof of the pudding really is in the shadows, where the blue was affecting it, now it's just uniform, so that is how you use the colorize feature in the hue saturation dialog box.0413

Isolate an area, click colorize, adjust your saturation and your hue, and change the color to whatever you want to--best obviously for using in situations where it's natural light and you get different variations of tonality, so that takes care of colorize.0433

Let's put another layer in here...and check that off.0454

Now let's take a look at converting a color photo to black and white.0459

I have actually two photos here that we're going to play with...there are three ways to do this; one of them doesn't work very well, the other one works pretty good, the third one is almost equal with more control--let's start with the one that doesn't work the best, and that would be...0465

Go into your hue saturation dialog box again, I'm going to put the layer up but you could have gone Image, Adjust, hue saturation--there's the dialog box, and we'll just take the saturation down to zero.0484

And what happens--you get this very, very flat looking image where you've lost all sorts of detail, you can't tell any difference between the yellow, the reds and the greens--they've all just gone gray, it's like a color blind photo--very, not even good looking, so let's bring the saturation back up to zero...we're not even going to use the hue saturation in this regard--we'll just trash that.0500

Under your Image menu under Mode, you can use grayscale...and it asks you if you want to discard the color information.0512

You discard, and once again it is now black and white--looks a lot better than it did the other way, you can see some differential between the yellow trees and the green trees but they're still--like in this area here there are yellows and greens but it all looks the same.0522

The reds and the yellows are separated, it looks better, but we can still do better than that.0543

I will undo that--the best way is Image, Adjust, black and white, and we'll do it over here where we can readjust; Image, Adjust, black and white--exactly the same box.0569

Now, it has de-saturated this and it doesn't look very good, but look what we have--we have individual channel--we also have pre-sets here, you can play with this to see what happens--you can make it infrared right there, you can do a high contrast red filters, you can play with just plain old red filters--all sorts of black and white filtration combinations if you want to.0583

But we're just going to go back to default, and we're going to play with individual color channels--notice we have red, yellow, green, cyan, blue and magenta--the same six colors you have in the color balance, so we want to pop the reds a little bit.0612

We'll make the reds a little darker--let's try the yellows and open all those wonderful yellows that were there, back up and notice how dynamic this is beginning to look?0629

The greens, which is where the trees are, we can brighten them or darken them just a little bit, cyans affect the sky, and the blues also are involved in the sky and the mountains, and by playing--let's see, the cyans are less in the mountains--just play with that a little.0639

Do we have any magenta...no magenta at all.0659

Let's tint this thing--you can sepia tone by adjusting whatever colored tonality and tint you might want to throw on it.0662

You have all sorts of options here to play with, but by playing with the color sliders in the black and white, notice how dynamic the image looks now--we definitely see our yellows and blacks.0671

OK, that's how you do the black and white--let me just demonstrate it one more time with one of my favorite places on Earth; this is Maroon Bells, outside of Aspen, Colorado, third week of September when the color changed--one of the most fabulous and awe inspiring spots on Earth, let's go black and white.0684

There we go, we're going to take those gorgeous yellows and snap those up, take the reds and darken them down to snap them, let's do the blue control and a little cyan control to snap the lake and the sky becomes darker, and let's play with those greens just to get a little separation...a little more yellow--let's brighten it up just a hair, and the reds--darken them down just a little bit more, and there you have Maroon Bells in color, Maroon Bells in black and white.0706

By using the black and white feature, either under the Adjustment menu or under you adjustment layers, and playing with the individual color channels.0750

Again you could make this into a sepia tone as well after you have adjusted the various channels--look how nice that looks...what if we did this in a nice, cold blue...just drop it down just to a nice tinted color...wow, incredible.0762

There you have a lesson on how to colorize, and also how to make a color photo into a black and white image in Photoshop CS6.0784

Hi everyone, Michael Brown back with you again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In this lesson, let's talk about Brushes.0008

Brushes is a very important feature and tool in Photoshop--not only do we have the Brush tool that allows you to paint masks and work on images, it allows you to be an artist and create things and literally paint, it paints masks.0011

Brushes are also used in the retouch tools as well, so overall Brushes are quite important but they're important not only for retouching and for those of us who work on photographic images, but even more important for those of you who are going to be graphic artists, or true artists, you can now create almost anything in the computer with Photoshop that you can paint with brushes on a canvas.0028

We're going to talk about first basic Brushes, with a couple of cool shortcuts, and notice here, Bristle Brushes, which allow you to emulate exactly what you buy for an artist brush with bristles, the length, the density, the stiffness of the bristles.0058

Mixer Brushes, which is now a feature that allows you to actually mix wet paints like you would oils or acrylics or water colors.0077

As the paint that goes across another layer will actually mix with the previously wet paint, we have erodible tip brushes which are new in CS6 which erode, just like a pencil or a crayon or a piece of chalk.0089

And there are airbrush effects, more than just spraying it, how it sprays--you can emulate graffiti spray cans, all sorts of controls with the sprays themselves.0104

In other words, this is now a true artist's creative piece of software that is just as good as the brushes, canvases and paints that you use for real.0117

Alright, and we have the brush controls that we're going to talk about that allow you to modify what the regular brushes do as well, so let's get started.0129

Here's the Brush tool, and across the top we have the basic options for the Brush tool; here's the dropdown Brush menu, showing you your default brushes, along with a size slider and a hardness slider.0140

This little gear allows you to add other sets of brushes, for example, let's put in some basic brushes which are the circular brushes--we will append this, not replace, and they will add at the bottom--there's your basic, 100% hardness, and the size and over here you have 0% hardness--these are just your basic circular brushes.0156

Notice up here we have all sorts of shaped brushes--there is a (it closed on me again) a little like a maple leaf, there are smudge brushes like a little sponge--all sorts of stuff, but you can bring in natural brushes, we will append that, let's see what those are.0185

There's some circular ones and again some spongy shapes and fans, and a rose, all sorts of other things--let's try one more; natural brushes regular, append those, and we got some more shapes on there--there's a whole series that you can put in here as well, and you can create your own brushes which I'll show you to do in just a moment, so that's the basic brush panel.0204

This is the brush control panel that gives you your brush tip shape controls, as well as a whole series of other options...there are the brushes in there again, and all sorts of controls that we'll talk about.0229

This is accessible either by the icon here--click to open, click to close--or under the Window menu as a panel; the brush panel, there it is there, and we can close it that way as well.0246

There are blend modes available for painting with your brushes--blends will be talked about in a future lesson, but basically they work this way--this is normal dissolve behind and clear the four basic blends that we've normally seen with all video and stuff.0259

These all darken an image in various degrees, lighten an image in various degrees, increase contrast in different ways, the difference exclusion--subtract and divide--do some odd things that you need to play with, and hue saturation color and luminosity are dealing with color, so darken, lighten, contrast, some weird ones, color, and your basic modes.0278

Alright, over here we have the opacity, which is literally what it says--the opacity of the ink that drops from 100 to 0, we have next to that a control for pressure; it always uses it when it's off, the brush pre-sets control pressure.0303

Now pressure obviously here is controlled, in this case, by my pen, on a graphic tablet--one of the things that I can't recommend highly enough that you get if you're going to be serious about Photoshop--this is a Wacom tablet, this is a small one with a 4x6 inch surface--very good to go with my laptop on location, but if I'm going to work in the studio I have a larger one that has a 6x9--they even make larger than that, and it allows you to just work as you would with a pen or a pencil or an artist's brush.0324

For precision work, it's the only way to go--to company that makes the best ones is Wacom (W A C O M) this is their high-end Intuos line (I N T U O S) they cost about $230 new for the small one, about $140 for a factory refer which is equally as good, they have a lesser line called Bamboo which you can get as cheap as $50--I would highly recommend it.0364

You cannot do accurate work with a track pad, a mouse is a little bit better but it's still very difficult to do precise, smooth work.0391

Anyway, that's what the pressure control is.0401

Flow, I will just define it--opacity is the opacity of the paint that's dropped onto paper, flow is the percentage of the opacity that is dropped in each stroke, for example, if you had 100% opacity, and you had 50% flow, on each stroke it would drop 50% of 100% opacity, so it'd be 50% in the single stroke, when you come back across, it'd be 50%, 100%--it would build up, that's what it does, it's a slow build up as opposed to just putting it all down.0405

Now if you do this, it will do the same thing; 50% you make one stroke, make another separate stroke and you've dropped another 50% on top, so there's a way to do that I--don't use the flow, you will use mostly opacity.0448

This is an airbrush control--what that does, very simply, is (let me take a circular brush and show you...let's make it a soft brush, hardness of zero, size in our hardness--make the hardness zero) with the airbrush control on, if I just click notice how it builds up...I'll do it again--I'll just click...I can hardly just barely click and there it is, but if I click and hold, the paint builds up just like an airbrush will.0463

That's the airbrush control only for that, there are airbrush controls in the brush panel now that emulate actually painting with an airbrush, and we'll go over those in a few minutes.0499

Alright, let's go back to the...oh, we are finishing our way down here and this one here is also pressure for the size and size control.0513

Alright, sorry, getting tongue-tied here.0527

So that takes care of your basic options.0532

I want to talk to you right off the bat about a brush sizing shortcuts, the ways--now there are three basic controls for your brush; that's size, as you see over here--diameter is the size, hardness and opacity.0534

In the past, you would have had to go to this size, hardness, and your opacity is over here.0550

You can adjust the opacity three different ways; you can do it with the slider, you can do it with the 'scrubby', which is when your cursor comes up and gets this hand with two arrows, click and drag left or right--you can adjust that way--but it's a lot easier to use the numbers on your keyboard.0560

If I want 50% opacity I hit the number 5 for 50%...and it should adjust it to 50%--it's working off that because I had the airbrush on, sorry...that was controlling flow.0580

With the airbrush off, when I hit 50%, there's opacity--if I hit 0, it's 100%--if I hid 2 it's 20, if I wanted 47%, 47 very quickly, there's how you can adjust your opacity on the fly simply using the numbers on your keyboard--I'm going to hit 0 and go back to 100%.0596

OK, so that takes care of opacity.0617

Diameter...up until Photoshop CS6 to increase the brush size, use the right bracket key...click, click, click, click right bracket--up it goes, or hold it down, left bracket down, right bracket up--on the fly, works really, really well--saves having to go over here, too much time wasted.0620

In Photoshop CS6 we have a new one called the heads up display--you're seeing a photograph of it, a screenshot, I'll show you how it works, real simple.0641

On a Mac, hold down your Control and Option key at the same time, on a PC Control and right click, and what happens is you get that and if you move your cursor to the right, the brush size goes up--if you move it to the left, the brush size goes down--if you move it up, the hardness goes down--if you move it down, the hardness goes up, so you can adjust the hardness and the size on the fly by using Control/Option on a Mac or Control/right click on a PC, very simple.0653

And there you have it right there, and they will occur dynamically within that red patch, actually showing you what the brush looks like.0691

I might suggest that you take a screenshot of this little chart, print it out so that you can remember it--these are really valuable as a big time saver.0699

OK, so let's talk about the types of brushes real quickly here, and brush controls.0709

I'm going to talk about the brush controls first, and we're going to bring them up--we're in the brushes, we're going to hit the icon--here are your brush controls (I'm going to open up that blank page, change the screen view so you can see it) here's your brush tip shape controls, there's your size here, hardness and spacing, let me first of all set spacing all the way back, and I'm going to set my hardness on this brush to zero, and show you--this is a preview of what your brush will be setting down on paper, so here you go, and there it is, exactly the same thing.0715

Spacing...the way the computer works is it very simply--I'm going to click once...it's very hard to do with a soft brush, let me up it to a hardness of that...and I'll try to just click one time here--there, that is one droplet of paint from the computer.0759

As I click and drag, you notice it seems to be continuous--what it's really doing is laying down individual droplets very close together, and that's the spacing--let me first of all get rid of that...so it's cleaned out--as I increase the spacing, as I get to 100%, now you see the drops don't overlap anymore and they spread out beyond each other so now if I paint (let me make the brush a little smaller) notice I get a series of dots...whatever the shape of the brush, and let's talk about the shape for a moment.0781

Right in here, you can change the shape--look at the circle, we can change that circular brush into an oval, change the angle and now we have little ovals--spread out, if I paint like this, I paint ovals, so these are creative adjustments for your brush, and it doesn't matter what the brush shape is--you can do the same thing with--here's a maple leaf...we increase the spacing, we got a lot of maple leaves.0821

We can change the shape of the maple leaf actually...and rotate it...rotate it the other way--whatever you want, you can do the same thing with whatever the particular shape is.0849

Let's go back to the circle...up that spacing a lot again just so you can see it--now we have all of these other option for controls--very quickly shape dynamics, and I'm going to turn all of these off because I had them on...what else did I have--there must be...off, there we go.0863

These are all now off.0886

You can size jitter--let's change that shape to an oval a little bit...and get the spacing out so we can see those little ovals...get them there--there we go.0888

Now, we go back to shape dynamics--size jitter will randomly alter the size, so if I take this brush size, increase it and drop it, notice it's dropping different sized randomly.0904

I can also change the diameter, I can change the angle, this is called jitter.0919

I can go and scatter them...both axes really scatter the heck out of them, and play with accounts, so that what you do is you just lay a random pattern down, which gives you options here, for example, let's just really quickly pick that...where was it...the maple leaf, we're going to go back to the brush, we have it all over the scattering--we're going to increase the size of that maple leaf, we're also going to go add color dynamics, hue saturation, brightness, we'll change this to red, and now when I lay it down it just comes up like that, so there's all sorts of things that you can do with the brush panel.0926

Now, I want to go back here to the brush pre-sets, and let's talk about...let's see, I want to see brush pre-sets...there we go...brush panel we'll close that out, we're going to pick up in here, we're going to pick the bristle brushes, and let's take a look at what the bristle brushes can do...there we have a bristle brush and we have all of these shape options--we'll just pick a round fan, and you can adjust--notice down in the preview.0968

This up here by the way, is under Photoshop or Edit in...Photoshop on a Mac, Edit in a PC, Preferences and performance, if you turn on the graphics processor you get this, and it shows the angle of my pen against the surface of the canvas.1004

Now, back over here, you can adjust the number of bristles, the length of the bristles, the thickness of the bristles, the stiffness of the bristles, and the angle of them, as well as a spacing control, and if I go over here, increase the brush size, knock it down until we get just a few bristles, and now you can (should be able to...thickness down) see what you can do is you can paint with purely just a few bristles and create a different kind of brush...and that takes care of the bristle brushes--there's all sorts of shapes and controls, that's all these brushes right up in here.1025

Below them, we have the erodible tip brushes, which are--and you see up here right now, it's just like a pencil, and what I'm going to do--this is an erodible point--there's different ones, the size of the brush, the softness--if it's 100% hard, no matter what I do here, that's all--oh, pressure control, let me see if I can do this very carefully--I want to just do it with my...I'm going to do it with the track pad instead so that you can see that as we go along here, it's eroding, because it's 100% soft brush.1074

See over here in the setting, so as we started out, it was sharp, and now look at the tip--it's flat.1118

I'll re-sharpen it--go to a zero softness, so that will just never change...if I'm partly soft, you know, the harder I press and the more I go on the side you can see that the tip is eroding and changing, and you can adjust all of those particular controls.1126

So there you have the erodible tip brushes--kind of another one--so now it's emulating pencils and chalk and crayons, so we're back to the brush tip shapes and we have one more and that's the airbrushes, and here you have hardness.1147

Notice some of the airbrushes are a distance away, and others are very close up, so you have those choices; the hardness--let's get the spatter...and the size of the brush--why is it--oh, I don't want scattering...I want this thing all to come together...must be some pre-sets are off on this thing...pen pressure off, that was it...so hopefully it will get all this down to zero here...why is it still off?1163

I have one problem and I can't figure out what it is...scatter--there's a scattering here--control off, color dynamics, scattering off...color dynamics, shape dynamics, all of that is off--brush tip shape, we should be able to put an airbrush down--there it is, now it's coming up...spacing out, there we go.1205

Alright, now it's back to a control on an airbrush--sorry, some of the controls got turned off there.1238

So now we adjust the hardness distortion of the spray granularity of the display--it's another little bit of spatter, the amount of spatter size and amount, all sorts of stuff, and I'm going to try and do this very slowly...so there you have a sideways airbrush--if we do it just on the top, it does list--let's go to spatter size and amount, and it's now spattering some more, just like an airbrush would normally.1245

Let's take one from a distance, and do the same thing...the distortion, and we'll try it at an angle from a distance here...1276

Oops, I'm painting with white, no good...and there you see, depending upon the pressure and the controls, you're emulating the way an airbrush works, so there you have...1287

Let's go back...and go back to our title bar, come on...and get back to a regular brush, I don't use these very often so it's always fun when I'm trying to play with these.1302

We've talked about our basic brushes, and some shortcuts...we got that taken care of--the shortcuts are well worthwhile--remember, Control/Option click, up, down, up, down, size and opacity or your right and left brackets.1316

We've talked about bristle brushes--how you can control how the brush looks, we've talked about erodible tips and airbrushes and the various controls and now I'm going to try to show you what I can about Mixer Brushes--I'm not a painter, but I'm going to give this a shot.1336

Here we are back to the untitled, I'm going to delete that, put a color in here, and let's bring up the brushes panel very quickly, and let's talk about Mixer Brushes if I can do this.1353

So here under the brushes down at the bottom is the Mixer Brush tool.1371

This controls the load and cleaning of your brush, this is whether it actually loads it every time, or clean it after each stroke or not.1375

That allows you to build paint up on the brush if you don't clean it after every stroke.1388

Over here, you can clean it or load it after each stroke, in other words you could build it up like a painter would dipping at the pallet to get different colors to change the color on the brush.1393

Here are pre-sets; a dry with no load at zero wetness and 100% load is going to give you, hopefully, a regular stroke, just like we normally see--there's red right there.1405

But if we try this, and change the color to, let's say, some pastel here and go wet, with a light mixture that's mixing the two, and we put this down there--notice what happens as it goes through the red, it mixes, and when it comes out it has that kind of dirty feel, so you can adjust the amount of mixing...let's try a third color to see if I can demonstrate--let's go with some odd yellow here and see how the yellow goes in and comes out--it's turning green, see what's happening?1423

It's just mixing in with different colors--we go back to the red and mix that in, and we get oranges and all sorts of other things.1461

What this allows you to do is just adjust the wetness, which is the...literally the thinness of the paint--the wetter it is, the more it blends--the drier it is, the less it blends, the load is how much is on the brush, the mix is how much it's mixing, and you can also adjust the flow here, so there you have how the mixer brush works--it's up to you to make it work for your own artistry.1470

There's one more thing I want to show you about brushes that I forgot to tell you...and that is how to make a custom, basic brush, so I'm going to go back to the untitled (clear this thing up) and here is my signature, actually.1502

I just signed it on white.1522

You can make a custom brush out of anything--you can also make a custom texture out of anything, it needs to be on white though, that's all it needs.1526

This will be a colored brush of this color--watch what happens--I've already got it against white, and I'm going to flatten the image so that it is actually on white...you go to your Edit menu, you come down to define brush pre-set or define pattern, one or the other--let's make a brush pre-set, up it comes--now this is a huge brush, that's because it's 1745 pixels, let's not do this, let's just change it down to one inch and resample it...let's make that 800, and we will make a new size.1535

Edit, define brush pre-set--no matter what it is, it doesn't matter, you can always change the brush size.1577

I'm going to call it that, and now if you go to the bottom of your brushes panel, there it resides--it's a new brush pre-set, and notice the brush is now my signature--if we go to the untitled page and I make this black ink, and I just reduce it a little bit--if I click once, it's just my signature...we don't the Mixer Brush because we want a regular brush...pick my custom brush, there we go...change the size, click, and there's my signature.1582

That's one way to save your arm from making it but it's also a brush, and if you wanted to make a pattern (I just made one) go to the Edit menu, go to define pattern, and we'll call it Pattern Test...and so if you're using Edit, fill with, for example, fill with a pattern, you can see we added a new pattern.1620

So there you have all about brushes in a nutshell; basic brushes, how to quickly change the size and hardness, bristle brushes and we did talk now about Mixer brushes.1648

Bristle brushes are for your artist's brushes--Mixer Brushes to mix the paint--erodible tip for pencils and chalk, airbrush controls and all of the brush controls to change all of the items.1663

Go off and play with them, and that sums up the brushes in Photoshop CS6.1677

Hi everybody, Michael Brown here again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

This is a cool lesson--here's a filter that you guys are going to find truly magical, but you just have to be careful not to over-do it with this one.0006

This is called the Liquify filter--it's how you adjust sizes, squeeze, push, pull, and how those models get those absolutely thin waists.0016

Let's take a look at it.0028

The Liquify filter workspace and tools and how to retouch with it, so let's get started.0029

Let's start with this lady here--it's a shot we took of her--just a headshot, she's a good looking woman, we haven't done any retouch on this shot at all--you can see it needs some extensive retouch in the neck and clean up and so on and so forth, but we're going to deal with that in another lesson.0037

Right now, we're going to use the Liquify filter which allows you to re-shape items, for example, if you look closely at her chin line and her jaw bone line, as she is aged, the inset just between the chin and the jaw bone has dropped in a little bit, and it kind of pronounces the shape of her face.0055

What would be really nice to do, is to bring this in, in the jaw bone area, and smooth it outward a little bit in the chin area, just to smooth out both of those.0083

Now, in my world of retouching, I'm a believer in maintaining the integrity of a photograph.0096

Even by re-shaping this--it's only going to take a few years off, it's not going to change the person at all, so let's go ahead and do this--it's pretty simple.0104

Now, in Photoshop CS6, they've revised the Liquify filter so that the actual engine for the filter makes it work a little faster on high resolution files, but there's a way to avoid that anyway unless you have to use the whole image--take your Marquee or your Lasso tool, doesn't matter--feather of zero, and just drag it across the area, and what's going to happen is that will isolate that area, and when we go to the filter, that's all that we're going to see.0114

So we go to the Filter menu, and right down at the beginning there's Liquify, and when we do so, here's the box--isolate it to that area.0146

Now, when you first open it up, you're going to see this box right here with a limited number of tools.0157

This is called the Forward Warp tool, the Reconstruct tool which brings things back, Pucker, Bloat, this is the Push left tool, of course the normal Hand tool to move your image around if it's zoomed in a little bit like that, and the Zoom tool.0165

Let me demonstrate what the tools do; Forward Warp tool--oh and you have a Brush size here, and you can adjust the Brush size over here or you right bracket--I want to see if the Control/Option key works--it does--Control/Option on a Mac, Control/right click on a PC, and you can do it on the fly or left bracket down, right bracket up.0183

In the case of working here, the cross inside the brush is where the primary action occurs and it falls off toward the outer edge.0207

Now let me just show you what the Push tool does--you click and it just smears things out in the direction that you go.0218

The Pucker tool does exactly what it says it's going to do--pretty weird--just click and hold, and it just...it's pretty bizarre isn't it, it puckers things away, and guess what the Bloat tool does--could it be the exact opposite--boy that girl got some bad teeth.0228

So you can have some fun with these but this is real retouch we're talking here, so right here we're dealing with the jaw bone area and the inset inside the chin, so what we're going to do--by the way, this smears the pixels no matter how careful you are (let's get back to the Push tool) no matter how careful you work (get a smaller brush) it's actually smearing the pixels whatever you do--Option or Alt will change the cancel to a reset button, so you don't want to over-do this tool--you'll lose the texture.0251

So we're going to bring it up and we're going to go right on--let's see, I'm going to zoom it up just a little bit...whoops, too much, sorry about that, I'm trying to get the right amount--OK, here we go, bring it up a little bit and just in tiny increments, we're going to push--notice how it's pushing it in--and when I get over here I'll push upwards, just gradually moving it in just a little at a time...it can go a little bit more yet...don't want to go too much here, and the other side--same thing--bring it in, just gently--we want to make this look real--I'm bringing that down smooth, looks good, have we matched up?0292

Just a hair in here...and now we're going to go the other way and make the brush a little smaller--see how easy this tool is to use--and we're going to bring that out just a hair...take that one in...looks pretty good--let's push that out and just make it a little smaller, and push that area out.0338

Notice how I have nice and smooth, and on this side the same thing--just take this area and smooth that outward, and there we click OK and we're going to do a Command+H to hide--watch on the cheeks--went from there, to there--notice how much better she looks and it's still the same person.0364

Look over here...and that is how the Forward Warp tool works.0385

Now, one of the other things we do on retouch; notice her eyes, left side of the screen this eye is wider open than this eye, so we're going to adjust the eyes.0392

Now, I'm going to show you two ways--back to Filter and Liquify--a lot of people would want to use this.0402

I just saw a demo on TV this morning by a prominent retoucher demonstrating the Liquify tool, and when he retouched eyes he used the Bloat tool.0411

Because this eye need to open up just a little bit more so he took a fairly large one and just touched it a little bit, and now the size is not bad--let's reset that and do it one more time...whoops...oh, we got back to that tool, sorry...no, too much, just a little--there we go.0423

The eyes are open about the same amount, but look what happened to the actual pupil of the eye; this black one over here--it expanded that because of the Bloat.0449

So instead of doing that, what I like to do is I use the Push tool...get this down to a workable size and you have to do this very carefully.0452

I'm going to take and physically work my way along carefully, and very gently open up the eye that way, and now you see I got a little bit of the black off distorted, but not as bad as the other one.0463

I think we want to go a little here...I can actually push that back upwards and pull that down.0481

Click OK and look at this eye right over here--Command or Control+Z, the eyes are opened up real nicely, and if I needed to, I could go back in and just simply retouch that little bit of black out of there--in fact, I can do that--I'll tell you what, you can do this.0489

Go back to the Filter, Liquify again, zoom it up with a small brush, and I'll just push that area back up into place...and that should take care of it, right there...click OK, oh yeah, there we go.0527

Now the two eyes are pretty much identical, so we used, in the Filter, Liquify, we used the Bloat tool and it didn't quite work.0550

I used the Push tool most of the time, depends on what you're trying to do--let's take one more on this one here...you notice she's a good looking lady and she actually has a really great body but this pose just has straight angles over here--doesn't accentuate her nice figure, so let's go ahead and do a little plastic surgery.0561

Filter, Liquify, back up it comes again--we'll go down to the advanced mode now to show you some other stuff that we'll use in another one, but it's in there--we'll pass on that for a moment.0583

Here we are with the Push tool again--make that brush size good, and I'm going to go ahead and start pulling in her waistline...0596

Pull it in some more...bring it in over here in the corner so that it disappears out--take a leaf on that, maybe a little too far.0610

Now is when we can go in from the other side, do the same thing...that fall in a little bit--that looks a little bit better, but now we can extenuate the bust line.0621

Now is when we use the Bloat tool--bring it up and just a little bit on the edge, and a little bit over here on this side, back to the Push tool...and we'll bring the side out a little bit and bring the bust line under.0634

Just give her a little bit more look there, down that one, let's take that and pop it one more time in the center area...click OK, and there you have dropped that down, brought in the waistline and extenuated the bust line just a little bit--could've brought that in a little bit more, and there you have it.0650

Let's go to the original Debbie to the finished one, and we'll close up the layers and we're going to look at everything...the cheeks, the eyes and...everything is still the integrity, but we fixed that by using the Liquify filter.0675

So now I'm going to do one more and show you something else.0701

There's this young lady right here--I want to show both of these; Window, Arrange--we're going to float all in windows, I put these two side by side...this is a shot she liked but you notice by the way the head is posed and the hair pulled back on this side of her face, over here she's got a very round face but it's equal on both sides.0705

Over here, it really--even though it's not that far off it's the hair that's doing it, it makes it look like she's been bit by one very large mosquito and that her face is puffed up, so what we're going to do is we're going to fix that.0729

We're going to consolidate all the tabs again, zoom it up, take the Marquee tool, do a selection again and go back to the Liquify filter, and now the thing I don't want to do--here's the Forward Push tool--if I start pushing in here, notice how the eye--watch that--see the eye immediately started to move.0746

But I don't want to change that because it's going to squish her eye and we actually have to open that up a little bit, so let's start with that right off the bat.0764

We use the Bloat tool here...and we're just going to hit the eye a little bit--there we go--undo, redo, undo--I'll hit it one more time...there, that's perfect...undo, redo--got the eye fine, but we don't want to squish it, so now we're going to go to the advanced mode, and we get these tools here; Freeze Mask tool and Thaw Mask--that's an eraser--so we get two more tools.0779

What that's going to do is actually make a mask, so we're going to show the mask--not a mesh, this is a mesh that you can save and show the motion on it--show the mask, we'll make it in red, and you see what's going to happen is that we're going to paint a mask, so I'm going to mask off this section of the face right there, and that's all we need to protect is just that edge.0810

So now when we push in it won't go in past that--watch what happens with the Forward Warp tool now...we make it nice and large, and see how we just moved that gently in...0840

I want to hide the mask...looks like we need just a little right in this area and a little more up and in there so let's pull that mask back up, just a little right there, make this a little smaller and push that section in right there, turn off the mask...that looks much better, so let's go and...go ahead and click OK.0855

By the way, if you needed to erase a mask at any time, or an area of it, that is what the erase mask tool is for, and you can see the warping on the mask or on the mesh--see that?0896

If you were doing multiple images with the same thing you can actually save it, so we're going to click OK and go Command+H and move out, and look at the difference--it's huge!0915

This is before--it looks like her face is all swollen--and after, now the picture looks very, very normal--all done with the Liquify tool, so there you have a few examples of how to use the Liquify tool in Photoshop CS6.0929

But I want to leave you with one point; be very careful, look closely at--let's get that image, let's go look at it really close--in this case we didn't hurt anything too much because we moved it gently--you have to be very careful because it does smear the pixels, so watch how you use it.0951

A really fun filter and a very useful filter--the Liquify filter in Photoshop CS6.0971

Hi everybody, Michael Brown again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In this lesson, let's talk gradients; that involves the Gradient tool, the gradient editor which is in that little thumbnail when you click it this is how you create or modify gradients, we're going to talk about the gradient map feature, which is under the Image Adjustments menu, and also under the adjustment layers menu, and we're going to talk about how to use gradients to make masks, so let's get started with the Gradient tool.0007

So here we have the Gradient tool located in the middle of the Toolbox, and we're quickly going to take a look under it and here's the Paint Bucket tool which is part of that, and we're going to quickly go over that.0039

Let me change the color--you click, I'm going to go with red, make it a saturated red, and it will always fill the foreground color or a pattern--you can fill with a pattern--here's a pattern--here you click and there's pattern.0053

Foreground color--when you click now it will fill with red.0067

Now it's filling based on opacity, tolerance and continuous color, so we have a blank, purely white layer so it automatically filled it easily.0071

If we had a photograph, for example, like this, and with this tolerance, and if I click in an area, it's basing the tolerance and the continuous color where that little tip of the arrow is, and it will fill whatever the tolerance ran up of that brown beach.0082

You can kind of add effects to that--if we drop the tolerance back to let's say 32, and the opacity down some, and we click here (let's up that opacity back to 100 again) and click like this...too much, let's go to about 64...0105

We're playing here a little bit, and we click now and you can play with the color levels (let's get that tolerance down to 32 and try it again) still too much opacity...let's blend it as a soft light and run it through there.0125

Now you're beginning to see, you can build up color and have it see through to your image--you can play games with the blend modes that exist here; darken blend modes, lighten blend modes, contrast blend modes, some strange ones that you need to play with and some color blend modes.0139

So you can modify things by adjusting the tolerance, opacity levels, the continuous which means that's going to be just a uniform grouping--it will only go for the range of color based on the tolerance.0162

You notice here it only picked up part of it, not the whole thing--if we jack the tolerance up to like 150, and then we hit it with this paint, notice it went through and it got the entire range from dark to light of that brown--if was the tolerance level of the color was higher, so that's how you work with the Paint Bucket tool.0179

Let's get back to the Gradient tool--we talked about--no we didn't talk about the modes yet, sorry I got carried away.0205

In the Gradient options, here is the gradient editor, that's where you create new ones--existing gradients are under the dropdown menu...we're going to reset the gradients to the defaults, this is what you start with--you also have a whole bunch of pre-set groups.0213

Let's throw in a group, not replacing but appending, and here's a bunch of rainbow choices that run in there, let's also throw in some photographic toning and append that, and in came some sepia toning, so these are ones you can add that are pre-done--you can also create your own and we'll show you how to do that in a minute.0239

Here's the various methods available for laying them down; let's go to the untitled--the basic way is linear, Shift, and it's always going from foreground to background, left to right--in this case it's just a singular red to white, so let's make it red to blue so we can see the differential...the foreground, the background, normal opacity at 100%, click, drag down, red to blue--there's a simple gradient.0256

If you drag less, it will go from the starting point to the finish point, solid begin to solid end and then it will go solid from there on and solid before, so you saw that--and of course you can go in any direction that you wish or any length that you wish...simple gradient.0291

This is a radial gradient--goes from start to finish, left to right, red to blue but it does it in a radial fashion; if you do a shorter drag, you get smaller transition.0308

This is an angular gradient--we'll follow that line and it will go in a complete circle from the start of the gradient which was red--360 degrees--there's halfway around, it's just a gradient going around in a circle...back to the gradients.0320

This is a mirrored, and it's from start to finish, so if I go red, out to blue, it went red up to blue--there was our gradient and it reflected the other direction--let's pick a different gradient...let's change the color, let's just go red to purple, and now instead of red let's go with a kind of yellow to purple...so now if we go Shift click outward, it will mirror the other way--yellow to purple, yellow to purple.0340

If we did it in a short band, you have that, of course you do that, you have this, and so there is how that one works, and this one is a diamond; it makes diamonds depending on the size of the diamond depending on the length of the gradient line.0372

So there are the types...we have our blend modes that we spoke about before; these darken, these lighten, these contrast, these are strange--you've got to play with them, and these are color.0388

We have an opacity, we can also reverse--look right now it's yellow to purple--we reverse it, it's purple to yellow.0401

Dither, I will talk about in a moment--transparency...when you see a gradient that has the checker board, that's transparent, so if I lay this gradient down here...we're going to change this to black for a moment--just a second...go back to the gradients...and we're going to change this back to yellow so we can see it...there we go.0409

Now, notice that we had a yellow to transparent--oh, it went black, that was my fault sorry--foreground should be yellow.0440

Now we have a yellow to transparent, so if I click that gradient and go here it's going to go yellow to--whoops, I wanted to do a standard gradient...it's yellow to black because it's transparent through to the black.0452

If I uncheck this, it will make that one go yellow to white instead, because when you change the transparency, it will make the see-through transparent gradient portions white all the time, so just leave it at the transparency there, and that will take care of that.0469

You will always get your transparency that way.0498

OK, let's go back to Dither--I'm going to set this to default and I'm going to just lay down a regular gradient.0500

We're going to zoom way up on this gradient--move it up and down--you notice how smooth the transitions are; you don't see anything but smoothness (I'm going to zoom it way up) just a nice, smooth transition.0509

However, if we uncheck Dither, do it again...it still looks fine right here, but as you zoom way up, you begin to see these lines that are kind of faint, but let me extenuate them by increasing the contrast...notice now it's got lines in it, that's called banding, because the computer is actually laying down linear lines of whatever the gradient is and the transition is a little lighter, it's not completely continuous.0523

Dither adds grain and blur and smooths those transitions.0564

In earlier version of Photoshop, this is what you always saw and then you'd have to go in and add some blur and some noise and soften it out to get that--all you have to do now...is leave the Dither on--so that tells you what that is, so there you have the options and usage, basically, of gradients and how to add them in the gradient listings, so let's go back to our title and we've now discussed the basic Gradient tool.0568

The gradient editor is how you create and modify gradients.0607

Here once again are your existing gradients, and you can do the same thing--reset or add them just as you could in the window prior...whoops, let's get that back, just click on the thumbnail.0611

Each gradient has a name; you can load the gradients that have been saved, you can save new ones, you can also create a new gradient pre-set that will appear right here.0623

You can name your gradient--there are two types; solid and noise.0636

Noise makes it into kind of banded colors--let's jack that roughness up--you can see it just becomes a color banding, and you can play with some of these features here, let's just lay one down to show you what a noise gradient looks like, all sorts of banding.0640

You might use that for graphics...let's go back to a traditional, solid gradient.0658

Here we have a basic gradient; foreground to background, it start here and it finishes here.0664

What you see--this is the gradient...what you see here, the squares with little triangles on them are called Stops.0672

They are the start and transition points of the various gradients--if we select a more complex gradient like this one, notice there's a series of Stops that allow the transitions for the colors--we'll go back and I'll show you how we create those.0680

Each stop has a square and a little white triangle--if I click a Stop, notice that highlighted triangle--that's the active Stop--now has a black triangle, everyone else is white, so the details here apply to that Stop.0700

Location zero is the beginning of the gradient, location 100% is the end of the gradient so each of the main Stops will indicate where it is.0718

To add a Stop, just click underneath or on top.0729

These are color Stops on the bottom--notice color and location, happens to be black--I could make it red, now we have a color Stop there.0736

On top, there are opacity Stops; opacity and location--if I drop the opacity notice we get the checker board--it begins to become transparent, and again on this end it's 100%--to add a Stop, either a color Stop or an opacity Stop, just click above or below for the appropriate one--there's a Stop, now you can move it wherever you want it, make the adjustments--if you want to remove it, click and move it away from the gradient and it goes away.0744

We click in middle here--let's make this a green Stop, and we'll click--whoops, I canceled...there's the green Stop--let's make the end Stop which is white into a blue Stop...now we have red, green and blue, but let me show you, in between the active Stop, when I click this one it's over here and over here--these little diamonds are called Blend Stops; they're the point when the gradient is 50% between this Stop and this Stop, so you notice that red goes to green and the 50% point is right there.0777

I can take the blend point and move it back, so that's where it's 50%, or I can move it this way and that's where it's 50%--and location for a Blend Stop is the location between the two Stops...right there it's 50%.0818

When I click a color Stop or an opacity Stop, location is along the entire gradient, so if I add another Stop here and just move it down to 75%, it's at 75% of the gradient.0835

I can get rid of that and go back where we were, so if we want an even tone right now, this blend is 50% which is 25% of the entire gradient, if I want even red, green and blue I need one third, one third and one third, so I'll move this Blend Stop to two thirds of the way, there, and then click over here and move this one back to 66%.0853

So now I have one third red, one third--whoops, take the Stop away, that's not what I wanted...that's Blend Stop to 33%, we get even gradient, click OK, click and drag, we have an even three color gradient.0882

I'm just going to go over real quickly, position on any color Stop or opacity Stop is the position along the gradient.0900

Position of a Blend Stop is its position between two Stops, so take those back to 50% and take this back to 50% approximately--let's add a Stop right there, and let's make a rainbow: red goes to purple, this one, purple goes to blue...we'll add a Stop right here...blue goes to green and we'll take the end Stop and that should be a yellow, and now we have created a rainbow.0909

Let's click New, and that puts it in the list as a new pre-set--we can also save it, and now I'm going to call this one Rainbow New, click Save, it's saved, we'll click OK, now we click and drag and we have a new rainbow gradient that is located at the bottom of the pre-sets.0949

OK, that's pretty much how you deal with the gradient editor, so now we've taken care of the gradient editor.0975

The gradient map...I'm going to show you this very quickly if I can--here's an image.0986

We're going to go to the gradient map...adjustment layer which would be the same as right there, except we've put it on a layer.0994

What it does, right off the bat, is immediately make your image a black and white based on a pure black to white, simple gradient--the darkest colors are replaced by black and the lightest colors by white, and you go "well that's one way to do a black and white", there are other better ways but that's not predominantly what we're going to use it for.1004

What we're going to do, is click on the gradient and we get the gradient editor, so now we can replace the black and white with darker color--whatever the left side of the gradient is, it will make a color range.1027

So for example if we click a rainbow, we get this rainbow effect...some psychedelic effect on our image, or you can use... Let me see if I can find the one that always worked for me. I want to do a simple couple of colors here...reds and blues...reds and blues...1045

I'm going to try this, and click OK and see if I can make this work. I'm going to reverse it, that didn't work.1062

Let's go back and pick a duo-tone...right, there we go.1077

I'm going to pick a kind of a nice, warm tone right here.1083

You notice what we have now done, is sepia toned the image, and if I drop the opacity back, there's a nice, easy way to turn your color image into a sepia tone.1089

You can adjust the sepia tone by whatever methodology you choose from the particular gradients that you pick, and you can also do blend modes and opacity adjustments on the layer, and look what we got here--some semi-psychedelic--that's kind of interesting...1104

Just extenuated slightly the coloration of this image, so you can play with the gradient map and apply different gradients which take the color picture and replace it with the colors of the gradient, darkest to lightest.1122

Alright, now let me show you one other way to use that in a true fashion.1146

Here I have an image--the only thing I'd like to change here--this is a composite where I put in a sky--I like to make some little pink in the clouds, so what I'm going to do is make a gradient map layer, which right now affects everything but I'm going to clip that layer to the sky by going Option on a Mac, Alt on a PC, go in between the layers and click, and now that layer only applies to the sky, and let me find...1151

I think it's the simple...this one works...click OK, I'm going to reverse it, there we go, and now by reversing that, and if I take my opacity on that layer or gradient mask, and I drop it down, look what happens...I get little pink clouds.1182

Now if I take a curves layer...increase the exposure just a little bit, and clip that layer also, what I have done is I have taken the sky, and by using a gradient map--in this case we used a rainbow--and I reversed it and there's other things you can play with, I ended up just tinting the clouds pink using a gradient map feature with some blends and adjustments, so we'll go back now and that's how you use your gradient map.1209

Well worth playing with to see what you can do with it--it's basically an effect layer.1251

Now I'm going to show you how to make a gradient mask...very quickly we'll go to the Golden Gate Bridge and let me go back to the opening point on this puppy...I was already playing with it...there we go; curves, curves, curves, curves...there we go.1255

So we've got this thing...there we are...I've got this image (move it over here a little bit) and I like the darkness in the foreground area but it's way too bright here--I'd like to pull that down, so I'm going to add an adjustment layer for curves, and what I'm going to do is a very quick way to do things.1274

I'm going to ignore what's going on here--I'm just going to make the sky the way I want it, so I'm going to pull it down, snap the contrast just a little bit, and now I have the sky just the way I wanted it.1294

But you notice that the foreground is way too dark--you notice it pulled it down as well, so what I'm going to do…1318

This is my layer mask and it's white which means it's transparent.1329

I'm just going to take my gradient tool with a simple black to white gradient, and when the mask is highlighted with the little frame, I can make a gradient on the image that will appear right over here.1338

So I'm going from black to white, and I'll just go like this...and you notice that it masked the foreground area--undo that...actually it's a little...yes, do that one more time--I'm going to go right and a little slight change...there we go...there!1354

Now, let me show you what the mask looks like--basically all I did was drop a black and white gradient in and made a simple gradient that transitions out, and if you look, it's working right along the shoreline, so now it took and blocked out that darkness created by the curves, brought down the sky and masked off the foreground area.1362

A simple gradient being used to make a mask, so we'll take that and now we'll check that off, and there you have a pretty good lesson on how the Gradient tool works, along with the Paint Bucket tool, the gradient editor, how to create and modify gradients.1384

The gradient map feature, which allows you to take and turn either a selected area or your entire image into a black and white or a rainbow effect or an effect based on a gradient--darkest colors replace the blacks, lightest colors replace the lights, using the gradients maps, and a gradient mask that can be created to help you mask out an area for your exposures.1402

All using gradients and therefore we have summed up the gradient lesson in Photoshop CS6.1438

Hi everyone, Mike Brown back again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In this lesson we're going to talk about Content Aware functions, and why I say functions, not necessarily tools, under the Healing tools; the Spot Healing Brush, Healing Brush and Patch tool now all work with what's called Content Aware, which means when they do their healing, they look around the area in a sophisticated manner to determine what to blend with.0007

The new tool here is the Content Aware Move tool; this is new for Photoshop CS6, and it has two modes available; move and extend--we will talk about both of those.0034

Now, Content Aware functions also apply to the Edit menu under Fill and Content Aware Scale, and let me very quickly just go to an image here and just talk about Content Aware.0048

What this means is when you do a retouch, such as when I draw an area around here, and I need to move or do a function, what the computer will do is it will look outside of the selection at the surrounding area and analyze that in a very sophisticated fashion to determine what it's going to do to attempt to retouch inside the area you want to correct--I'll show you how this works.0067

So let's get started by looking at Content Aware Fill.0099

OK, I'm going to go to this image right here, which I shot at a friend of mine down at the beach, and the first thing I want to do is a little crop, so I'm going to rotate.0106

If you remember, get the horizon straight, and I'm going to move the crop back out because I want a little more--I want more sky in here, and I'd like just a little edging down here...and maybe just a little over here--I'm going to move a little more in the ocean because I want to show you something here.0120

OK, and I'm going to click Enter, and now I've got it cropped the way I like it but you can see we have blank areas because the image was rotated, so we're going to use what's called Content Aware Fill, and I'm going to start with the sky.0139

We'll take the Lasso tool and make a loose selection around the blank area--now you can go outside the borders of the image and the selection will snap back.0154

What we're trying to do here, is we want to fill this in--now I could very simply with the Clone tool retouch the sky because it's pretty uniform, but I can do this more quickly in this case because it's uniform.0167

Under the Edit menu I will go the Fill, and under the Fill you can use foreground color, background color, another color, patterns, black, 50% gray/white or Content Aware, and that means that the computer's going to look around outside the boundary here, see what things look like, and try to replicate that inside.0184

When I click OK it'll cook for a moment, and it will fill that, hopefully, in a good fashion...0208

With the sky area and do a good job--it's a fairly large image so it's taking a little time to think, and it's a large piece of area...0219

And it's still thinking--it's almost there, and there we have it, and if you look--let's zoom it up and take a look...you cannot even tell that anything was done!0228

It did a great job and it did it faster than if I had just done retouch, so in that situation it worked really well because it was a nice, uniformed area.0242

Now, one of the good things about the new Content Aware Fill is, in the old days, since it was working with the edge of an image, it would usually have a little problem--you might get this little haloing and dark looking area--you notice how clean that is, so that worked beautifully up there, and the point I'm making is it works well with either a tonal consistency or a texture that's the same in all spots.0254

Now we're going to try it over here with the ocean, and see what happens at the corner of this image.0283

Now we're just going to pick mostly the ocean area to start with--we don't want to try to have it do a real complex one all at one time, so I'm just going to go around the ocean...and go to the Edit menu down to Fill, Content Aware and click OK and see what happens this time.0290

We'll go Command+H, and from a distance it looks pretty good, but when you get up close, you can actually see a sharp edge of the selection area but it did fill it pretty well.0308

You notice how well it extended the area, so unless you're being really picky, I can de-select that and I could take my retouch and I could very quickly just go in at a few of the little spots where it shows that edge and clean that up, and it actually did a pretty decent job.0326

There's a couple of spots here where it didn't--you notice I'm just doing it in a couple of little spots, and there we go!0348

That did a nice job on that section of it.0354

Now let's try down here...and move on a little more complex area and see what happens this time--I'll just go down to the water's edge--go Edit Fill, click OK with Content Aware again, and see what happened.0357

It's not too bad, but again we've got that edge but it did a pretty good job with the rest of it so I'll de-select, take my Retouch tool and just do a little quick cloning down along that obvious edge, but I don't have to do a lot, you notice it's just a few little spots; it did a pretty decent job, and there we got that, the rest of it is just fine, so it saved me a lot of time so far.0373

Let's try down here, and see what happens with the edge--and you notice along the edging again, that's the point I want to make, where it transitions at the very edge of the image it's nice and clean, in previous version it didn't do that good a job.0405

Edit, Fill, Content Aware, let's see what happens this time...0421

Now we have a little bit of blurriness, but basically again it did a good job, and I take my Clone tool, and I see a couple of obvious spots that were a little blurry and I just fixed those--a little repetition there, and I could add a little bit more there, and again look what happened--it saved me a lot of time--it wasn't perfect, but it did a good job and we get the same result over here.0427

The point I'm going to make now is that's how the fill works; with very uniform areas it's beautiful, complex areas it does a pretty good job but you need to do a little bit of additional retouch, but look, we've got a really nice image out of that.0454

That shows you how the Content Aware function works--it's under the Edit menu, Content Aware under the Fill.0468

Be careful with it, play with it, it will save you time, that's the whole point here--it is a time saver, not a complete magic button, so that's Content Aware Fill.0476

Let's take a look at the Content Aware Move tool, and we're going to try that one...0491

Over here on the same image again...0500

And I'm going to, first off I want to move her just for the fun of it, I want to move this image outward--actually want to back here up, so we're going to take the Lasso tool and do that same loose--I'm going to do it down here because I'm going to back her up into the sand just a little bit...0504

Select her, and this time we're going to go over to the new tool--the Content Aware Move tool.0526

Under Move mode, and I'm going to do it under--you have a strict, in other words, this is going to compute very carefully, not so carefully, very little bit, and you can change these after the fax, so we'll start with medium, and all we have to do is click and drag her over and drop her...and see what happened?0532

The edges didn't work very well--of course we dropped her on there but the fill-in area, you notice is pretty blurry, so it didn't do a great job on that one.0555

Let's try this girl instead...and move her out (I think that's a girl) move out a little further into the water like about there, and there you can see how the Move works.0566

It tries to fill in the areas, and in some cases it does a reasonably decent job, and let's see what happens here if we change the adaptation to strict and see if the edges clean any better.0581

Let's go a little looser...let's go very strict...now the very strict cleaned up the edges around this person a little better, so I go in again--you still have to do a little retouch, and I just do a little quick retouch down the side there--most of it looked pretty good, and that takes care of that and we have the soft areas over here.0595

A little bit of retouch on that...and it's pretty much taken care of--a little blur back in there and a little bit more there, and there we moved the person out just a little bit further, but you see we had to do a little retouch because it's such a large area that it's working with.0617

If we had two people standing in a field of grass where it was completely uniform and you move them from one spot to another, you would have no problem with using this tool because the area all around is pretty much similar and all of the area from where you're taking it from is also similar--it would fill that in beautifully, so this doesn't work great with complex objects, but it does with uniform areas.0640

We could try this right here...on the one--have we done scale yet?0666

We haven't done the scale yet, so I'll wait on that one a moment, but that's one look at Content Aware Move--you see how it works; sometimes it works, sometimes it doesn't, you also need to make sure that you play with the adaptation methods when you're doing it.0673

Alright, so let's move forward into Content Aware, I'm going to do a scale first, and then we'll come back to extend, so we're going to work with Content Aware Scale, and we're going to work right here on this image first, I'm going to duplicate the background layer.0690

This is an image that there's a lot of vacant space in here--there's two ways we can do this--we could try that Move tool and move her over and then crop the image, but there's a much easier way; watch this.0707

Take that Lasso tool, make that same loose selection like we did before...and now we have the selection, we're going to save it as an alpha channel--if we look under our channels here, there is our saved selection.0722

I'm going to de-select that...we're going to go to Edit, Content Aware Scale, and you see the bounding box came in around the entire image, we could scale it down to an exact size by filling in these boxes, but we're just going to leave it loose and we'll do it ourselves.0743

In this box here, if you're working just with a person, it will protect skin tones...in this case we're going to protect the alpha channel, which is her entire image.0763

Now watch what happens now...all we do is scale it, and notice that she's not changing--it's just squishing up the background.0775

We got all the way just about to a square crop, you can see that now--it's 1090x1000, let's go 1078--it's giving you the dimensions, we'll go right down to 1000 even...0785

There we go, it's a perfect square, we're going to click OK...and let it cook.0802

What it did, and we'll look around the edge of her once this is transformed and you will see that it retouched the edges of that loose little transformation that we did, or the selection that we did, and squished everything else and in this case, making the hole and the rock smaller is not a problem, squishing up the grass is not a problem--the only thing we'd be concerned with is around her and I'll show you how much time we're saving--this again is a pretty large image.0813

Now, we turn off the background and there you see, there's our new image, and look around the edges of her--look at this, it's unbelievable how well that worked.0842

Now you can see a little compression over here because we really squeezed this up, but in general it works pretty good--we could have stopped a little bit short of that, but it did a really, really nice job and we're ready to go on this thing.0853

Now I'm going to undo this and show you the traditional fashion that this would've been done in the past.0867

You make your selection...oh, we just load the selection we already had, excuse me...0873

Command click, you copy her out, you paste her in, you have a new layer, and then you move her over where you want, but then you see what you'd have to do--all this retouch around the edges here...0879

We'd have to clean all of that in, then we'd have to retouch her out of the underlying image, and all of the time that it would've taken, but you see how the Content Aware Scale worked really, really well.0893

Let me show you that with another example--here's this cactus one and the client wanted a square crop on this thing, so what we're going to do is the same thing.0907

We're going to take and do a loose crop around--and I'm going to protect these foreground cacti so they don't get squished...0916

I'm going to protect this one...and this one...and this one...see how quickly this goes--we just make a quick selection--I'm going to do the prickly pear, and this other saguaro...and there we go.0927

Go to the Select menu, save the selection as an alpha channel, there you see it down at the bottom, de-select, and now I'm going to go to the Edit menu.0945

I need to have a background--I'm going to duplicate it...0958

Go to the Edit, Content Aware Scale, there's the bounding box, I'm going to protect alpha 1, and now I'm just going to go ahead and scale it and notice as it compresses the image, it squeezes everything else but the--let's see, we're at 2395...coming down--we're going to leave it just short, right about there.0962

It's not quite square but we can bring down the top a little bit, and there you see--I'm going to go ahead and enter that--that it squished the image but it did not squish the cactus at all--left the cactus just perfect, so now we can take that image as it is and apply that--let me show you where it actually worked very well.0985

Let's go ahead and duplicate the original background again, and turn this one off, and we'll do the old transform scale method...and you notice, obviously, that didn't work very well at all.1008

We'll leave it right about there, click OK...and let it transform and you can see the differential--the cactus was not affected--that's the Content Aware Scale methodology, so we're going to go ahead and check that one off.1024

Now you notice that the Move didn't work that well--like I said, it's not completely magic.1046

Now let me show you Content Aware Extend--a really interesting feature as well, and we're going to do that one with this image right here.1050

Here's an image taken by a friend of mine of his friend's daughter...the problem we have with this image--we like the shot but her pose is not really good--she's kind of hunched down in the shoulder area and her neck looks really short, so we'd like to fix that.1061

Well we have a new tool that will do that amazingly well--that's the Content Aware Extend.1078

We go back, take the selection tool, make a rough selection around her head...come back in, and I'm going to stretch the neck so I'm going to go down below the chin just a little bit, and right over here...we'll go back to that Content Aware Move tool, and in this case the mode we're going to change to extend and watch this one--it's just amazing.1085

I'm going to go ahead and hide the crawling ants, and I'm just going to drag it up a little bit because that's all we need to extend the neck is maybe that much right there, and look at that!1112

I'm going to do again so you can see it--bring it up one more time--very high up here--watch this, we just click and drag it up...right about to there is as far as I'd want to go...release...and now we were using very strict (whoops, bring that back in) the edges.1125

Let's see what happens if we drop to strict, we're getting it to come in a little more, medium; not as good so the strict method perfectly blended there--didn't have to retouch anything, and look in the neck here.1146

I'm going to go back to the very strict...the neck area looks great, and the retouched looks great...look at this, there's before...and there's after--stretched the neck up, she looks a heck of a lot better.1161

We might have to do just a tiny bit of retouch on the neck actually right about in here, just to smooth out that one spot...there we go...1176

And the image is now corrected using the Content Aware Move tool in the extend mode, and let me show you one more time how that works--we're going to work it in another fashion.1194

Turn on the original here, go back to the original image, and let's say...we like the cactus but we'd like to have this particular branch just a little bit longer, we can do that same thing.1208

Take the tool, make a quick loose selection around it, have the Content Aware Move tool in the extend mode and we can always play with this, we'll just start at medium, and click and drag it and I want to be right about just below the rocks up there...1221

We'll hide the crawling ants...come on, there we go.1247

Now let's try strict...let it cook a little bit longer...go back to medium--I'm looking around the cactus, let's go with loose...oh there we go...let's go very strict...not as good, medium...back to loose...there we go, that looks like a pretty good job, and look at that.1256

We went from there to there and extended it, and it blended in with the background, now we have a more balanced cactus, so there you have the Content Aware Extend feature.1281

So to sum up all of the Content Aware function, you saw that the Content Aware Fill works pretty good, but you have to be careful with it.1294

Remember that the more complex the area that you're trying to fill, the more difficult it will become, but basically this is a time saver.1306

The Content Aware Move works sometimes, and it especially works well when you have extremely uniform areas where you're taking your image from and moving it to.1316

Like someone in a completely uniform field, it's easy, but somebody standing against the cityscape would be virtually impossible.1331

Content Aware Extend works really, really good--you saw how it worked well on the girl (where was that) on this image, how easily that worked beautifully well, as well as on the cactus but it had a neat--in both cases...realize, well actually the background was pretty complex but notice how beautifully it worked, that's a really good one.1340

And the Content Aware Scale is very good, as long as you have again a uniform background--the background has to be something that can be squished, otherwise it's going to look a little weird.1365

So there you have all of the Content Aware functions; Fill, Move, Extend and Scale in Photoshop CS6.1380

Hi everyone, Michael Brown here again with you.0000

Welcome back to educator.com's Adobe Photoshop CS6 course.0002

In this lesson, we're going to go over the Transform tools.0007

Now, if you remember my Photoshop basic categories--selections being number one priority, corrections, exposure and color, the Retouching tools and manipulation.0010

The Transform tools primarily fall under the manipulation category and that would be because they are dealing with layers--not the entire image, but individual layers.0021

For example, let's just use this--I have a singular layer here on this square background.0035

If I go to the Image menu and go to Rotation...let's go counter-clockwise, it rotates--you can't see it, but it rotated the entire image because the background was white.0041

Let's go with Flip Canvas Horizontal; it does all layers, the entire image.0052

The Edit menu...Transform is only working with an individual layer itself, so if I do a rotation here, it's rotating only the layer.0060

The Transform tools deal with individual layers, and it's Puppet Warp, Free Transform or the Transform Scale, Rotate, Skew, Distort, Perspective, Warp, and when you're doing the rotations and flips, it's of a single layer.0071

Let's go to a layered image for example if I have one here, and let's turn on this flower right here, so if I do an Edit, Transform, Flip Horizontal...0089

Oh, it was the wrong layer, I had it on the main layer, sorry.0106

This is the flower layer right here, so it's the active layer, my fault.0110

Transform Flip Horizontal, notice that the flower flips.0116

If I go Edit, Transform, Rotate 90 degrees, it rotates the flower, so what happens with the Transform tools under the Edit menu, they're always working on a singular, active layer.0120

So let's go back to the example here--I'm going to move the single layer around, and so now we're going to go Edit, Free Transform.0135

The bounding box comes up which allows us to rotate, or transform by scaling--we're only scaling this image, although let's set it horizontally...click OK, and let's go Free Transform which is Command or Control+T, and now when I scale it's pretty obvious that it's not distorting it, it's only scaling it.0144

I'm going to actually make another layer--I'll delete this, and make a square...0171

Copy and paste, fill it with red so that we're on the same page.0182

Whoa, wrong thing...Edit, Fill with red, and now we have a new red layer that's perfectly square.0187

So now I go back to the Free Transform, notice it's rotating and if I scale, you see that it's not distorting, only scaling that image.0195

Now, if we go Command or Control on a PC the letter T for Free Transform, notice, we can also access all of the other Transform features--you never need to really go to them.0207

You will Control Click on a Mac or right click on a PC inside the bounding box and you get the dropdown layer and there they all are!0221

So you don't have to go to the Edit menu shortcuts.0231

We've already looked at scale--you understand rotate.0234

Skew is precisely what it says; if we grab this and it actually distorts, but if we do the Control click, skew in the center, we get a skew.0237

Traditional skew--now you can distort an edge individually by changing only the corners themselves, so there's an additional feature in the skew.0254

Command on a Mac, Control on a PC and the letter T, Control click on a Mac, right click on a PC, let's take a look at Distort.0266

Now as opposed to with the skew distortion it was only on a straight edge, now we can take and literally distort in any particular direction that we wish.0277

We've changed that square into kind of a...what would you call that...parasail, or an arrow.0290

Back to the square again, Command or Control+T, Control click on a Mac, right click on a PC, we're going to do Perspective, and now when you click and drag the edges in and out you get a perspective adjustment.0300

If you go up and down straight, you can't.0315

You can shift skew, but you are perspective--you still have the skew control--we can skew it this way now, but the corners are perspective control so you get a combination.0319

But predominantly, Perspective--Command or Control+T for a Free Transform, Control click on a Mac, right click on a PC--we're down to Warp.0330

And you get this grid, and you have little arms on the corners--that's what the circle edge is, or you can grab the inner points, and you can literally warp the shape of the object, and you can pull in the edges.0341

You see you can artificially warp it there, or you can drag it out here--make all sorts of warps, kind of like the Liquify filter, but the one advantage to be of the Warp is that it moves all of the pixels.0362

You'll see this in the example, it's not just squishing an edge and smearing them--it moves a large section of pixels.0378

We'll demonstrate that in a little bit--Command or Control+T, Control click on a Mac, right click on a PC, and the Puppet Warp is listed under here, but we'll do it the other way, and Content Aware Scale also.0387

Alright, so there you have the basics.0403

Let's use examples of each one of these.0406

Let's go and look at the title and start with a scale...I'll go to this flower here.0411

I already have made a selection--I'll load it, and I'm going to Command or Control+C to copy, and go to this composite and turn that layer back off and go Command or Control+V as in Victor to paste, and now I have a flower in.0419

I'm going to move that layer with the Move tool.0435

Notice the white on the background comes in from the right--the flower lit from the left--the first thing we would like to do obviously is to flip that thing, so we'll go to the Edit menu to Transform and to Flip Horizontal, and now the flower is in the right direction for light.0437

But now it's way too large if I want to put it up here, so we'll go Free Transform or Command or Control+T, Control click on a Mac, right click on a PC to the scale.0457

Holding down our Shift key to maintain the aspect ratio, and you notice we can scale it, and even when it's active, as long as you have the tool inside we can position the flower, and Shift and scale further until we get the scale the way we want it, and then we click Enter and we have done that.0469

So now we've demonstrated the scale, and the Flip Horizontal--see how that worked very well for this flower and now we would do more in the composite.0490

So that takes care of scale, and we didn't need to skew it at all but you understand what skew does so we're going to go ahead and layer at the top here and check off each item that you've understood.0501

You understand the scale...do it red, OK.0513

You understand skew...Distort, I'm going to show you where we can actually use the Distort feature on an image--let me find the particular image--there we go.0517

Here was a shot that I did in a high perspective, and I just had a situation where the client liked it but they wanted a little less perspective on the thing, so what do we do with that?0530

Oh my gosh, we've got a selection here of just the image itself, not the sky--I'll invert that, go back to red, and so now what we'll do is we're going to go copy and paste, and we're going to take this layer here--we'll turn it off just to show you where we're at...0541

It actually didn't have the exact selection but it's close--well I'll go back and do it this way...0565

Let's modify that selection--that's fine.0573

I'm going to go, very quickly, and with this select on that layer--we're going to go with the color selector--Magic Wand tool...0577

Get the blue, add the blue, and blue and we're going to delete that--done.0592

OK, now we can load the selection of this, and we got a clean one.0600

Alright, we're going to take the Lasso and get that edge out of there, now we've got it.0605

Let's check it out with Quick Mask...0611

Save the selection--I'm just double checking something here, sorry about that--I want to make sure we got the right selection--there it is!0617

It's the building.0623

OK, so now what we're going to do is we are going to distort.0624

We're going to go and turn this back on--go to the Edit menu, Transform, and Distort, and we're going to grab a corner and just pull upwards straight.0632

You notice that now we have brought the perspective down a lot by stretching that up, but at the same time we kind of killed the smoke stack or the exhaust stack.0643

We're going to go back to this other layer...and very quickly do a sky retouch on the bottom layer so that we can get that cleared out so that you don't...where are we...0658

There it is...get that out of there so everything becomes very clear to us...there we go.0674

Now we have some distortion on the stack--we can fix that as well.0683

We'll take the Marquee tool, and now we're going to go and just Edit, Transform, and what I'm going to do here is...0688

Let's distort it again, and I'm going to pull this side down a little bit...I'm on the wrong layer.0704

Top layer...confusing myself--distort on the correct layer--sometimes we all get confused.0714

Now I see--see how we brought it down...skew it down just slightly...and notice how we got the perspective all corrected on that.0722

Command+H, Command+D, and by using the Distort, we've pulled up this side and there's the original image there, and now we have distorted and got some of the perspective out.0732

That's how you use your Distort tool.0750

OK, so there was an example of distorting an image.0752

Perspective; let's go back to an image we worked on before--if you remember the lesson on cropping, we corrected this distortion in the crop.0758

A lot of times I would rather bring it in here and work on it at a later time, so let's go ahead and duplicate the background here.0770

Select all, and we're going to go Command on a Mac, Control on a PC, the letter T for Free Transform--Control click on a Mac, right click on a PC and we're going to go Perspective.0779

And now we're just going to take and pull it outward...0796

Until we get it close to straight...there we go...0802

Right there, and we'll click OK, and now we've got that straightened but you know we have this little bow in the building because we didn't do a lens distortion correction, so we'll do it another way.0810

Command+A, Edit, Transform, Warp, so now we're just going to take the edge right down here--this control and look, by moving the edge inward just slightly, we're straightening that up.0826

And we can actually pull the edge out slightly at the top...and bring it over here...just a little bit of control there and there we go.0847

Click it, and by using the Warp, we went from there to there and straightened up that particular edge.0860

There's another tool that does the same thing now in Photoshop as well.0869

I might as well show it to you--it's Filter, the Adaptive Wide Angle Filter...if it pops open I will show you.0873

This one isn't going to work on this image, forget it, so we're going to go back where we were.0885

Let's do that one more time with Edit, Transform, Warp, and we're going to straighten up this entirety--I'm going to pull that edge out a little bit, and I'm going to push this one in just a little bit like I did before...0893

And there you go, we straightened up that edge with Warp--you can see how that worked.0911

Now, you can see how the Warp worked here--if you'd tried to use the Liquify filter, you'd be pushing edges forever.0916

With very little problems, we went from that curvature and corrected it very, very simply--now you can see where the Warp tool falls into place.0925

So there we've taken care of the Warp tool...let's check that one off, and the Perspective tool as well, all in one, and now we're going to take a look at Puppet Warp.0938

Let me get my example--here we go right here.0950

For those of you who may or may have not seen Alice in Wonderland with Johnny Depp, the White Queen always had a pose in which she had both of her arms like this girl's right arm--all the time she'd walk around in a pose like this.0955

And this pose was a nice shot that my friend took and as soon as I saw it I said "Oh my gosh, the White Queen!", and the girl understood and she said "yeah, I wish it was that way", so let's make her into the White Queen.0971

So what we're going to do, is we are going to take the Marquee tool and we're going to do a little copy and paste.0983

Copy, paste, I'm going to duplicate the background layer too so that you see we just have that section right there that is dealt with.0999

We're going to go ahead and load that up, zoom this up, we're going to go to the Edit, Puppet Warp tool, and now we have that in place (and it should be popping up here).1008

Oh, I'm in the wrong layer, sorry, I always do these things.1022

Layer one, Edit, Puppet Warp...there we go, and here are the options for Puppet Warp.1026

The mode that we want here is rigid...actually I'm going to leave it at normal--the density is fine, the expansion--I'll show you the mesh.1035

This is a meshed area.1045

Basically, we're going to be doing a warp, but kind of like a puppet.1047

Now pins--what you do--you see the pin here?1052

These are your control points--I'm going to put a pin here, put another pin here, put a third one here to lock in these areas, and then I'm going to click and move the arm.1055

Notice that it rotates around but it's not...ah, that's because this pin was there and I didn't want it.1069

Now notice that the arm is rotating around her elbow.1077

Yeah, we're losing background, don't worry about that.1083

Now it's a little bit torque, so I'll put another pin here and rotate her hand so it looks fairly natural.1085

Put another pin here and pull up the elbow so that arm looks pretty normal.1094

Go ahead and click OK, and we went from there to there--now we need a little bit of fixing, so we're going to move the layer over to match up the face--or actually I won't even bother with that, I just want to check out the shoulder--there we go.1100

Shoulder looks pretty normal, so what we're going to do now is take our Eraser tool and just erase out any of the offending areas...1117

And go right up close to the arm...don't worry...1131

Get this back to normal here...that looks pretty good there but we're going to have to do a little bit of retouch, that's all...there we go.1140

Now on the underlying layer I'm just going to retouch rock from here and just clean up the rock area...1152

Just to clean that area up, and there you go...we have taken her from there to there and I can see a little spot that we still need to clean up with the eraser right on the clothing...1166

We missed on that, so let me show you again with the Puppet Warp, we took and moved her arm up, and now she's turned into the White Queen.1182

Let's go back, and that sums up Puppet Warp, so there you have an example all the way down and the basics of how to use the Transform tools in Photoshop CS6.1192

Hi, Michael Brown again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In this lesson we're going to talk briefly about how to go about learning Photoshop, and I'm going to give you a start to finish demo taking an image from scratch that's a little bit off, and running it through very quickly and easily to show you actually how easy this program will be to use for you.0007

Let's get started!0026

The first thing I want you to know is that Photoshop itself is not a difficult to understand program...it is simply a very large program with a lot of stuff.0028

Each of the individual techniques and features are reasonably easy to understand when they're explained simply, it just takes some time and practice to become fluent in applying them.0040

The key to learning Photoshop is simplicity, and that is breaking the program down into easy to understand, basic pieces. 0054

That's what the course is all about, and that's what I'm going to be doing for you. 0064

I'm going to run you through the basics, step-by-step, and easily, and once you become fluent with basic steps, and functions of Photoshop, then you can apply them with your own creativity to create all sorts of different stuff--but it's very essential that you become fluent with the basics.0068

And Photoshop itself actually has three programs, contained within Photoshop, and they all work together as an integrated piece. 0088

The first program is called "Bridge", and Bridge is your editing, sorting and organizing program that you can access right from Photoshop; you pull down your File menu, and there is Browsing--Bridge (and I've already got it open) that's Bridge right there and you can come right back to Photoshop so it pops back and forth.0099

Bridge gives you very easy methods for downloading your images, editing them, rating them to find the best images to work in Photoshop, storing them in easy to find areas--very easy to understand and it integrates perfectly with Photoshop.0120

The second program is called "Camera Raw", named that because originally in previous versions way back it only worked on raw images--the raw images that you shoot in your camera but now, you can open jpeg, tif and raw files directly into Camera Raw.0135

What Camera Raw allows you to do...it allows you with all of its tools and features, to do preliminary adjustments and editing on your image, and they are all non-destructive--they are saved as a mathematical algorithm file in the same folder with your original document, and the pixels of your original document are unaffected.0156

So you can bring it in to Camera Raw, you can make some adjustments in Camera Raw and then go onto Photoshop, and the original image is really untouched so if you ever want to go back, you've got it.0181

And then of course there is the "Big Dog" and that is Photoshop.0193

Once you get it edited, you get the best images to be working on, do a little bit on Camera Raw, bring them into Photoshop, and that's where you really put your creativity to work.0196

Now, in the beginning here in the next few lessons, Photoshop and learning to use Photoshop is going to require a little bit of "techy" stuff--not hard to learn stuff but just "techy" stuff; we need to set Preferences, I need to show you where the things are, how to use them, shortcuts, the little features that help you just working around within Photoshop. 0207

So I know those aren't exciting, but they are quite essential because once you set those you don't have to go back and do it again.0230

OK, so, learning Photoshop...your job is to thoroughly study these lessons in the order that they are presented to you because what I'm doing here is building the basics up, step-by-step, and each step leads to the next one--you must learn step A before you can apply step B because it uses step A.0236

It's that simple--if you skip over, you're going to have some difficulty and this thing could become a nightmare, but I'll make everything in each lesson as simple as possible for you. 0259

The second thing: be patient...just, you're not going to learn it instantaneously necessarily, but these lessons are here for you to be able to go back, repeatedly look at them, practice, and that's the key and the third thing--practice, practice, practice, and then you'll become fluent in a particular feature and then it'll become like a bike; you can get back on it after being away for a little while and just ride away, no problem.0279

And the key to all of this is an old axiom: if you don't use it, you'll lose it.0295

I want you to learn this program and be able to use every time you come back in the future, which requires that you continue to use it to become fluent in each of the specific features and techniques.0301

Alright, enough of that talk, let me show you how easy it is to work on an image, alright?0316

I'm going to pop one open here...here is a shot I took in downtown LA at Union Station--the train station--I just did this a couple of days ago and even after thirty years as a pro-photographer, I made a mistake!0321

I set my white balance at the wrong setting, because you notice that there are a few flaws in here--first of all it's a little over-exposed on the lighting in the windows, and the whites are distinctly bluish.0334

That's because of the off white balance, but this is very easy to correct so let's get started in the normal workflow that we would use, just follow through here and away we go.0349

We'll go to Bridge, right off the bat (there is Bridge) we're in the folder that has my images (which you can see right across the top here).0358

It's an easy navigation--there is my Macintosh hard drive, right down to the desktop, a folder on the desktop, in that desktop folder is this one, and here are all the images and I simply click on an image to see it, and if I want to edit two images side by side I can do that (A, B) and you notice these two are identical.0366

Now, 27-58 is the one that I was using for the example (that's the one here on the left) 27-59 is the one I'm going to correct (you can see they're almost virtually identical).0376

So I've got it selected, all I have to do is double click it, and it will open it right up (if I double click properly) into the program I told you--number two Camera Raw.0386

Here we are in this program, and here are all the sliders and tabs that I can use to apply all sorts of features--we're going to do this real simple.0400

The first thing when you look at an image, I'm going "OK, the biggest problem here I see is in the highlights and over-exposure" but even more I see the off colour temperature--we have a colour temperature correction slider, so I just slide it over and look, that's it.0421

The colour balance is now correct and now I went ahead and made it slightly yellowish because you notice the inside of the terminal has brown tiles and the light is going to add a little bit of a warm tone to it, so we're pretty clean on that.0437

Now let's deal with the highlight problem.0453

I'll go to my highlight slider and just drag it down, and notice the difference?0455

I'm going to back to zero (look at the chandelier) I'll just grab the highlights and pull it, and we've fixed the chandelier and you can now see all of the interlaid glass and the windows in the side of the terminal and the floor reflections are all clean.0460

I'm going to open up the shadows just a shade, and I'm going to zoom up to show you how clarity works.0475

Things look fine but when I hit this… It is kind of like sharpening, pop--you notice how I popped the image a little bit?0482

We drop it down it's kind of dull, it's got some snap to it, works really well.0488

I'm going to jack the saturation up just a tic, and basically we're ready to go but I've got a couple of more things I can do here in Camera Raw that are very cool, watch this.0493

First of all we're going to go over here to Sharpening and Noise Reduction (I'll zoom this up so you can see it).0502

I shot this at an ISO rating of 800 because it was pretty dark inside, and as you get the ISO up you tend to get noise from the sensor and you notice there is a lot of noise in the image, so all I have to do is--and watch right in this area between the yellow and the white, see where all the noise is when I click this luminant slider about to here watch...pop, there it goes, no noise...noise is back, click the slider to about 30% and the noise goes away.0510

Now I could go further but I don't want to knock the sharpness of the detail in the image.0540

So that takes care of that, we got most of the noise out of there, the only other thing I want to do in this panel...here is a little feature that enables me to correct the lens aberrations--they have a file of almost every lens in the camera--all you do is click the box, and Camera Raw senses what the camera was from the information in the image, and makes a correction.0548

Take a look at the image in the centre where the arch is (this is the way it was) it's a little bit of wide angle, kind of bulbous, and that took the chromatic aberrations out.0572

So now we're done, we just open it up into Photoshop, and essentially we could stop right here, but I have a couple of other things that I personally want to do with this image artistically...I'd like to crop it a little bit to get that detail over in that news stand out of there, I want to focus more on the archways and get the light out of there, and for me personally I wanted to make this more of an architectural image, and if you'll notice when I zoom up, that the lines are bent inwards because the camera was tilted upwards and created a perspective distortion, so we're going to go ahead and correct that really easy.0581

In CS6 under the cropping tool, they have a new perspective crop tool.0622

This is killer, watch.0628

Just do your normal crop, and you see the grid that comes up--all I have to do is grab a corner and make the lines go parallel with the slanted lines in the image--and notice that cropped automatically, it took out that light.0630

And now I'll take the other side and balance it to where the stand is, and click OK and watch--magically, there it was...it started here, went there.0646

We got a crop, and the image looks good except for one thing--as we spread it to straight, the arch got a little flat, so we're going to fix that.0654

I'm going to duplicate my layer (I'm going to go here to canvas size) add a little more space at the bottom by extending the canvas only, and then I'm going to take that layer, and stretch it until the arch looks the way I like it...and I think that's right about there.0664

There we go, click Enter.0686

Take the regular crop tool and get rid of the extra space that is still left, click OK and that's it!0687

Now, well actually I'll tell you what, I'm going to do two more things very quickly...make an exposure correction just to open it up and snap things a little bit and snap the huge saturation...up just a hair...and now I'm going to change my arrangement of flow all in Windows, get rid of that one, put these two side by side, and they're in very short order.0695

We started with the photo on the left, and with some corrections, colour corrections, colour temperature corrections, a little cropping and adjustment through corrective perspective, there you have a really nicely finished image.0723

Very simple, you're going to be able to do all of this and a heck of a lot more as we move forward in the lessons in Photoshop CS6.0738

In the next lesson I'm going to take you through the new workspace in Photoshop CS6.0746

I'll see you back in the next lesson.0750

Hi everybody, Mike Brown back with you, welcome back to educator.com's Adobe Photoshop CS6 course.0000

So far in this course we've gone over the workspace, we've looked at Preferences, we've gone over Bridge, the editing and sorting program--we've gone into Camera Raw which allows you to take your images and do preliminary corrections on the overall image and then bring it in Photoshop for further work.0008

We've talked about the exposure and color corrections that you can perform on your images and how you use those tools and functions, and now it's time to deal with the most important technique in Photoshop.0029

If you remember my four basic categories, the first and most important category is selections, and my mantra which you'll see in a moment; if you can't select it, you can't correct it--if you can't isolate an area precisely and properly, you can't make a correction that's flawless.0043

We're going to go over the primary selection tools, and briefly how they relate to each other, the panels and functions, all that relate to the selecting, and then in this lesson I'm going to close up by showing you a few samples of where we utilize selections and how they actually make the images far better than if you didn't have selection.0062

Alright, let's get started.0088

Let's talk for a moment about apps and plugins for photo correction.0091

I receive emails all of the time and I just got an email from a colleague the other day telling me about a new app and plugin--an app for the iPhone and all the other smartphones and also the same piece of software at a little more robust level that's available for a plugin to Photoshop, which I found.0097

There's all sorts of plugins for Photoshop that can do various and sundry things--a company called Nik (N I K) made some fabulous plugins that are far better and expansive in the black and white conversion, and also in HDR which is high dynamic range photography.0119

These are things that Photoshop has functionality but not as expansive.0138

Now, this plugin that I got the email for--$200 for a plugin to go into Photoshop that does nothing more than the same thing you can do right in Photoshop--I went over it, took a look at it and I'm absolutely amazed.0144

If you're interested in just quick fixing snapshots, taking your iPhone, taking a picture, doing some quick editing and not retouching but corrected and then popping it up on Facebook, Photoshop is not the right software for you at all, just get one of these cool apps and some of them are free, some of them cost a buck or two, they'll fix those little Photoshops up and they'll look interesting and they'll look better than they did to start with up there on Facebook and on the internet, but if you're serious, you need Photoshop.0161

In today's world of digital photography, a decent camera is inexpensive, and even the cell phone cameras are now decent quality and resolution so almost every image you take today is going to be a reasonable high quality photo.0196

Technically, it's up to you to provide the artistry to make that a good photo to take further, and there are just all these apps and plugins that you can correct all sorts of stuff; exposure, color, sharpening, all sorts of effects, old time effects, whacked out filter effects--all sorts of stuff--some of them offer basic options to retouch, crop, sharpen, color correct and so on.0213

In the end, most all of these programs can improve the look of your images, but if you're doing serious photography, Photoshop is the only solution--it's far more expensive, far more precise, and if you know how to use it right, which I'm going to teach you all of this, just as easy to use.0238

If you're working with any of these high resolution files and your end product is a high quality print, or maybe if you're a professional going to a client for an ad, poster, catalogue or even a billboard, high quality photography, precise retouching and enhancement is absolutely essential.0258

You cannot get that with any other of these plugin programs or other programs that I know of besides Photoshop.0276

Anything that these other programs that claim they can do all this magic easily, anything they can do, can be done in Photoshop equally as well, equally as fast as long as you know how to do it, and in most cases, far better than any of the apps, so Photoshop is the way.0285

What really sets Photoshop apart from all of the rest is the variety of precision, high quality tools and functions and techniques, and most notably, the array and quality of the selection tools and methods--selections are the key!0306

OK, selections are the most important technique in Photoshop--I've talked to you about this before.0326

What is a selection?0333

A selection allows you to precisely isolate an area of your image that cannot be dealt with if you are only making your corrections and adjustment to the overall image.0334

Selections immediately provide the means to take your images to a quality and creative level far beyond just making these overall adjustments--I know I'm beating it to death with a stick, but I want you to realize it's a huge difference between just correcting your overall image, and then correcting the areas that need it more with selection.0348

This feature alone of selecting sets Photoshop apart from any other plugins and apps that claim to be able to work wonders on your image.0372

Even if some of them can do a decent job, none of them, none of them offer the ability to make quality precision selections, and my mantra; if you can't select it, you can't correct it.0380

If a selection is not perfect, the effects or corrections that you apply to that area will not blend flawlessly into the image, and will immediately scream Photoshopped and immediately the value of your image and the impact on people goes to zero.0396

In this series of lessons, I'll be showing you the entire array of tools and techniques for selecting and how to use them to create perfect corrections in any situation.0415

You will learn to do this easily and efficiently--that's the big key here; easily, efficiently, with quality.0426

Once you become comfortable with understanding which selection you need, and that requires looking at your image and deciding what you need to do, and which one is the best to apply to that, and how to quickly make it an adjusted, the quality level of your imagery will go up dramatically and the creative possibilities will become endless, so let's get started on selections.0434

Here are the principle selection tools, panels and functions that summarize all of what you will need to make quality, perfect, flawless selections.0461

The tools; we have the Marquee tool which is right here in the Toolbox, very simply it makes rectangular or oval selections...it's not used that frequently, but there are uses for it, we'll go into that.0476

The primary tool that I find that I use a lot, is the Lasso tool, which is your freehand tool--it's either freehand, in other words you just make a freehand selection, or you make straight edged selections if you have specific lines on objects you can make them accurately that way, the third one is the Magnetic tool which I don't use and we'll talk about that.0495

Below that we have the quick selection and the Magic Wand tool.0523

They're similar yet decidedly different--the quick selection tool looks for edges...the Magic Wand tool selects areas of color.0528

You'll use them usually in both in similar circumstances and they kind of tie together, we'll go over that as well.0541

The Pen tool, which is right down here, is the most powerful of all the selection tools--it creates precise vector pads that you can convert into selection.0549

This tool can select anything, absolutely anything that none of the other tools can do, this one can handle it--that is an important tool.0562

Quick Mask is a very unique feature that allows you to view your selections and modify your selections by painting them, you can also create them from scratch using Quick Mask--a very valuable tool.0573

A Layer Mask is a black and white representation of a selection that is attached to a layer and blocks out the selected area from the--isolates the selected area from the remainder.0587

It can also be modified in a similar manner to Quick Mask, so as far as the tools go, let's create a blank layer up here at the top, and I want to show you that...0605

The Marquee tool and Lasso tool kind of go together if you will, because both of them are very easy to create rectangles, ellipses or in this case freehand or straight edges, and predominantly their options are feather.0624

you notice up here in the Option bar for the Marquee tool it has feather, for the Lasso tool it also has feather--feather is available and a primary thing that we're going to learn about, but these two kind of go together.0647

The quick selection as I pointed out goes with edges and the Magic Wand with color, and these two also are kind of similar--they would be used under similar circumstances, so basically we've knocked this down to two out of 4, the Pen tool stands alone.0661

The Quick Mask, which allows painting and modification and vision, and the Layer Mask to the same thing, but the Quick Mask does it directly on your image and the Layer Mask is attached to a layer.0683

So they're quite similar and also become grouped together, so in the end you have the Pen tool which is the most powerful, Marquee and Lasso which you'll use even more, and I would say equally, the quick selection/Magic Wand, and Quick Masks and Layer Masks, so what you have really is four out of these seven.0698

In terms of the panels, refine edge--notice this button over here for the Marquee, for the Lasso tool, also for the quick selection tool, for any of those tools except the Pen tool, but once you turn it into a selection, then the refine edge becomes usable.0725

And the same with the Layer Mask has a mask panel which is almost identical.0747

Let me show you very quickly...the refine edge dialog box, it's right here, it allows you to adjust things such as feather contrast, shifting the edge in and out, so on and so forth.0754

The masks panel looks almost identical to that, and when we go back to what we were talking about, masks panel and refine edge are connected--once you know one you know the other.0771

Channels are very simple; they are selections that have been saved as a black and white representation which is a mask, but in this case it's a stationary mask, so this even ties in with the masks panel, so they're all consolidated similarly.0785

Pas are created by the Pen tool and the vector shapes that can be modified, saved and made into selections.0805

Once you make them into a selection it falls to here, very simple.0813

Then we have two other functions that we use; feather, extremely important and next lesson we're going to spend looking at feather.0817

Feather is the thickness and softness of a selection edge, and this is absolutely vital, whether you have a building, let's say, which has a clean, sharp edge that you need to make an isolation and go instantly from one spot to another.0827

Or a very soft transition of maybe in the water in the ocean just gently blending something and it needs to be soft and wide, this is where feather comes in--extremely important, and calculations are a time saver that work in conjunction with channels.0847

They combine channels which you take a selection, create a channel, then you can make new selections by combining various channels, it's a time saver, so that kind of sums up what we're going to learn and if you notice, we really only have 4, 5, 6, 7 items out of this entire list and they're all inter-twined--very easy.0869

OK, so that just kind of gives you an overview, don't get crazy, we got this stuff, it's easy, so now let me show you three example of where selections actually apply, and I'm going to start with...0893

This one right here--this is the prime example to show you where selections really come into play.0914

Now, very quickly, down here...you see channels, there is a channel, but up here (we'll close the channels panel right now) these little black rectangles attached to these various layers.0921

These are all layers inside an image--you're going to be using those too--that's another feature that these other programs do not offer--layers give you the ability to do things that you cannot do any other way than using layers, such as composites, I'll show you in just a minute.0940

Now what we have here...this is the original raw file of this image that I took, untouched, just the original raw file.0958

This is the raw file that has been worked in Camera Raw--let's go back to that...there's the raw file, now it's worked in Camera Raw and I want you to note the difference.0970

Look at the sky, you have a washed out sky, we have over-exposed rocks, the color's a little washed out, the water here is just kind of muddy looking and doesn't really pop.0984

When we go and do an overall with all of the available tools to do overall corrections which, by the way, is no different--this Camera Raw is exactly light room and it's equal to any of the apps that you get out there--this is what you get.0997

Now, it's decidedly better--unquestioned you go "that's great, the sky looks good, everything else looks good here, what are you talking about?"1015

Now you notice, and I'm going to show you that that's a selection--the white area is the selected area, the blacked area is protected to allow me to put an effect on, for example, that selection--if you notice all the white area--when I go back, it's the water, and this one here is all of the greenery.1024

Go back to see that--so I have separate control for the water and the greenery, and I want to show you I also have one right here for the rocks in the foreground as well as the blown out highlighted area in the water--the whites there, these rocks and the foreground--notice that?1050

They're also selected--here's one for the sky, and here's one for the darker green areas over in this area.1071

By utilizing that whole series of--and here's one even further, just the water edge rocks, I was able to isolate those.1081

Now you notice this is all kind of flat, same lighting, it was very high sunlight--now watch the difference when I have applied 1, 2, 3, 4, 5, 6 (which one was this, that's just a tiny little area) 7, I have 7 different layers including just some overall corrections.1090

I went from, there's the original, there's Camera Raw, and there's the final one--I want to compare that to Camera Raw--look at that, we went from there, to there.1114

Now where did the selections come in play?1127

Look at the water...I was able to isolate the water and get it to look nice and blue, so instead of looking muddy and not really prominent, by the use of selections, wham, we got the water.1129

Look at the rocks here which are flatly lit, I was able to with selections darken them further, get the true richness of the Earth and pop those rocks out--this is with an overall, that's with a selection.1146

Look at the greenery, especially up here where it's a little bit dull, and in the tree area...1160

Look at the snap that you get, the difference in contrast and the pop.1169

Look up here in the upper left where the hillside doesn't have much snap and over here it's kind of dull, by using selections, snap that and finally, even though you are able to bring the sky up from this original to this with the Camera Raw, look at the difference when we changed it by the use of selections.1173

All of that after we did overall corrections--right there should tell you the story of corrections.1197

Now I'm going to show you a couple more real quick...here's a car shot, this happens to be my car actually, and that location happens to be up in Northern California, up in the mountains in winter time.1204

It's pretty flawless if you can see, that you can see the background right through the windows like you normally would, the sheet metal looks perfect, everything is flawless--this car was really sitting there--well, not true.1219

Let me show you first off, look at all of the masks that I made by the way.1235

There is mask for the pavement, here's one for the side windows, here's one for part of the rough, here's one here for just the logo--isolating the logo area, here's a whole series for the rear windows through the car, here's another one for the side of the--just that bright area on the side of the car.1240

We go down further, there's one just for the pillar over here and so on and so on and so on, and there's one back in the background--a very soft one for the mountain, one for the other side of the mountain, we have another one over here.1269

All of these little isolations to enable me to do this--oh and by the way, the bottom line is, this wasn't a single image--you cannot use any apps to do this because there's the original photograph of my car taken in a parking lot right down the street in harsh sunlight and so on.1285

If you just look at the car itself, there's all the difference in the retouch work right there...it got cleaned up, everything else got taken care of, and now the car in conjunction (let me turn the cars off) here was the stripped in car.1308

We could've used a different background, I experimented with that, that's something, but here was the original background that I stripped in, so this is actually three different pieces.1327

A different piece of pavement, the car and the background, and the use of selections all the way along to select the car to give you--by the way, let's zoom it up so I can show you...look at the perfect edge around the car.1341

All of that very complicated selection enabled me to cut the car out and drop it in without any evidence that it was done at all--all with selections--and then for those of you who work on people, here's an original shot taken by a friend of mine--I think we've talked about this one before.1359

This is the original photograph, and there's the retouched image right there.1380

Notice the eyes, notice under the eyes, notice around the blemishes, notice under the lip, notice the lips themselves, and the quality level of the skin, all changed, and even (turn that back on) see the hair over here where there's a lot of opening, the hair was fixed, and all these various selections that were used.1388

There's a lip selection, there's one for an eye, there's the face...here was the reverse from the face, there's one for the neck area and so on and so on and so on up and down to (get back to there).1414

All of that just to take this image from here, to here, could not do that with an app or another plugin.1436

So, now that you see what they can do, and you see roughly how they are applied, it should give you a good idea of the difference now between just correcting an overall image, and using selections as masks and pure selection isolated areas to fix up images to look like that, or that, or...1446

Where's the other one we had...or this one right here.1473

See you at the next lesson.1481

Hi everyone, Mike Brown here with you again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

We're continuing our discussion about selections.0008

In the last two lessons, we've gone over the tools, how to apply them, how to add and subtract, how to use Quick Mask to paint corrections into existing selections, or paint selections from scratch.0012

We talked about all of that but one thing we haven't discussed at length is how to control the edge of the selection, and that is the vital part of making a selection that ensures you have a perfect blend when you make a correction within the selection to the outside area, or whether it gives it away and screams "Photoshop".0028

Feather is the thickness and softness of the selection edge.0054

In certain circumstances you will want a clean, but not too harsh edge, soft and clean, in certain circumstances you use a very, very soft, gradual edge that allows a transition gently from one area to another.0060

Let me show you how feather is defined, what it looks like and how to use it, alright, and we're going to use two different examples of that, and let's go ahead into an image.0079

Here we have this image right here...alright, you saw this one in the last lesson, and if you remember, we did a straight line selection all the way across the water's edge, and then a freehand up the hillside--let's zoom real tight on that and what you see, you see a clean edge, but it's not hard.0096

Hard means no pixels at all.0124

There's a couple of free pixels of softness here, even in the edge of the trees there's just a little softness.0127

If we were to make--remember the definition of feather is the thickness and softness measured in pixels, and in that last lesson, I used two pixels and didn't explain it.0136

If we had used zero which means it's a hard edge, and I just make a little selection, selecting the ocean here, and come up and do a straight line over to here and just work this area right in here...there we go.0153

Look at it under the Quick Mask, notice how harsh the edge is--it's jagged and it's absolutely hard in other places, so if I make an adjustment...let's just say of exposure...look at the edge along the trees!0173

It's absolutely identifiable, and that's a giveaway of Photoshop.0197

If, on the other hand (let's load that selection back up) if I take that selection, which is absolutely harsh, and I go to my Select menu to modify feather, and remember we used two pixels in the last lesson--I'll just go two pixels, click OK, look at it under Quick Mask.0204

Look what we've done, we've softened up that edge just a little bit, so now if I go in with my curves, and I do the same thing...look...along the tree line, it blends, and especially along the shoreline--you see no hard edge, just softened enough.0226

Now, I want you to be aware that edge is still, at a distance, pretty harsh, but it's clean and soft.0251

That was the application of feather, just on a very tight edge.0261

Alright, I gave you a quickie but I want to define feather a little more clearly, let's go to a feather sample...here's my feather sample--what I've got here, is just a clean edged circle, and I saved several selections--if you remember our saved selections are channels, black and white representations of the selection.0267

Here's that circle with zero pixels of feather which is an absolute hard edge--we'll zoom it way up, and there's the hard edge, it's masked or it's done and there was that hard edge that you saw just when I made that adjustment on the ocean.0294

If we go up to the edge, remember how hard it was?0313

There you see the jagged...that's zero pixels of feather.0317

If I just put one pixel in there which means it will soften that edge from...it goes one pixel...0322

Let me rephrase that, make it clearer, sorry...whatever the amount of feather is in pixels--it goes out that much and in that much so if I put one pixel of feather, it softened it one pixel out and one pixel in which effectively two pixels wide, but look at the difference, now we have a soft edge.0332

Let's go out a little bit, there's zero, hard, one just smooths it out, took the jagged out of it.0354

When I'm selecting clean edges on people, on buildings, on cars, on anything that requires a very clean edge, I use one pixel of feather, which is just enough to take that harshness out of the edge.0362

There's the one pixel, and remember you saw how it changes; we go from zero to one--doesn't show much there, there's 5 pixels--you can see it getting a little soft, 20 pixels, 50 pixels, and we can even go a full 100 pixels and it's now an unbelievably soft blend.0377

That's what feather is, and you already saw a little bit of what it can do, let me show you what it can do...with a soft edge--remember here was a clean edge, and that was two pixels--just enough to clean the edge up.0397

Now we're going to deal with this area of the image...the cove.0413

Now, you look at this and you go "OK, it's a little yellow inside the cove, that's what we're dealing with--that's kelp (that's K E L P) I want to make the transition of this nice blue ocean--get a little more blue into this cove, I know I can't take it all away, but let's improve it".0418

So we have a very soft transition we need out here, we have a complex selection along the edge of the shoreline.0436

We don't really know what to do with that, and then we have this unbelievably hard edged, leafy foreground plant stuff to deal with, and you go "my gosh, that's going to take days to make a selection, how do we do that--you can always add, you can make a soft selection here, a different selection there, and then this around here but it's going to take too long".0444

This is where feather is going to save us--make it real easy.0469

We're going to take our freehand Lasso tool, and there's two ways to do this...actually more, but two basic ways.0472

We know that if I make the selection...roughly following the shoreline and the plants (just going to get fairly close) what's going to happen here--we can check this--this is zero pixel feather, mind you...0481

OK, we got it under Quick Mask, we got a real problem, because if we apply a curves layer here, look what's going to happen...there is no way that that's going to be believable at all...does not work.0503

Let's reload that selection--we're going to call that Zero Pixels just to show you, and we'll turn that off.0520

We'll reload that selection, we've got it--remember, it's Zero Pixels.0530

We can go to the Select, Modify feather, and we can pick number and try to figure out what is enough, but there's another box that you'll be using--we'll go over this in the very next lesson--I'll just give you a little preview; refine edge.0536

Remember under the Select, Modify--here's a border, smoothing the border, expanding and contracting the selection and feathering it.0559

This box here also does that for you.0568

Now you see, we can view this several different ways--we'll go over this again, but we'll leave it where it was--we've been looking, there's our feather, we'll just start adding feather...look, it's getting softer.0573

We're up somewhere around 100, it's looking pretty soft and look what it's doing, it's blending into the shoreline, you can see it's blending in here.0588

We can actually make it go wider, in other words we expand it out, but now we're too far in the shoreline...bring it back out.0597

We can go the other way but now it's too far in the water, so let's just shift it until it's just about there and just about on the plants (back it up just a little) and now we'll take it--look at it there, nice and soft, now what happens when we've made a soft edge even with the hard edges here.0606

Let's go to curves...take our curves, pull it down, look...it's getting darker inside the cove, and look at the blend out here in the ocean...it's getting pretty close...0627

Now we can see that it blends well, don't see anything there, let's make that--what was that, 100 pixels...OK.0643

We'll turn that off and on, and look closely...look at the shoreline...off, on, perfect blend with the soft edge.0656

Now here's the real good one.0667

All of these hard edges--look at the plants, you can't even see it because it blended right into the plants...yeah, this is a little bit darker in contrast but it blended so smoothly all the way across the plants, that really soft edge made it completely undetectable.0679

Now we can take that one step further; let's load that same selection--remember how we did that--Command or Control click the mask, there it's loaded, there it is, our soft edge.0691

We'll do a little bit of color balance...now let's add a little blue...not too much...add a little cyan...a little more blue...and there you go.0702

Off and on with the color balance, and off and on with both 100 pixels.0717

Now if we did that, remember, with zero, let's readjust that so the exposure's looking better...even though we can match up fairly closely you can still see the edge...that hard edge.0724

Let's turn it off and on...see it right along in there--it's kind of--there you can see it on the shoreline, see that line right there--off and on...0742

And down here, of course the plants don't work at all, so it shows you how to use feather, very soft feather and also...0752

In other words, a large feather, lots of pixel, soft edge, small feather, couple of free pixels, clean edge, both cases there, it allows you to make that perfect blend which makes it undetectable that you've done anything in Photoshop.0762

So now, we've gone through the selection tools, how to add and subtract, how to modify the edge of that selection, and in the next lesson I'm going to take you a little deeper into feather, and we're going to deal with the refine edge dialog box and how to perfectly control those edges and fine tune them.0781

I'll see you back in the next lesson.0802

Hi everyone, Michael Brown back with you, welcome back to educator.com's Adobe Photoshop CS6 course.0000

We're talking about selections here--the most important technique in Photoshop.0007

In the intro, I showed you how selection can take an image that you've corrected as far as you can get it and improved it overall, and by isolating areas which is what selections do, and performing functions on the isolated areas, you can take that image to a much higher level.0011

They are incredibly value in this valuable.0031

In this lesson, basic selection one, I'm going to show you how to basic correct and modify selections with the basic tools--the tools being the Marquee tools which are up here--the second icon in the Toolbox, both rectangular and oval.0035

The Lasso tools which are right below that, Freehand, Polygonal which makes straight edges, and the Magnetic Lasso tool which doesn't really work very well because it ends up leaving you having to fix too many mistakes.0051

The Quick Selection and Magic Wand tools which are the fourth icon are grouped together, and we're going to take a very brief look at Quick Mask which is this icon second up from the bottom, which makes your selections visible so you can see the selection and the masked area in a visible manner.0066

And I'm going to show you how to add and subtract to a selection while you are making it.0088

There are other ways but I'm just going to show you how to use the tools themselves to add and subtract from in this lesson, so let's get started.0094

In the intro I showed you that the Marquee and Lasso are similar in their options and functionality--they're kind of linked together.0104

Quick Selection and Magic Wand are linked together.0115

The Quick Selection tool looks for edges by using texture and color to define an edge.0118

The Magic Wand selects by using and looking for areas of similar color--it's only looking for color, and a range of color.0124

The Quick Selection tools finds edges by texture and color.0134

Similar but highly different in how they are affecting the selection on different images--one works on one image, it might not another might work.0138

The Quick Mask functions allows you to see the visibility of the selection, and also you can paint to modify the selection--we'll talk about most of that in the next lesson but a little bit right here, so let's get started.0150

OK, here's a blank--actually let's use this image right here--I already have a selection on it--let me...get right here.0167

OK, we have this image, it's uncorrected.0181

The rectangular Marquee, we'll start with that--when you click and drag with the rectangular Marquee--actually it's better to use this for this.0189

Click and drag with the rectangular Marquee, you make rectangles.0198

One you've clicked and dragged and released, you now have a selected area.0203

Everything inside of the bounding little line--the moving dashed line which we call crawling ants, remember the term crawling ants.0209

Everything inside the crawling ants is active, everything outside the crawling ants is masked out, and let me show you that by doing this--let's just go ahead and take a curves, and it should darken things down...there we go.0220

Notice, everything inside of the boundary was affected, nothing outside of the boundary at all.0242

Now, that looks pretty much like a square--you could make rectangles.0251

If you hold down the Shift key, when you click and drag--Shift on either the Mac or the PC, doesn't matter how you drag, it drags squares, and it drags from that point where you started.0257

If you use the elliptical Marquee it does the same thing except it makes ovals.0271

If you hold the Shift key down there, it will pull a circle, and it did not keep the point--basically you saw we started from this point and pulled, if it was a rectangle that would be the corner.0277

It's pulling a circle that would fall within the rectangle, so you can circle if you do that, or oval if you do the other.0292

If you take either tool and hold down your Shift, Option on a Mac, Alt on a PC at the same time, click and pull outwards, the rectangle will draw the square centered at the point that you started the click from--easy to get a square right with a center on it.0299

If you do the same thing with the elliptical; Shift, Option on a Mac, Alt on a PC, click and drag, and it clicks and drags circles, so you can get an actual circle with the center right where you started the pull.0321

Now, with any active selection--active selection meaning that you see crawling ants, doesn't matter what tool it is--you can move that selection as long as it's active and you're in a Selection tool--doesn't matter which of the Selection tools.0334

When your cursor goes inside the active selection watch...it now changes to an arrow so you can click and drag the selection.0349

Let me go to that other selection--we have a rectangle here, once we go inside it (there's the arrow) I can move the selection--not the image, just the selection.0358

So you can adjust it if it's in the wrong place--let's just draw a larger one, oval, inside and move it around.0368

You can also fine tune it with arrow keys; left, right, up and down.0374

That's how you move a selection around.0380

Alright, Command or Control on a PC and the letter D de-selects...select, de-select, notice Command or Control+D.0383

Select All; Command or Control+A will select you entire image in a rectangle or bases--that's good for cutting out an entire layer and pasting it in.0393

You also have the invert to invert a selection, and color range which you're not going to do, refine mask which is going to be a big thing that we'll talk about--modify, grow similar--these are the things that are involved with a selection.0406

Saving a loading selections are important too, everything under the Select menu.0422

Alright, let's go down to the Lasso tool; the Lasso tool allows you to draw freehand selections--let's do over here, just freehand selections, and the second tool...the Polygonal Lasso tool allows you to draw straight edges selections.0426

And the way you do that is click and release either with your mouse or with your (God forbid you use it) touchpad, or hopefully you're going to use a graphics tablet--click and you notice that my pen is now above the tablet, and it's just showing me a line travelling until I reach another spot.0450

Click, another spot--click and move, click and move, click and move, click and move.0473

Now, if I hit Enter right now...it will close off that selection from where the cursor is to the starting point--watch.0478

I'm holding it above, notice I've got my finger underneath the cursor...I accidentally touched it.0491

Now moving--I hit the Enter--it closed it off, if I do the same thing and you just want to close it off in a normal manner, just move to the start point--see the little circle?0500

Once you see that circle it means you're on top of it, click and you have the complete selection.0512

OK, now, the options for the rectangular, elliptical, also for the Lasso tools, you notice, are feather, which we're going to talk about--feather being the thickness and softness of the selection edge.0518

That's why these tools are similar; they only use feather.0538

In the Options bar for both of these tools--you see these four icons, this is new selection--let's go with the Freehand Lasso tool--new selection.0543

So if I have this selection and go over here to make another one it will de-select automatically as I clicked, and now make a new selection.0555

This icon allows you to add to the selection, so if I wanted more selection, I would make more, and notice it added the two together.0564

Same thing if I do another piece, that's add to.0576

Subtract from a selection, now I just encircle and wherever I surround it--even if it's inside, it will subtract those pieces.0579

Alright, so new selection, add to, subtract from--this is intersect selections--I don't use it, it's just something you're never going to deal with, so it's either new, add or subtract for either of those tools, and feather, and refine edge which we'll deal with in a couple of lessons down the line--it allows you to adjust the edge.0591

OK, let's move on to the Magic Wand tool, and I'm going to use a sample...this image right here--let's do the Quick Selection which is on top first.0613

Quick Selection tool looks for edges using color and texture, so if we wanted to select the sky here, and the adjustments you have, here's the new selection, add and subtract, and brush size.0632

So we'll just leave it on a new, and sample all layers or auto-enhance, I don't use those, just leave them alone.0649

So we have a new selection--we want to select the sky.0655

You can adjust your brush size--bracket key up, right bracket up, left down, all you have to do is click and drag and let it go out to find the edge--don't click necessarily on the edge or we'll move further.0658

Notice it didn't do an absolute perfect job here because the color and texture--it could not detect an edge with the difference between the light blue and the white--it went all the way down to Command or Control+H 'til it found a more definite selection, so the Quick Selection tool, in this case didn't work real well.0675

In the Magic Wand which looks for areas of similar color, the tolerance is the range of color--the larger the number, the wider the range of color, the smaller the number, the narrower the range, and if you look at the sky, it's a little darker at the top than it is at the bottom, so if we have a very low tolerance...0699

And you can adjust your sample size--either a single pixel, I usually use 3x3 or 5x5 unless I'm in a really tight area to give me a little bit of range in the sample, with a tolerance of four when I click up in the sky--just click, I got a band, and that's the range of color that where I clicked with that tolerance--that's the entire range.0720

Now, with any tool the Shift key, notice the plus sign, allows you to add to a selection so now I'm going to hold the Shift key, you could also go right to that add icon as well just to have it add all the time, but I'll just leave it there, temporarily go with the Shift key, click up in that area, and notice it added with a tolerance of four.0745

We have a wider band--holding my Shift key--see the plus sign, we'll move down a little further.0772

Notice the tolerance is pulling it downward more...more, I just keep clicking, and if you notice how tightly with that low tolerance and continuing to add to it, look; it did a perfect job of finding the edge that the Quick Selection tool couldn't.0777

Now we have a little part here that's missed so we'll hold the Shift key down, don't want to get too close to the mountain but I'll click right here...and look!0801

It snapped down, and in this case, the Magic Wand tool, perfectly with a couple of clicks and a low tolerance and a sample size of 5x5, did a wonderful job of selecting that sky; really cool, huh?0808

Let me--I want to open one other image right here...just open it up--here's another sky situation, but in this one, we want to get down into the trees a little bit without carrying over.0824

So we're going to go with the Quick Selection tool and just a reasonable sized brush and all you have to do is drag through the sky...and it cooks and it got almost everything perfectly.0843

Notice how easy that was, and we hold Option or Alt--take a smaller brush size--Option or Alt, and drag back across here in the land where it missed...let it cook, it fixed that, and then if we get over here--same thing.0857

Option or Alt, stay below the blue...and right there we got a beautiful selection of the sky area--let's see how the Magic Wand would do for that one.0874

Tolerance click, Shift to add click, click, click, click--just keep clicking down.0888

We had relatively, very small tolerance--I could have gone with a larger tolerance, and it too did a pretty decent job.0895

Sometimes, one works better than the other but both, one with color, the other looking for edges is a good way.0903

Here, we'll try one more with that one--here's this flower image--we'll try the Magic Wand, let's up the tolerance to about 30, and click, and you notice in this case with the different shades of pink, it's having a little trouble and I'm doing a lot of clicks to get the entire image.0910

In this case, if we go with the Quick Selection tool, a little larger brush, and just click and drag, stay away from your edges, let it find the edges.0932

Notice that I'm just dragging through and it's popping out and really having a--missed a little spot--come across the center, but it got almost all of it in one shot, a little smaller brush size; Option or Alt to subtract, and pull back from the greenery now instead of the pink.0945

Don't touch the pink this time, and there you go!0966

We have the selection done.0970

Now, if you want to visualize your selection, you can use the Quick Mask.0972

It's also available with the letter Q; Quick Mask mode, letter Q.0979

If I click this, it will show me the selected area but the masked out blocked out area will come into a colored, semi-transparent overlay, there you go.0984

Now, it's red so we're having trouble seeing it...that's no problem; double click on your icon, up comes the Options.0996

Color in the Quick Masked areas or selected areas--don't play with that--leave it at masked, that way you'll never get confused.1006

Click on the Color Swatch; let's make it blue, and we'll leave the opacity at 47%, and now we'll highlight it, and there we have a transparent overlay in blue, where we can accurately see how well the quick selection tool looking for edges did in selecting this area.1013

I hit Q or click on it again and it goes right back to our crawling ants, so let's go back to the title.1037

We've looked at, in this lesson, the Marquee--let me just add a layer at the top here...1044

We've looked at the Marquee tools; the rectangle and the oval, how to use that, we've looked at the Lasso tool--freehand only, we need to look at a little more.1051

Quick selection, Magic Wand and adding and subtracting--let's go back to the Lasso tool briefly, and I'm going to go back to that mountain range.1061

The third tool--remember the polygonal Lasso tool does straight edges, right?1073

I don't have a straight edged object here right now, but you get that, we'll have some samples in the next lesson.1079

The Magnetic Tool supposedly, you just drag close to the edge and it'll leap out and find it.1086

Well, let's try to do the mountain, and I'll just drag along...and see what it does--see?1094

If you're not perfectly on it...it misses (all the way back to the end, there it is) and so you have these areas that it misses.1103

I would rather go with either the quick selection or Magic Wand.1115

In this case, it was a fairly well defined edge--you might be able to use it, but in most cases it bebop's around and drops points where you have to go back and correct.1124

Alright...I want to...let's go back to there, and we had a very brief look at Quick Mask...1134

The visibility factor of the Quick Mask, and I think we're going to wind that up right now with the understanding of Marquee tools, the Lasso tool's really good for freehand, the quick selection and Magic Wand tool, and a brief look at the Quick Mask function and how to add and subtract.1145

In the next lesson, we'll take this a little further and put it all together.1166

See you in the next lesson.1171

Hi everyone, Mike Brown here again with you, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In the previous lesson, basic selections one, we took a look at the primary selection tools and those are the Marquee tool; rectangular and elliptical, the Lasso tools; the freehand and polygonal.0007

Quick selection, Magic Wand tool--quick selection looks for edges, Magic Wand areas of color, and I gave you a short look at Quick Mask, which is a method to view your selections (let's just make one so you can see it).0022

View your selections with a semi-transparent overlay being the masked out area, and transparent where it is a selected area, and you can modify these by painting, and in this lesson I'm going to take the previous lesson's basics and we're going to expand it for the tools, put it together and show you how to use multiple tools at one time to make selections.0039

How to save selections, how to paint Quick Mask to adjust a selection, how to paint brand new selections from scratch using Quick Mask, and then we're going to put it all together in two samples and show you how it actually works.0065

Alright, let's get started--the first thing I want to show you; I made up this chart based on our last lesson.0082

This is basic selection shortcuts--now these are all listed in the--if you remember the tools and tools shortcuts lesson, there is a complete list of single letter shortcuts, and Command on a Mac, Control on a PC plus a single letter; two key shortcuts.0091

These are there but I wanted to consolidate these so you can keep them for the basic selections--get used to these, it'll save you a lot of time because you're going to be using selections a lot, and it's real easy when you can move back and forth without having to continually jump into the Toolbox.0110

So, I would suggest stop the video for a moment, take a screenshot of this, print it out just for reference.0128

Now let's just go over it real quick; here's the basic tools.0135

Marquee tools; rectangular Marquee, M, Marquee tools.0138

Lasso tools; all the Lasso tools, L for Lasso tools.0144

Quick selection and Magic Wand--the Magic Wand tool was created before they had the quick selection tool and they used W so that sticks.0149

Quick selection and Magic Wand--the single key is W and you notice here if you click and hold on your Toolbar on a tool, there's the shortcut listed right there in case you lose it.0159

The Pen tool, which we're going to deal with in future lessons--the real powerful selection tool--the letter P for Pen, and Quick Mask down here which is currently active; Q for Quick Mask.0170

Those are your basic tools and the shortcuts.0182

Operations; adding to an existing selection.0185

When you're in any of these three basic selection tools, or any of them underneath including the dropdowns...Shift will temporarily (let me just demonstrate this real quick) we have a selection, notice we have the new icon.0189

You could click here for the add but you can also stay in the tool as it is, hold down the Shift key, and you see the plus sign and it temporarily changes to the add, and then you can just add a piece, or by the way the pieces do not have to be connected, you could add another external piece or more for that matter.0206

To subtract from an existing selection; Option on a Mac, Alt on a PC you'll get the minus sign and you surround what you want to remove, and away it goes.0227

OK, to hide the crawling ants at any time or reveal them; Command on a Mac, Control on a PC plus the letter H--Command+H, they go away, Command+H they come back--that does not de-select, just hides the boundary of the dashed line crawling ants.0238

We're going to de-select that now, the next one de-select the selection--Command on a Mac, Control on a PC plus the letter D, and to select all which selects everything to the boundaries of your file; Command or Control+A, and you have that and under the Select menu there's the select all and de-select right there as well.0257

OK, I'm going to de-select that--Command+D, there they are, so let's move forward and start working on making selections and how we go about thinking about it.0280

Here's a photo right here, I'm going to zoom it up not by Command or Control plus and minus to zoom down, Command or Control spacebar, scrubby zoom until I get it where I want it.0291

Let's even come up a little higher here--I'll use the spacebar for the Hand tool and move over.0305

What we have here, notice the shoreline is pretty indistinct, and the mountains--I'm disturbed by these two, hang on a second we're going to use the Spot Healing brush to get rid of these, those were sensor dirt.0311

Now we're back and I can think again.0328

OK, we want to select along the shoreline which we obviously see is pretty straight (it better be, it's the ocean) until you get right into here--there's a jetty sticking out but it's all straight lines too.0331

We come right on across and back and it continues with a series of straight segments all the way until we get to the hill, and then running up the hill we're going to have to deal with using the freehand tool to select those.0344

Now there's two ways to do this; you could try the quick selection tool or for that matter (oh that should be interesting) let's try the Magic Wand just for fun at a fairly low tolerance--let's just go a tolerance of 9 just as a guess and we'll click.0359

And Shift to add, click more, Shift to add, we'll just keep moving down and see what happens.0379

Now you see when it gets into the land it's all fuzzy because it's similar color so that didn't work really that well.0386

I knew it wouldn't because we had all this kind of muffled color in there so let's go try the quick selection tool which looks for edges, and we'll just drag along and see how good this thing does.0394

It did a reasonable job but it needs some fix up and adjustment over here, but one thing that it does not have, is feather.0406

The edge...let's go to Quick Mask and I'll show you and zoom it up...the edge is pretty harsh...but it's not completely harsh--the quick selection tool actually does what's called anti-alias, and it does smooth the edge just slightly so that doesn't look too bad, but notice where it's missing in a lot of spots.0418

Right here it need to add more, there is subtract, I'm going to do it another way so that you can see a combination of tools.0444

We're going to take the polygonal Lasso tool, and I've pre-set a feather which is the softest of the edge--I set it at two just to smooth the edge, and what we're going to do is we're going to make that straight edged selection using the polygonal tool.0452

So I'm going to zoom up a little so I can see close to my edge, now you realize we're past the boundaries of the image--I'm going to show you a trick as we move along.0470

We're going to start by clicking on the shore and releasing, just moving around with your mouse, track pad or the tablet, same thing, click...now we can do one of two things; I'm floating around, I can hold the spacebar down, got the Hand tool.0481

I can click and drag over, release and I'm back to my active selection tool--it didn't disturb the selection.0498

We'll click again and I'll do that one more time; spacebar, click and drag and go back over.0506

Now see it did make an error--I actually touched something, this is something I'm glad it happened.0512

If you make a small error, don't stop and go back to the beginning, just pick it up and make the error as small as possible (I'll click down here) and I'll just keep moving, no problem, we'll come back and fix it.0518

This is a key time saver in making a selection any time, click, spacebar, move, if you make a small error or even a reasonably large one, don't waste time going back all the way to the beginning, just keep moving, and now I want to show you the other trick.0539

We're still in straight edges and there's more to go...if I go to the edge of the image window, the document window, notice when I push past it, I'm not touching with your mouse you'll just be free roaming and with your finger on the track pad--notice I'm using the track pad now just move the icon past it.0551

It will push that image out to the other side, so you don't even need to use the spacebar tool necessarily.0572

We're going to do that again...hands up, wands down--I'm using the dreaded touchpad, I hate this thing...that's why I have that, I said it before get yourself a Wacom tablet.0584

We're still following the shoreline until it runs out here, it's coming down a little over into here, and I think that's the end of it--yes, so now we're still hands free--let's zoom out a little bit--Command or Control minus.0600

We've got all the way across to this point, so what we're going to do now, is we're going to go (zoom up one time) we're going to go up past the boundary of the image, I've told you we can do this before.0615

I'm going to click outside, and I'm going to do that, let it find its way back just pressing on the left--click outside, click outside, now come over--look for the little zero, click, and I have my selection.0631

When I save the selection or when I apply it, that boundary will snap to the edge, so rather than try to click along an edge which means you might make a mistake and come inward, always click past it--it'll just snap right back, no problem.0643

So let's take Quick Mask and look at what we've got--Command or Control spacebar and zoom, and we're going to zoom up by the scrubby zoom and take a look at our edge--there was our mistake.0658

Now we can either go back and just surround that by going--take the freehand tool; Option--I just lost my selection, if you've only lost it in one move, Command+Z, which brings me to a point--we're going to zoom out and stop right here.0670

I have this selection, I still need more but it took a while to get this much, so I'm going to go up to the Select menu, down to the bottom where it says Save Selection, and I'm going to save this part of my selection so I don't have to re-create it again.0689

I'm going to make a new channel and I'll call it Shoreline...part one...and I will click Save and now I'm going to de-select and I'm just going to mess around here and de-select.0704

I've gone a couple of moves past, I'm just doing that to add a couple of moves.0720

Now if I go backwards, I can't get back to that selection right away--I could use the History panel, but here's your selection, right here in the Channels panel, take a look, there it is, a black and white selection.0724

It's the black and white representation--there's our little mistake, there's absolutely everything of that selection and notice how it snapped back cleanly to the edge of the image.0738

To load this, you can go to the Select menu, Load Selection, and here's the channel--if you had more than one channel you click and there it is--Shoreline part one and click OK, I'm going to go Command or Control+D, or you can go Command or Control and click the channel.0751

Then to get back to your RGB, you can use Command+2 or hit the RGB channel and we're back--let's get back in the Quick Mask so we can see that mistake.0768

Where was that, we'll just work our way across, there it is, let's get out.0780

Take the freehand Lasso tool with the Option...we need to add that, we're not subtracting--it's Shift, plus, start inside and just draw right across the water there, corrected, we've got it.0785

Let's follow it along, see if there's anything else we need to correct...it's not too bad, looking pretty good at this point, missed a little bit in the water but for purposes here, we're going to take this out (the greenery) Option or Alt, just draw inside, take that out.0799

Same thing here with this tree--Option or Alt, freehand, and just draw it out, this one as well...notice I do this in small sections--stay within your comfort zone--you don't have to do the whole selection at one time, just what's comfortable.0818

And we'll take this piece out here as well...little tree...part of a house, so we'll just take that out, and what we're going to do now, is we have corrected the selection that's already saved, so actually I'll just go ahead and save it as a new one...we'll save over it because it's the same selection with slight corrections but it's still partial.0836

So what we're going to do, is we're going to hit the new channel, Shoreline part one which means we're going to save our selection over the other one...Command or Control+D, look at it and there's the corrected selection.0864

We'll load it back up--Command or Control, go to color, zoom out...it's working pretty good, you notice?0878

Alright, so now we need to add the tree line, so we have the Lasso, Shift to add, and let's just freehand in that area.0885

I made a mistake, I went the wrong way--I want to add a piece--don't worry about it, don't worry about it we'll come back and pick it up, it's that simple.0899

Here we go, I'm not going to deal with the little tree at the moment--I reached my comfort zone adding a piece.0909

I start inside, just so I can get into the rhythm on the edge, go a little further...add another piece, start here, add another piece, and now I've reached the end, I'll spacebar, move down, Shift and I'll just add in all this other sky area; Shift, circle it.0915

Now remember we made a mistake down here--if I look at the Quick Mask, I can see I need to take that out, take that out, take that out and a couple of others.0939

Now I'm going to show you how to use the Quick Mask to do this.0948

You paint--in the Quick Mask you paint with a normal paintbrush...and you notice it's very large--we'll make it smaller; left bracket makes it smaller, right bracket makes it larger--we'll bring it down, check the hardness...I'm going to just add about 50% because this edge is not completely hard.0953

And now...what the Quick Mask does--it paints with the foreground color of the two swatches--that's the one that's overlapping on the upper left--right now it's black, that means it paints mask--black is mask--watch.0975

In the area that was selected, I just painted mask.0991

Now, if I want to get rid of mask, I switch the colors--you can also do that with the letter X to get white as the foreground color, and paint away mask, that's all corrected.0994

We need to add mask, so we'll flip it back to the black, and we'll just paint...this is how you correct with the Quick Mask tool.1007

Zoom it up a little bit--I see some little edges--make the brush a little smaller, and let's just correct these little areas of green that I missed...not too many of them--it looks pretty decent.1020

OK, get out of Quick Mask, got the selection finished, let's save it...Select, Save Selection, now what we're going to call it is Complete Shoreline...I could save over the partial, but I'm just going to save the whole thing--Command or Control de-select--there was our partial, there's the complete one that's entirely repaired.1034

Let's load it--Command or Control click, there it is--RGB, now we can go in and I'm going to do this remember image adjustments--they're all here, they'll work right on the pixels.1060

I'm going to make what's called an Adjustment Layer, which we'll deal with in another lesson, you'll always be using these.1071

Curves; there's the same curves, it's up here and there by the way is your selection saved as what's called a mask--Option or Alt to visually see it, looks just like the channel doesn't it?1079

Because it is.1093

It's the same selection, but it's now attached to a layer in this case--Option or Alt, click again and it's out, and I want to get that curves back--you double click the layer, and we're going to take the black point...1094

Notice the histogram stops right here, there's nothing dark up in that from the shoreline up so we're going to darken it a little bit just by doing that--see how that works?1112

We'll put a point in at neutral gray in between the white at the top and the black at the bottom, right in the middle, and notice the histogram's here--obviously we need to move the curve toward the histogram--see how it comes down a little bit?1122

Let's snap the contrast by darkening the shadows--a point in the shadows and pull them just a little bit, lightens up the sky, and we'll click and close that--now I can turn it off and on and let's zoom up (Command or Control spacebar) and take a look at the edge of the water.1134

Look at that, it's beautiful, and it was a clean edge, just slightly soft, you can see that right here--see how the edge is not 100% hard, it's a couple of pixels--that's that two pixels of feather just softened it just a little bit so that it blends beautifully.1155

Checking there, now we missed slightly but I can live with that because that could be a reflection of the land mass.1175

We'll just keep moving over very quickly, and once again turn it off and on--still looking pretty good, and now let's zoom out a couple and look at the edging up here where the trees are--off and on--looking really good.1182

So what we did in that particular example, is we used the freehand Lasso tool--the polygonal Lasso tool, we used the quick selection tool and Magic Wand as an attempt--it decided to go the other way, and we used the Quick Mask you notice as a visual to observe what we're doing and see where it needs to be repaired and you also see that we can paint repairs with it as we move along.1197

And so we used almost all these tools to create that selection, saving it as we went so we didn't lose things, and in the end we got a very efficient selection with a nice job.1228

That's one way to use them together, let's take a look at another one.1239

I know this lesson's a bit long but I really want to show you this stuff so you understand how to think about what you're doing.1244

Here we've got another image--I think we used this for sky selection before.1252

Let's take a look at it as an overall shot and how we would proceed artistically.1256

Sky looks fine, mountains look pretty good, the greenery looks pretty good--we could use a little saturation increase maybe...overall but the glaring thing that gets me--forget the retouch of the power lines or the dead trees, but in the foreground all this marsh area--the grass is dead.1262

It really contrasts dramatically with everything above it--I would like to add color to try to match it up with this other grass in here--a little yellow with red in it maybe, how do we select that, that's a pretty complex selection isn't it?1281

We've got grass edges, we've got complex shapes, we've got trees in the way, we've got all this little stuff over here, whoa, what do you do here--you could spend a month with the Lasso tool, and the quick selection tool isn't really going to do a great job, it's going to have a hard time finding those edges accurately.1297

We can do some of it, but look what happened already, it slammed out into the water--we come up in here in the tree area, and it went up into the water again and we come over here, and it's just--that is just going to be a nightmare to fix, that's not working.1319

If we try to use the Magic Wand, it's just not going to happen--even if I go up to like, 55 on the tolerance and click, it's just too far, so what do we do--we can't do it with the freehand--that's going to be forever too, how do we do this efficiently?1335

Aha, the Quick Mask.1351

We can create selection from scratch using the Quick Mask function, so now it's active I want to double click it and show you...you can change the color and the opacity and you can also play with whether the color is a masked area or a selected area.1354

For the last example we were using the color as a mask selection.1377

You saw when we made our selection, everything inside the selection was transparent, and we could see the edges where the masked area was.1382

In this case, and you saw how we paint with foreground color, you can just paint, so we could paint a mask and try to paint everything around the dead grass--we'll just switch the color.1391

This time when we paint, it's going to be the selected area so we can see exactly what we want to paint--we'll click OK, we'll get our brush, we're going to make the brush fairly soft--not completely--down around the 20% range, increase the brush size--right bracket key, zoom up a little bit, and here we can just paint black.1405

I didn't have the Quick Mask activated--it was painting black on my image--click the Quick Mask--you don't see anything, just see that the mask is highlighted, now we can paint, and there it is.1430

All you have to do is paint the grass...very simple, so we're just going to go along...we could make that brush even softer, I can see that right now--notice how the edge--we could stand and just go ahead and have a soft edge on it, make the brush even a little larger...and just painting.1443

Now we're painting by the way at 100% opacity because we want to just completely select--this is not a mask this time, remember we switched it over in Quick Mask so that we are painting a selection, so let's go into the dead grass back in here, come on up...get fairly close--you don't want to get too bad--make the brush a little bit smaller.1465

Notice how quickly this is working?1491

Back in here--I can make it even smaller, I can even pick up that little edge there, we can even go along the shoreline here, and select this section of dead grass back in there--fill it in, fill in a little we missed right there...anything else?1495

Yes, we got another dead section out here...right down to there, and that's pretty much got it...looks pretty good, so now as soon as we click this, it's going to turn it into the selection.1512

There it is, remember that's because we made this color indicate selected areas at this time, so now we have the selection--what do we do with it--we made a selection?1531

I heard you say it, save it; Select, Save Selection, we're going to call it Dead Grass--that'll tell us what it is--click OK, there it is in the channels.1544

I'm going to de-select it, hit the channel, zoom up and you can see where I painted, the channel value is--see the spots were not filled in so we can go back now on the channel and paint in black...and paint it white, excuse me, and fill back in any of those little spots that we now can see.1557

That's where the channels really become handy--you can see if you missed anything on the inside--that looks pretty good, so we will load it, Command or Control click, go back to RGB, and there's our selection.1579

Very complicated selection done very easily by painting with the Quick Mask, so let's go ahead and see what happens.1594

We want to do hue saturation, so remember it could've been Image Adjustments--do it right on the pixels--but I'm going to use hue saturation in an Adjustment Layer, it comes up and there again is that selection saved as a layer mask--the same selection as we have as a channel, and we're going to double click and we're going to take...1600

Actually I didn't want to do hue saturation--I'll leave that alone for a moment--I'm going to reload that selection and you do it on this mask the same way; Command or Control click the little thumbnail, it's loaded.1625

I wanted to do a color balance...my mistake, but we'll leave that when we haven't made any modifications with the hue saturation.1637

I'm going to hit my screen view and move this over so we can see it, and in that area because it's got the mask on it, if we add red notice it's only doing it in that area--a little bit of red, and bump the yellows, oh my, that's looking pretty good.1646

Actually...that's pretty nice.1665

Now, I see right now that the hue saturation of that grass is more than the other grass, so what we're going to do is a little trick; we're going to take the hue saturation mask, which right now is a little advanced, is...1670

This is the selected area--the dead grass--actually what I'd like to do is select everything else and up that hue saturation--you understand--leave the grass alone.1693

So we're just going to take and highlight that--go Command or Control+I and look what happened...it inverted that mask so that the hue saturation is working on everything else--you could've done this another way (let's take it back) we could just load the selection, go to the Select menu, go to Inverse.1702

And then we could trash that particular thing--now notice the inverse because the crawling ants are on the outside of the image, and are going around--let's check it with a Quick Mask...see?1725

The selection is the inside, everything else--excuse me, that's not right, we changed that.1738

We're going to show masked areas--click OK, and go back.1745

Now we have masked out all of the dead grass and the remainder of the picture is what we're dealing with, so we're going to go hue saturation of everything but the grass, following me?1749

We've inverted--see it's exactly--here's the color balance on the grass, and here's the hue saturation on everything else, get that back--Option or Alt (get that away) and open up the hue saturation and we're going to take the master saturation level and just up it, and there it comes...perfect.1764

Perfect, and what I want to show you--let's zoom up here and look at our color balance, which is what we did, and we'll turn it off, and turn it on--look, with those soft edges on that selection I can't see any evidence anywhere, even in the water, look at that...1790

Beautiful with the soft edge of that selection, you don't see any problems with blending--that's the key here (close that, turn it off and on) look over in there, beautiful job.1811

So there you have how you work multiply with separate tools to make singular selections, how to save those selections as you go along to save yourselves trouble.1828

Also, how to use the Quick Mask tool--let's go back to our original title...and we painted with a Quick Mask...let's put another layer on top...1843

We've painted with the Quick Mask to adjust a selection...now you can paint away or paint more mask.1859

We also painted a new selection in the second one with Quick Mask, and then we took two examples and used multiple tools in singular selections as we built them up piece by piece, all using the tools and functions in Photoshop CS6 for selections.1868

Hi everybody, Michael Brown with you here again.0000

Welcome back to educator.com's Adobe Photoshop CS6 course.0002

In this lesson, we're going to be talking more about modifying and perfecting selections and making them flawless.0007

In the last few lessons we've looked at the tools, how to make, add and subtract, modify, paint selections in the last lesson.0016

We looked at feather, how to adjust the softness and thickness of the edge.0024

In this lesson, we're going to go further into refining the edge of the selection.0029

First of all, we're going to do a little recap on the use of feather, we're going to go into the refine edge dialog box.0035

If you look at your Toolbar, and every one of the selection tools over here--it's grayed out right now because we don't--I'll just make an active selection, and now you see that the refine edge button is highlighted.0045

Also with the Lasso tools--there it is here...with the Magic Wand tool--there it is there, and with the Quick Selection tool, it's even there.0063

Now the Pen tool does not have it, but once you get a selection with any tool that does not have the easy access to the refine edge, you can always go to the Select menu and right above the Modify dropdown menu you will see refine edge there!0073

So as long as you have an active selection--doesn't matter what tool you're in--you can get to the refine edge dialog box through the Select menu.0092

OK, alright, so let's go and take a look at this shot that we did before and I want to do a little bit of recap and we'll move forward at the same time.0101

Remember we selected the sky in this particular shot, and we found that the Quick Selection tool did not necessarily do the best job because as it looked for the edges, you can see it right there, it dropped down because it was unable to detect that specific edge, and it dropped down to find a harder point of contrast and texture.0114

So we tried the Magic Wand tool, and remember you can adjust your tolerance--the wider the tolerance, the wider the range of color--if I run this up to like 65 and I click it's probably going to go crazy, look what happened.0139

It pulled all the way down past the mountains, almost down to the greenery.0157

If we drop back to about 35, it's still too much, but if we drop down around let's say 11, we don't get it all--there's the band of similar color to correspond to a tolerance of 11...0162

Then we hold our Shift key to get the plus sign or you can go directly to the add icon, click and expand it...I didn't add, I just did that so it took a new one...Shift to add, there's that--Shift one more time, and you can now see that.0180

Let's zoom up with Command on a Mac, Control on a PC and the spacebar, we'll scrubby zoom on up...and here we are--you see we got a really nice tight edge to the mountain line between the mountains and the sky.0197

We're going to take a look with Quick Mask at the edge of that selection--let's zoom it up, Command or Control plus a few times, and look what happens with the Magic Wand, and the Quick Selection does have anti-alias in, it smooths slightly but not necessarily enough.0216

In this case, you can tell we have no feather--you can see that by the jaggies, so that's going to be a little prohibitive to make a smooth blend, so how do we deal with that?0234

Remember in the past, we could have gone Select, Modify, feather and picked a number, but you don't necessarily see immediately what the number's doing until you type it in, then you back to Quick Mask and you go "gee, that's a little too soft", so we're just going to go ahead and back that out to where we've got the hard one.0246

Well, there's another way, and that, as I pointed out, was the refine edge dialog box--it's a very powerful little tool, so in this case we're going to click refine edge.0270

Before we go into modifying, let's just take a look at the overall box and how it's laid out--the dialog box.0286

Up on the top you have a choice of view mode, when you click on this little arrow we get a dropdown menu.0294

Now we are highlighted on the overlay mode which is the same as the Quick Mask--I particularly like this view because we're used to seeing it anyway.0303

If you want to just see the crawling ants without Quick Mask--there you have it, you can also make the masked area black with transparency for the selected area.0313

You can also go white for the mask plus transparency, or remember the channels which we're going to talk about in the next lesson, there's basically viewing it as a channel--white and black, you can view it on a layer or you can reveal--that's if we had transparency on a layer, that's what the checkerboard is.0325

Let's just go ahead and leave it at the overlay--to me this is the best way to look at it--I can see what's going on, I recognize it, I'm used to using the Quick Mask, so why get used to something else--have it the same.0350

Alright, now there's a couple of other check boxes back here.0363

This is called Edge Detection which we're going to talk about in the next example.0369

Down here below that we have a box--adjust edge; smooth, feather, contrast and shift.0375

I'm going to cancel for a moment, remember the modify?0383

Smooth, expand and contract which is the expand...I forgot what it said down here--shift edge is the same as expand and contract, the border is the same as right here.0387

In other words we have the same tools except now this has been here--the modify, all the way along with Photoshop, but now it's incorporated into this dialog box refine edge so you can actually watch what's going on!0408

What a wonderful feature--you don't have to do something, go out see if it works, if it worked fine, if it didn't you have to undo it, go back and do it again and so on.0425

So, in this case we're just going to punch in let's try one pixel of feather, and right off the bat it shows you what's going on...look.0433

If we just scrubby zoom it (I think we can scrubby) we'll just take it down to zero, we up it to let's say two or three--you can see it's getting real soft, but one pixel, remember when we were talking about feather and I showed you the example?0446

To take a hard edge and just make a nice, clean, smooth edge, one pixel of feather.0463

You never want to leave it at zero, so now you can see already that we have a really nice, smooth edge (we'll zoom out just a little bit) see how wonderfully smooth that is--just perfect for what we wanted to do.0469

So that shows you how we'd use just the feather right here, I'll give you a preliminary example of what shift edge is.0485

We have a selection of the sky, if we saw some edge you could either go expand (that is widen that selection) notice how it pushed down and you can see the mountain top, so we took the whole selection and made it go outward, or you can pull it inward and let's go to zero first...0494

You can see that's the zero point--watch what happens...notice it jumped inside--hard to see here because it's just a solid color, so you can shift that edge--that was the same as you saw under the Modify, expand and contract.0516

The contrast increases the contrast on the edge, and the higher the contrast the sharper it gets, so contrast effectively sharpens up and hardens the edge a little bit, smoothing does exactly the opposite, just tends to--look at that, see it tends to take the little corners out, it really smooths off the edges a lot.0530

Let's just back that off a little bit and you can see what it did--it actually on the mountain top, when we got the full smooth--you can see just a little bit of white where it was zero smoothing, see how it follows the contours better?0553

So you have a choice of smoothing, feather which softens, contrast which actually sharpens the edge, and shifting the edge--all four of these options are right here, and then there's this decontaminate colors which has to do with the edge detection--we'll deal with that down the line.0567

So all we had to do here was put in the one pixel of feather--we see we have a nice, smooth edge line--we click OK, we can just double check it if you want and there it is.0583

Now we've done that--that's how we adjust the feather the easy way, so you can see exactly what you're doing.0593

Alright, let's go over to...this flower right here, and we're going to deal with...0600

In a future lesson we'll be using this flower in another image to make a photo composite, but right now we're going to talk about the selection of the flower.0611

Now I think we did this in selections--we also used this flower and showed that the Magic Wand tool having to click around even with (let's run that up to like 55 and click)...what did it do?0621

Ah, there we go...you notice that it didn't get all of the areas of color and then if we Shift click, it's going to take some time--it'll eventually get there, but we're having to spend time.0645

Time is the critical factor when you're making selections and we've done a pretty decent job here with this multiple clicking, it's OK, but we could've done in faster.0661

In this case, we use the Quick Selection tool; drop our brush size down just a little bit, and remember you don't go all the way out to the edge, let the tool find the edge--it's looking for edges, and notice as I just drag here and stay away from the edges it finds them, it's going out to look.0672

And we just keep coming around...and it missed a little bit down there with some greenery but that's OK and I'll drag across here, and notice how much more quickly we made that selection using the Quick Selection tool.0693

Now, we're going to modify that a little bit because we missed a spot down here, we're already on the add icon so I'm just going to add a little bit more right there--it cooked and found that edge, and I want to subtract here so I'll just use the icon this time, and come around fairly close to the flower but I don't want to touch the pink because if I touch the pink it'll just move on inside.0708

I think we've done a pretty good job--let it cook, just a little bit right there on the corner, OK.0736

Now we'll check it again with our Quick Mask, but in this case the Quick Mask is red, doesn't work really well--I can see already we missed a couple of spots.0743

Now, the way we're going to deal with that and an edge right here, we'll just go ahead and paint more mask, remember?0752

So we'll just go over where it's only a small percentage with 100%, clean up that little edging right there, make the brush a little smaller, and we'll paint up around the edge--now we can't do a tremendously accurate job, otherwise we'd spend an enormous amount of time, but we'll take care of that right now.0759

You can see we're just a little...I hope you can see this, see how it's a little outside the edge of the flower?0783

It went slightly past--you can see that in every aspect--see the little dark edge, so we got a little too far, not bad--oh yes there's a good spot to look at it right there.0792

See we got just past the edge of the flower?0805

OK, no problem.0809

The first thing I want to do is change the color to blue so we can see this more accurately...and we'll go back in and now I can show you that on the edge.0810

See we're just a little out from the edge--the Quick Selection found that, and you do notice though (let's go up to the top here) that the edge is not really, really harsh like it was with the Magic Wand, it's got an amount of harshness--you can see edging...see right here you can see pixels but it's not as bad--that's that smoothing slightly.0821

But we need to take care of that, so OK, out of Quick Mask, back to the refine edge dialog box.0846

Now we're in the Move tool, I'm not even going to go back--Select, refine edge, there's my dialog box and there's our normal view again--back.0853

The first thing I want to do is we look at the edge, I want to feather it just a little bit but instead of just feathering let's try smoothing...now see what that did, it actually softened the edge too much--I'm sorry, I was using the wrong tool.0863

Smoothing just did a pretty decent job, look at that.0880

I'm going to zoom that--let me find a brighter spot on the flower so you can see it better...yes, here we are.0884

Let's go back to zero...and let's smooth it and see what happens here, it's hard to see but it's taken out those corners--remember that's what it does, we want to get all of the shape, so let's feather it again.0892

Let's feather one pixel...and it's hard to see what happened...let's go around to this side right here and back that off--there you can see it a little bit--I'm actually going to feather two pixels.0906

We got a little softer, you see that?0921

Watch right on the edge, now it's at zero pixels, now it's at two and there's a reason I did this--I'll show you in a minute.0924

OK so I've feathered it which means it went outward a little bit, and when we're getting past that edge again so it's going to have an excess edge--the reason we're doing this is to cut out--let me show you, let's stop right with this, and we're going to cut the flower out...0931

Command or Control+C to copy, Command or Control+N for a new file, what it does--if you've got something in the clipboard that you've copied and you go Command or Control+N to make a new file, it will make a new file that is just large enough to contain the object in the clipboard.0950

So now if we paste--Command on a Mac, Control on a PC, the letter V--there's the flower, but see what happened, by feathering the two we softened it and we got too far out on the edge, so if we're compositing this item it's going to have a distinct line around it that gives away the fact that it wasn't real, so I'm going to undo that, go back to our flower...0976

And so what we're going to do is we're going to go back into the refine edge box again.1001

Now we've feathered it, we've already feathered it so it has that soft edge, but now what we're going to do, we're going to shift the edge.1006

I want to get back inside the flower so we get away from that dark edge so I'm going to move it to the minus side--watch, see how it pulled in?1015

I'm going to pull it in as far as I can go, I'm going to click OK and you can actually see it, there's your crawling ants--notice how the crawling ants have moved inside the flower, and if we go to Quick Mask you can actually see the edge of the flower is inside the mask.1023

So now when we copy (Command on a Mac, Control on a PC, the letter C) we'll go back to our blank document and go Command or Control+V to paste, and let's take a look at the edge of that flower.1043

Look at that, see how nice and clean the edge is now?1058

And it's also feathered soft but not too soft so you can see detailing all the way around the edge work of the flower, so what have we learned from that?1062

Let's go back to the flower, zoom out a little bit, go into the refine edge dialog box, so originally what we did is we made the selection with a Quick Selection which was a little harsh, we did a two pixel feather this time, just a little more to push it softer.1075

Then we contracted the flower selection inward until it came inside the actual boundary, and with the softer edge, and inside the flower when we copied it and pasted it, it actually removed that hard edge because we come inside, so now you see one usage for the (let's go back over to the flower) for the refine edge dialog box.1095

In addition to feather, you can control the edge smoothness and you can shift it--make the entire selection expand or contract, really cool and this is a real key in compositing is to get those smooth, clean edges, a wonderful one.1124

Alright, you understand that, let's take a look at a third example here, and we'll look at the rest of the refine edge dialog box.1140

You're going to love this one...let me see where I'm at...I want to open up 37...oh I did two untitled, there it is...untitled one, there we go.1149

So here's a scene that we're going to deal with more in compositing, but we want to select the sky in this.1165

We already did this one time but we're going to do it a little differently this time.1172

What we want to do here, is--and I'm not going to concern myself with these right now, we'll be taking these out in retouch--I want to make sure I have a selection that's nice and smooth, gets my edges, but I also want to get the trees.1177

When we tried to get a normal selection by using let's say either the Quick Selection tool or the Magic Wand--Magic Wand ought to work actually pretty well here, let's knock that tolerance down to about 24 and see what happens.1192

Click, got most of it--Shift, click, and that really brought it down in there--let's take a good look at it right on the edge.1206

But you notice, because the Magic Wand looks for areas of similar or contiguous color, when it hits a boundary, it gets stopped.1215

Now, there is a way to expand the Magic Wand a little further...we go to the Select menu, let's go down to Grow--Grow will push it a little further...didn't really do it because it still has the boundary.1228

Now we're going to try one more--Select, similar--it's going to look through the entire image and pick similar color to the sky (and it cooks) and now if you look--let's do the Quick Mask...it's blue now, we need to change it back to red so we can see it clearly...1245

We're back to red and then the color is indicating masked areas.1265

You notice it did a reasonable job of getting inside and picking up all of the colored sky, but it missed some of it--you notice it pushed a little too hard, some of the indistinct edges are now gone away.1270

Let's look at the rest of the image, there was no blue down in the rest of the image so we should be just fine.1287

OK, look at it--it even got down into here, but we need to feather and really refine that, so let's get out of the Quick Mask and let's go to our refine edge dialog box.1294

Now, a couple of things that we can do here...I'll tell you, I'm going to do something that shows this even better--we're going to de-select that and go back and we're going to do this with the Quick Selection tool because it's more dramatic to show you how that refine edge box works.1310

Let's just go ahead and let her find the edges, and you notice in this case we can't expand inward, and it's got down inside the trees but that's OK.1328

We'll go to refine edge again...now, there's all that area where blue should be, so what we're going to do is we're going to deal with what's called Edge Detection, and this is entirely new for Photoshop CS6--it had it in CS5--it's better here.1338

This is a mind blower, I got to tell you, this totally drives me crazy every time I do it and I've been working with it ever since they came out with it.1360

It will find the edges--notice here it missed on the trees and it didn't pick up the sky, what you want to do is you adjust your radius.1369

The radius at this time is zero--if we move the radius up, you'll begin to see it pop.1379

That's the width of the area where the Edge Detection tool is working right now.1386

You can go much larger if you want, it gets way out of control, I have found that the most efficient and the best usage is somewhere around one third of the width of the bar right in here.1393

Then we click smart radius, that means it's going to look by itself and then we have these two tools; refine radius and erase.1409

In other words if we use the refine tool and it goes too far and gets something it doesn't we can use the other tool to erase it but watch, here's all you got to do, don't blink, don't sneeze and be sure you're sitting down because you're going to fall down when you see this.1419

What we want to do is try get the selection to seal the edges of the tree branches, we're just going to take the radius and go away...leave it, and we want to pick those back up and we want to find the blue in the trees.1434

All you have to do, is you paint with the brush and you paint to connect the selected area which is the sky down into what you're looking for--you have to have it connect, so we'll just start painting, and we'll move our way down in the trees...and just make sure that we've covered that entire area.1449

Now I'm going to release, it's going to cook and don't blink...look, that's absolutely unbelievable.1471

Look at the quality of the edging around--I'm going to even clean it up just a little bit more to see if it picks it a second time--it might get it a little better...1480

You're looking at where it picked up the red--that's the mask--so it masked out all those very fine edges and it found the blue in the trees.1493

Let's move down a little further--you can see just a little edging here--we'll just go over that...and it picked back up all that fine detail--here's some blue down there...you can see that--some more blue in the trees here, just come on down in...and look--you can see the blue and all of the fine edges are now picked--this is just an amazing tool, I don't know how it works.1501

Somebody was pretty sharp...and there you have it again, once again it got the detail...but one of the things now I'm going to tell you--we'll just move on down here very quickly--I'm going to back out a little bit because you don't need to see all of it--here we go again, there's a big swath of blue in the trees right there, watch...1524

My gosh...I'm sorry, it just blows me away every time I do this tool.1545

Now it may not be able to extend down into this area here, we missed a little bit--it can't find everything.1552

Now the Grow feature probably would, we may even try that in a little bit to see what happens--I don't want to ruin our edges though...looking pretty good, let's see what we get in this tree...oh my gosh, oh my gosh, here's another big swath.1561

Now you notice every time I do this I paint from the selection down into and make sure that it's all connected, let it go, and there you have it, and if it doesn't get it the first time, paint it a second time and the algorithm will pick it back up, so there you have that one.1579

Now we've got a fantastic selection--now one of the things that you have to keep in mind here, when you have extremely fine detail like those little tiny leaves and branches there, we cannot feather this.1598

What we should've done, is with the edging there is the very first thing we did was put one pixel of feather, then you go back across with the Edge Detection painting tool, and even if it was one pixel where you paint, it will find all of the detail right out to the hard edges then you can have your clean edge along the grassy areas down here--nice at one pixel and everything else would be perfect.1612

We'll click OK, I'm going to save this selection as an alpha channel, we'll just call it Sky With Edge Detection, and click OK and let's take a look at it and see how it really did.1638

De-select, and let's zoom it up...look at that, just absolutely remarkable the amount of detail that was pulled out by this tool.1657

Now, here's another thing--we're going to get into alpha channels right now.1673

If you can see it on your monitors, right in this edge here below there it's a little gray looking, see down in here--let me get the brush small so I can use it as a pointer--right in there, and right down in there it's a little bit gray.1679

In other words it couldn't tell what's going on and in other words that's kind of a semi-transparent area, anything that's gray.1694

We'll talk about this more over in alpha channels...1701

OK, got you covered on that, so there you see this has done a pretty good job, and let's go back to RGB.1709

When we load that selection let's just play for a moment here, I'm going to load the selection and I'm going to go ahead and do a hue saturation and just do a weird color change on the sky to some purplish color...1718

And let's zoom up...and you can see, look at that.1734

You can see how it's just done a phenomenal job through there.1739

What that is (let's get the selection back) go back to the refine edge dialog box, that is the principal controls within the refine edge dialog box.1744

Output decontaminate colors--when you're selecting hairs, you can see with these fine edges this is beautiful for working with portraiture, and if you have kind of the thin area at the very outer part of someone's hair where it's almost a little blurry, it can be really hard to pick up and it's going to be light.1759

When you composite a background in you'll see that, and this output decontamination of colors helps to clean that up on the edges so it blends it in better.1778

We don't need that right here now so there we have that.1790

Let's go back to our title box, and put up a layer and let's see what we've done so far.1793

We have...done a little review of feather, delved a little bit further into it, we've gone through the refine edge dialog box and you see that it takes everything (let me just do a quickie again, there it is right there) all of these controls that were under the Modify are all in the refine edge dialog box.1800

Feather, sure you can feather it and actually watch it feather, so you don't have to have any guesswork and if for example that's feathered inward too much, you can always expand your selection or contract it, or increase the contrast to change that a little bit, or smooth it out to clean out the humps, all sorts of stuff.1827

Edge Detection feature we went over, which is phenomenal for selecting fine detail, and the output we haven't dealt with yet here but we will at another lesson, and I showed you how to prepare a selection for cutting out an image.1847

For compositing with the flower, what we did is we made the selection and then we contracted it with a little bit of feather so that we cleaned up the absolute edge so it's absolutely perfect when it is composited.1862

So that's a summary of everything we've learned in this particular lesson on the refine edge dialog box and refining an edge in Photoshop CS6.1878

Hi everyone, Mike Brown back with you, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In the last several lessons we've been talking about the most important technique in Photoshop; making selection.0007

You need to make them flawlessly, you need to make them efficiently, and along the lines of being efficient is how quickly you can make that flawless selection without having to start over and do it again.0013

Alpha channels are a real life saver, what they allow you to do is save any selection as a black and white representation that can always be reloaded as the selection.0029

There's also some other things that it can do; number one, if you have a selection that you use repeatedly, it allows for easy retrieval.0044

Number two, it's a time saver, if you're building up a complicated selection, you can work for a while on the selection and then save it.0053

That partial piece of the selection--go ahead and save it, so that if you continue to work and you blow it and somehow you lose the selection, you don't have to go all the way back to the beginning, you just retrieve the partial selection and lose a little bit of time.0065

And then it's a black and white visual that can be corrected--it's used for correction purposes.0081

And then I'm going to talk to you about a feature called Calculations which is sometimes a little bit visually complex--it's a time saver that allows you to create new selections from existing alpha channels, so let's get started here.0087

Here's a shot that I have, we already have a selection--I'm going to trash it...I'm going to trash both of them and start all over again.0106

This is a fairly easy one, we're going to take our Quick Selection tool, we've done this before, just run it through, and what we have here is a selection that you can see with the Quick Mask.0119

We're going to go to the Select menu--by the way your channels panel is a panel under the Window dropdown menu, there it is as channels.0131

To save a selection go to the Select menu, down at the bottom save your selection, we're going to call it Partial Sky, and we'll click OK, and I'm going to de-select--Command or Control+D--de-select.0141

We've lost the selection, I realize that we can get it back with Command+Z or with History but let's say we've worked on some other things like done a little bit of retouch...let's just go here...I'll do a couple of little just blips around, and now you can't get back your selection because it's far back.0157

You could on the History panel...unless you've gone 40 or so more, but let's just say you can't get it back any other way.0181

You've always got...come on, the channels open up...this is your channel, the saved selection is right there in black and white--white being the transparent, black being the masked area, all you have to do is Command on a Mac, Control on a PC, click the channel--you don't have to click the thumbnail--just the channel.0191

There it is reloaded, click RGB or the shortcut Command or Control+2, and there's your selection back.0216

Now this was the raw selection, so let's make an adjustment on that real quickly...we'll go to the refine edge dialog box, let's set up our Edge Detection tool that we dealt with in the last...what happened, I went to the wrong view...0224

And we're going to very quickly just run this thing down the edge one time and let it cook, in other words we're modifying this selection...and there we have it, done.0245

Click OK, and now we have another selection.0260

We can save this one; Select, Save Selection, we're going to call it...Sky Two...and save that.0264

Now we're going to de-select, we're going to highlight the channel and zoom up to see what it looks like.0277

You can see that with the channel loaded, you can also by the way load the selection by going to Load Selection, and pick the channel--we're going to go to Sky Two and load it.0284

Look at it under the Quick Mask, you really can't see, even if we go to 100% color...you can't see, just barely any imperfections in this particular selection--it's hard to see with the color.0297

But over here, in the black and white, notice for example, it partially selected the land area, so if we were to strip the sky in it would partially show through--that should be all black, just the sky should be white, so we can paint this to correct it.0317

Paint with again, foreground color--in this case it's black, and we just very quickly take our brush and blacken out--we're going to paint at 100% here and I notice that the trees don't go down in there--there's no selections.0337

We've got all that, and you can see, if we go back to RGB this is all greenery, the only show through is right there...so we can paint the greenery and we don't want things to show through in that particular area, we'll just paint it.0352

And get that taken care of--in other words, we're correcting any mistakes on a selection--there's another big piece right there--by simply painting on them and if I make a mistake, just like with selections, keep going...come back, flip the foreground/background and just paint away.0370

And we've collected that, go back to black again, go back through and just clean up this area here that we know is not see-through, and let's just come back very quickly--there's a little bit more...you get the point, right?0389

OK, so...yes, we'll just leave it at that.0404

Alright, you see that--there's another one, I just can't leave it alone.0409

So you can correct an existing alpha channel by painting on it and it really helps you with things that you can't see by using Quick Mask, now this Sky Two is all fixed up and ready to go, so if we either go Load Selection with Sky Two, we'll do it that way this time...0413

Now we have a clean selection for use, go back to RGB and we're there, so that's one of the primary things; black and white visual of the selection--easy to see and correct any mistakes that have been made, so you can correct a selection as an alpha channel.0435

You can also easily retrieve it obviously as long as it is an alpha channel you can come back and forth, if you want to load it several times, and as I pointed out, if you're making a complicated selection, you can continually save the various...iterations if you will as you continue to improve the selection, save the bigger and bigger piece of it and you can throw the other ones away.0455

Very, very simple use of alpha channels.0482

Now, I want to show you another usage of the alpha channels--here's a composite I made and you can see there's a whole lot of channels in here.0485

Now, I needed a channel...let me see if I can find that one...hood logo I need...let's see where it is...oh I know where it is down in here, I have so many of them sometimes it's hard to find them...there it is.0495

This particular selection is--I'm going to load it so you can see it--Command or Control click--wrong selection, there it is, Command or Control click, go back to the RGB mode.0517

This is part of a windshield, and what I needed to do was put a graduation in here, a gradient, so that I can add a little bit of haze that's completely see through here but as it curves around I needed that little bit of haze on it.0530

So what I did, is I made a clean selection of the windshield and I will save that permanently so if I ever make another mistake I can completely reload it, I'm going to duplicate that selection...duplicate channel.0547

Now I have a copy down at the bottom.0568

I'm going to load this selection, and what I need to do, is I need to make a gradient...across that channel starting about in the middle--in other words block this and open it up so I need to go black to white across there.0570

So now we have a new channel by duplicating, and the selection's in place so all I have to do is get the angle right...one more time...and there we have it.0589

There I have now made a gradation across the windshield from a copied channel--there's the actual windshield, there's the modified one as a new channel, so that allows you to modify selections by gradients on a channel as well and now I can apply whatever I want on the actual image--let's load it...0604

And go to the image and now if I wanted to for example put a light blue--let me just choose...same color foreground/background--I'm going to do a gradient in there at 10% and just click and drag, let's see what happens here.0628

Let's go back and right there...now you can see the haze--let me do it at 20%, see a little haze build up?0648

Off and on, I'll do it one more time--now you can see that I'm adding that haze and protecting the other part, so that's one of the other things you can do with channels--you can modify them by duplicating and correcting them and still saving the original so that if you ever screw up, I can always go back to this and start all over, make another copy and go from there.0655

Alright, there's another thing you can do with it.0677

Now, the third thing you can do--let me show you with this example here...is save time by creating new selection from existing selections, so that you don't have to make a complex selection.0680

Originally, when I made this, when I stripped the car in to begin with, I had to make a selection of the car...stripped it in.0694

I also made a selection of the car in its original shadow, here's the original car right there--see the shadow?0703

So I made that one and it was pretty easy to add, I already had this selection, so all I had to do was just make a selection of that black area and come back inside--I mean I could do that--let me show you real quick how we do that.0712

We're going to go back to the regular freehand tool, hold down the Shift key and I'll do this roughly just to give you an idea, and you know you do it in pieces...that's why I say when you're making a complex selection--this is not accurate but I just want to give you the idea.0728

So there we have that piece and add the little black piece, and low and behold, then if I save this, and if it was accurate, I would have had this selection, pretty easy to do.0745

So now I have the car, now I have the car and the shadow, and now I want to make the car plus the shadow plus the pavement--now that one's really easy, all I have to do is load up the car and the shadow, take my straight polygonal tool, and with the plus (I'm adding) click, click, click, click, click, and save that selection and that's what you get.0759

So now I have the car, the car with everything and the car with the shadow, pretty easy to get there.0789

What I really wanted to get to, is I want this complicated selection just of the pavement.0795

I could go in and spend the time of making it but here's a much easier way and the feature is Calculations.0802

You go under the Image menu, down the Calculations and here's the box.0809

We have source one, source two, any blend mode and opacity, and the results, that simple.0816

You're always going to be sourcing in this case when I do it from the same document so the source is always the same, the layer; we don't worry about the layers, we're just using channels, so what we're doing is using Calculations on channels.0826

So what I want to do (let me cancel for a moment) I want to take the overall and I want to take away the car and the shadow because I want to get the pavement, so alpha two is the overall, alpha three is car and the pavement, so if I go to calculation and I go alpha three, doesn't matter which order you do it, you only have to have the two of them.0841

Alpha two--actually we'll do it in the right order--alpha two is everything, alpha three is the car and the shadow, and what I want to do is the difference between the two--I want to take the one out of the other one and you can actually see the result occur right there, click OK, and it created a new channel, right off the bat.0867

I didn't have to make any selection at all, time saver supreme.0889

Let me show you one more, I just did this last night, somebody was interested in getting a composite done...where is the composite?0894

Must be...come on, there it is...go back to RGB.0908

This was the original shot that I was given right here, just a little boy in some playground toy.0914

They wanted me to composite in his sister, which is this shot they sent me--this is not professional work but we've pulled it off anyway.0921

Put that together with him, and I looked at this and I went "well, I can put her outside this tube in the back, but that means that I have to make a selection of all of the open area so that we can do that".0930

And what I have here (let me turn her off) there we have the shot--I made the selection very easily using our refine edge of the open area, so we had that and I saved it as alpha one.0949

Then I made a selection of the girl...and that's all of this--she's pasted into that as a composition, but the entire girl to that point, and I saved that selection, and that selection is that one.0966

And what I wanted to end up with, is a selection of...let's go down one...just the girl behind the tube, so that I could make a blur on her and also make, you see a curves and a hue saturation layer.0984

But how do I do that?1011

Now yes, we could go in and I could make that selection but it's not going to accurately fit with the real selection, so here's where we use Calculations again.1013

We have alpha one, which is the opening.1025

We have alpha two, which is the girl overall, but we want to fit her in here, and how do we do that?1029

We'll go back to Image, Calculations...get your head around this one, you can almost see it right there--it's kind of there.1037

We're going to take alpha one which is the opening...there it is, and we're going to take alpha two which is the girl, and you see if we use difference that didn't work, if we subtract them that didn't work, if we add them it kind of worked, but now what do we do?1050

Now, there's another blend mode--I don't use all of them, I use for Calculations either add, subtract or difference, and in this case I found one that works--the multiply blend mode.1075

When you're putting two things over each other, if one of them is black, doesn't matter what the other one is, it'll go black.1089

If they're both black it'll be black.1097

If they're both white, it will stay white, so if we look--I'm going to cancel for a moment...anything outside of that opening...has black, so anything outside of that opening will definitely disappear.1100

Anything outside of her is black, and that too will disappear--the only place that it'll show is where both this one and this one are white with multiply, so we go back to the Calculations, we go alpha one, alpha two, go to multiply, and look what happened.1122

The only place where they overlapped in the selected area is here behind it, and so by very simply just taking a blend mode of multiply on alpha one, alpha two, we came up with exactly the selection I needed, didn't have to do a thing, and the edging and everything is absolutely perfect.1146

We load it, go back to RGB, and now we can apply anything we want to through the use of Calculations.1167

So, we now have looked at alpha channels, basically saved selections that can be worked on, retrieved or used to help you as you're building a complex selection.1175

And also we've taken a look at Calculations, which allow you to add and create new selections from existing selections slash alpha channels.1187

Another really cool feature in Photoshop CS6.1200

Hi everyone, Mike Brown here again.0000

Welcome back to educator.com's Adobe Photoshop CS6 course.0002

In the past several lessons, we have been learning how to make selections flawlessly so that you make your corrections and they blend and don't show any evidence of work.0007

We've gone over the Marquee, the Lasso tools, Quick Selection, Magic Wand, we've looked at the Quick Mask feature which allows you to paint corrections to existing selections or paint new selections from scratch.0021

We've also looked at the refine edge dialog box, we've discussed feather that allows you to play with your edges, all told you have almost all of the tools necessary to use in your arsenal to select almost anything efficiently and flawlessly with one exception.0040

That is the Pen tool.0060

The Pen tool is without question the most powerful selection tool in Photoshop--it can select anything.0063

Now, the Pen tool specifically is best for super precise, smooth curved, sharp cornered, very complicated objects that need perfect long either smooth or hard edges.0071

You can do some of this with the other tools but the Pen tool predominantly does that.0091

In this lesson, we're going to show you what it does, how the actual tool works, and this is the key--most people don't understand how to use the tool, because if you don't understand what it does, then you get confused.0095

So I'm going to de-mystify that part of it, just show you the basics of using it in this lesson and then give you some examples of where you'd use it and show you how well it works.0111

In the next lesson, I'll show you how to refine it, setting it down, modify it, and just hone things in, so let's get started.0122

First off, the Pen tool down here in the Toolbox--you see it highlighted, the shortcut (let's just pick another tool) the letter P as in Paul or P as in pen, and there you have the Pen tool.0132

The fly out menu has four sub-tools, let's very quickly go over those, and let me find a blank document.0144

The first one in the fly out is the free form Pen tool.0153

Now, if you remember the Lasso tool, very simply makes free form selections.0158

The free form Pen tool makes free form pas, and that's the difference between the Pen tool and the other tools--the Pen tool does not directly create selections, it creates pas which are vector which is mathematical representations of a shape edge.0166

You can take this path and convert it into a selection by using the pas panel which is under the Window menu; go to the dropdown menu and you can make a selection from the existing path, and then of course if you hit it with Quick Mask you can see that we have a selection.0192

Let me show you the difference between a path and a selection.0213

We're going to make just a quick path right here, then I'm going to go back to the Lasso tool and make a quick selection...0218

Go to Quick Mask and zoom it up...remember the jagged edges from a zero pixel feather, there's the edge of the Lasso selection.0231

Look at the edge of the path, it's absolutely perfectly smooth with no thickness, no jaggies, look how far up we are on the pixels and yet that edge is still perfectly smooth.0244

That's because it is a vector path.0259

Once we convert it to a selection...now it's the same as the Lasso tool, OK?0263

We're creating pas, and converting them to selections.0274

Alright, now as you saw the free form tool basically does the same thing as the Lasso tool, you don't need to use the free form tool, waste of time in my opinion, efficiency here, why make a path and go over and have to convert it to a selection--just do it directly.0278

OK, the second and third sub-tools; add anchor point and delete anchor point, you can do that directly with the Pen tool without having to go over here to the menu, a time saver, so we've eliminated the free form, add and delete.0295

The convert point tool--let me show you what it does and we don't need to use that one either because you can do that also with the Pen tool but let me show you what it does.0311

Take the Pen tool, and I'm going to make...wrong tool, I want the Pen tool...I'm going to make a shape that has a whole series of curved segments to it...0319

And I'm doing this carefully because I want you to see the curved edges...this by the way is how the Pen tool works--you click and drag to set points, and pull these arms to create the path.0340

Alright, we have a path here...now, if I highlight the convert point tool--you notice I set a bunch of points and it disappeared, you can always get them back notice when I come into the document I have a white arrow, click and drag around your path and the points return.0354

Now they're back there.0376

The convert point tool--notice it's shaped like a hard angle, that's because what it does, it converts curved point segments to hard corners, for example this one right up here.0377

As we roll over the point, notice it turned into that convert point icon and when I click, it becomes a hard corner.0392

If I click and drag again, I can re-convert the point back to a curved corner--let's do the same thing right here; click to a hard corner, click and pull the arms back out to convert so it converts from curve to hard and back.0403

That's what it does, but this can be done also with the Pen tool--all you need is the Pen tool and a key command.0423

Alright, so now you understand that.0430

When we're in the Pen tool let's look at our Options bar...the Pen tool can create pas or shapes, let me show you what a shape is; basically it is a path that is filled with a color or texture, so I'm going to fill it with red.0433

As I create my shape, it automatically becomes filled with the color as we move along making the new shape...and then you end up with a path--you still have your path that is filled with a color, that's what the shape tool does.0451

But we're dealing with pas that can be converted to selections because this is a selection tool.0475

Alright, now, I'm going to show you one trick that's going to save your life.0483

All of the other options you don't need to deal with at all with the exception of under the gear and I've already checked it but I'm going to uncheck it.0490

Remember...forget the remember, I'll show you.0497

When I click and drag a point and move my cursor, I don't see any path or anything no matter where I go until I click the next point and begin to drag.0500

It makes it a bit difficult because we're trying to fit these pas around a shape to end up with a selection so I really can't see what I'm doing here, it makes it a little bit difficult.0512

So if you go right now and drop the gear down, notice the rubber band option--check it, leave it forever, this is a life saver--now watch.0526

Click and drag, notice that the path follows my cursor, so I can see what I'm doing which means if I was on a shape such as this now, and I click and drag a point to make my path, I can see where I'm going, I can see the path, and then when I can see exactly where I want to go, which makes it so much easier to set the points and not have to try to fix mistakes because I couldn't see the path.0536

That's the value of the rubber band option.0573

Check it, leave it.0576

OK, now we're going to talk about precisely what the...Pen tool does and how it works.0578

Let's get this, and let me find that...I'll just make another one, to heck with it, it's easier.0595

And take that one away and put it right over here, and drop it down a notch--alright.0605

What I've got here, is a page out of a textbook (I wrote the textbook so it's legitimate) and this shows you the secrets to the Pen tool, right here.0611

To utilize the Pen tool, you can use it first off in the most basic form, just like the polygonal Lasso tool.0626

Polygonal Lasso tool, remember, drops straight edged segments and when you close it off you've got a selection.0636

The Pen tool itself, if you don't click and drag, just click...click and straight segments you can do exactly the same thing as the polygonal, then go to your pas panel, drop down, make selection and you're in the same place.0643

But the primary function is to make complex curves, hard corners to fit complex shapes and make a path and turn that into a selection--how do you do it?0661

You click and drag, and as you drag away from the point you notice that you get two control arms--one goes in one direction, one goes the other, and you can adjust the length, you can also adjust the angle, and that's all you need to make this work.0672

Now, if you look over on the page, long arms indicate to the computer--the computer is trying to figure this out as you draw out the arms.0693

The longer the arm, the shallower the curve--that's what the computer understands that you're trying to do--long arms means you're setting something to make a shallow curve.0708

Little short arms means that you're going to be working on a tight curve, so this one here is indicating, and you can see that the path comes out--it wants to go in a shallow curve.0719

If I did it in a short, see how much easier it works?0732

Coming out for tighter corners--it's automatically turning tightly.0738

That's telling the computer the curvature of the path.0743

The angle of the arm is telling it the direction of the path.0748

Notice if you follow from my cursor back into the point, you see that the path (let me bring it up a little) the path is coming out absolutely parallel to the control arm at the point.0756

It only bends away as I pull or change the path, but right in at the point, the source, it's absolutely parallel to the control arm, that's the direction of the path, the length of the arm indicates the curvature.0773

Alright, so we'll take that one step further--point number one.0789

The computer's only working with two points at a time, not the entire path.0794

It's establishing a path between two points, so here we've set a point.0798

This direction and that arm length indicate the curvature direction and the general curvature--when we go to another point, click and pull...the computer in this point did the same thing.0804

It determined that by the length of this arm--you notice it's a tighter curve out of that one than it is the first one, but where it comes around, it goes into that point that we set the second one parallel and the direction, so that established this length and that length gave the two curvatures that led to that shape.0823

And I could adjust that by pulling this arm further out and moving it, and you notice how the segment of path changes, so we control the path shape with the arm and the direction--length of arm and direction--that's all there is to it.0847

We go to the next point; notice on the trailing arm which I'm going to reset a little differently, the arms are always parallel unless we change them another way.0864

Notice the path comes out of that point parallel to the trailing controlling arm, and it only changes when I click and drag from a new point to determine the shape of the path between those two points.0875

When I release, and go to click a third point, once again we're now working between these two--it's always the length of the arm outgoing in that direction, the length of the arm incoming in that direction.0892

And what that shows you, is that to make this work properly, these points would be on a shape.0906

You must set your control arm parallel to the shape at that point because that's where the path is going and I'll demonstrate that to you right now.0913

I'm going to make this entire image lighter so that I can demonstrate this.0927

So I want to make a path that follows this shape, so I'm going to click and drag--now remember, the path is going to come out parallel to the point--you never want to be anything but tangent.0936

Notice if I'm inside like this, see where the path came out?0950

It didn't follow the shape, it followed the control arm, so if I set down this point and I pull tangent, you notice that the shape is trying to follow...the path is following the shape back to here, but since this arm is wrong it cannot match it up.0956

It's because of the initial mistake, so let's start that again; click and drag...tangent to the point, not ever touching inside the curve or out of the curve, exactly tangent and notice now that the path is following the shape.0975

And now when I go over, click and pull on the second point, tangent not in, see it's above the curve, not out, it's below the curve just tangent, and just pull...keeping them tangent watch the path...look.0993

Look...it pulls perfectly to follow the shape because this arm is tangent at that point, that arm is tangent at that point.1010

This is the key to making the Pen tool work--if you don't do this, you'll have trouble.1020

Click and drag tangent at the point--notice it's kind of a reverse curve, yes that touched in but not at the point.1028

Notice we're fine here, so now when I go down here, I click and drag tangent at that point, look at the path, following the shape.1035

Go right down to here, click and drag tangent at that point and just pull--you're not in, not out--tangent, and look at the path, see how it follows perfectly?1045

Let's come on around, click and drag tangent at the point that I'm pulling from and just pull the arms, not like that, not like that, dead tangent at the point and look at the path.1056

See how I haven't had to change anything, I'm staying a little outside the shape by the way just so I can show you the path better--let's try way up here.1070

Click and drag tangent at that point, and it's following--now we made a slight error back here, I can see that, and in the next lesson I'll show you here's how you correct it, just like that, very simple.1081

Alright, you understand, tangent at every point--let me demonstrate that to you by using this particular photo right here.1096

Here's the original car--we had to cut this thing out and this is to show you why you use the Pen tool in the first place.1109

Look closely at the rough line, see that little plant back there that's peeking over the car?1117

There's the actual rough line, but you can't see it over here, so if you tried to use something like the Quick Selection tool...it doesn't know what to do because it can't actually see the precise edge--you'd have a miserable time trying to paint that in, so we'll take the Pen tool and show you how easy it is.1122

We know where that rough line is, we'll start right over here...click and drag tangent, not in, not out, tangent, because I can see (I'm off just a little, there it is) and now I'll start working my--and I can see where the rough line is.1144

We know we want the rough line right there just pulling tangent, move over here, pull tangent--not like this, not like that, just tangent and pull it out until the path follows your shape.1163

I missed slightly, you can correct the point just like that.1178

Move over here, same thing--just up a little bit into the white, coming out around, there we are...click and drag tangent, not like this, not like that, see the difference?1183

As long as we're perfectly tangent at the point, it fits.1195

Do the same thing down here, now remember that convert point tool?1201

I can do it with my Pen tool--watch.1205

See the little icon?1209

I click, and I can now make a hard corner, and I can continue to follow the shape around--tangent, notice not in, not out, just tangent and pull the arms until it fits.1211

Coming down a little further once again, tangent, pull the arm until the path fits--not up, not down, absolutely tangent.1225

This is the key--you notice I haven't had to fix anything at all; tangent, and pull...tangent, and pull--now we're going the other way...tangent, and pull.1235

Notice the curve, it's come under and over, and now tangent and pull, and remember the tight corner I was talking about--I've gone with very shallow, I'm getting shorter and shorter--very short right here, here's a hard point.1246

Click tangent, just a little bit--the path is following--it's hard to see...come down and I'm going to go straight down here--click tangent every time I'm at another hard corner, I'm going to convert that point and just click and drag tangent--you know these are really hard to see edges, and you'd have a heck of a time doing this with any other selection tool.1261

Click and drag tangent at every single point along the way...there was a little re-curve in there, I just bypassed it--see, not like that, not like that, tangent, and I'll stop right here, let me go back and close off to the beginning--click, click, click, and let's get that turned into a selection.1286

I'll make it one pixel of feather, there we have it, let's do Quick Mask and go back and look at what we did.1313

Notice...how perfectly smooth this edge is and notice that it's slightly up above that edge where you couldn't see the actual rough line--you see that right in there?1323

But we know where it is--look how it's following that--look at that, unbelievable.1340

This Pen tool is phenomenal for precision selections--there we go around the corner, notice, and all I did was click and drag tangent at every single point on the vehicle--look at that.1344

Just that was that little spot that I told you I made a mistake on, there it is, OK, so let's sum this all up.1361

What we've learned in this lesson, the primary thing, the Pen tool, to make a selection around a shape, the length of the handles determine the curvature, the angle of the handles determine the direction and the path and here's little sample.1371

Handles are always tangent to the curved shape at that point.1386

Long handles, shallow curve, handles tangent to the curved shape, handles tangent to the curved shape, that sums up the key to making the Pen tool work for you.1392

Now I'm going to give you, quickly, a little assignment--let me find the red Mercedes--I think this will work just fine here.1406

This image is included, I want you to (or find one yourself) find an image that has an oval shape in it--you could just do this, we'll just create a blank document.1417

Let's take an oval and create an oval shape...and I'm going to fill it with the foreground color which is--actually let's just fill it with a color and make it a pale color so that you can see what's happening...kind of a pale red...there it is.1431

Now, what I want you to do is create something like this--now take the Pen tool and practice--click and drag, tangent, remember not in, not out, tangent, and watch.1454

If you're very careful...click and drag tangent, look watch the path, watch the path...pulls right perfectly along the curve shape, go to your next point, click and drag.1468

I want you to practice making pas with the Pen tool...before you go to the next lesson.1484

Notice tangent again, not in, not out, don't cross that shape, just pull the arms until it matches--let's just go ahead and close that part of it off once again to show you how perfectly it works--look at that, right around that shape.1498

So I want you guys to do the same thing; create that, practice working with a smooth shape, and then come back for the next lesson and I'll show you how to adjust points and determine exactly where you want to put them.1518

I'll see you back for Pen tool part two.1530

Hi everybody, Mike Brown here with you again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

This is the Pen tool part two working with points on a path.0008

If you haven't read and done my assignment on Pen tool part one, go back and see that one because this one isn't going to do any good unless you have already gone through Pen tool number one.0013

For those of you that have, this is a continuation, and I'm going to go back and do a little recap--right off the bat we're going open up a blank one here...we're going to create an oval very quickly, we're going to fill it with whatever color comes up.0026

That was a very low res' one, let's start all over again...Command+N, that's the problem, this is a tiny little thing...now we got a high res' one.0045

Oval, fill the oval with a color, and let's get that Pen tool cooking.0057

If you remember the Pen tool, click and drag your points perfectly tangent with the control arms to the shape, not this way, not this way, but perfectly tangent so that the path which comes out parallel to the control arm comes out of the point in exactly the same direction as the shape.0064

This is the key, your next point; click and drag tangent, and just pull it out--not like this, notice that the path is up, not this--it's down, you always want that path to follow the shape--just pull the arms, and look at the path, fits the shape between the two points.0088

Same thing, next point; click and drag tangent and not in, not out, just pull it until the shape and the path are parallel.0108

OK, that way the key and I hope you did that exercise at the end that I gave you an assignment to do just this, you'll discover that.0123

Alright, let's get started on this lesson--I'm going to show you how to adjust points for a sharp corner, active point--what they are--non-active, what they are, moving points--the leading single and multiple, adding points, saving pas, filling and how far apart to place points to make a path.0130

This is the one, this is the key, and this takes a little practice, because as you get to tighter areas the points need to be closer together, as you get to very shallow areas the points can be further apart, and it's really hard to put an accurate assessment as to where you put them--you'll learn this as you go.0150

But let's just get started with points on a sharp corner.0171

We got a couple of sharp corners here, so we'll drop a path down, click and drag tangent--not in, not out, always tangent--click and drag tangent, there's your second one--notice how the path follows--click and drag tangent to the shape at the point.0177

And right there I missed just a little bit but we'll talk about that as we go.0200

We're going to come around to the sharp corner--click and drag tangent at the corner, that's fairly close, but look what happens now.0205

At the path follows the control arm, we come over here, we can't make the path follow the shape.0214

Option on a Mac, Alt on a PC, when you cross the point, see that little angle?0222

The same as this convert point tool so you don't need that...Option or Alt, click and drag...I didn't release off until I got the new control arm--now look at the path--it's gone through a sharp corner and follows the shape again.0228

We get down here, same thing, can't get around the corner.0247

Option or Alt...there's the convert point tool, click and drag, regenerate a new control arm that follows the shape and look at that, how perfectly we are following the shape, very simple, let me shortcut my way over to here, click and drag, click and drag tangent.0252

We get to another sharp corner, click and drag tangent, and now you know we can't do that, Option or Alt, click and drag to regenerate the new control arm tangent to the curve there, and as we go around now we have created hard corners.0276

Very simple, OK.0295

That takes care of adjusting for a sharp corner.0298

We're going to do active and non-active points, and activating a point at the same time here.0301

Let me just take a new one again...actually I could do this I think with the existing one we had, there we go.0308

Image size...it's a good sized one, alright.0317

Let's create a path, and as we're going I want you to notice something; the point that I just laid down has a black square as the point--the other ones are white, that's an active point--black square, inactive point--white square.0321

Click and drag a new point, the one previous is now inactive, this is active--one point at a time, the one you're working on is the one that's black.0339

When we close off the shape, the points disappear, it's now a path.0350

To get your points back...Command on a Mac, Control on a PC--these tools down here, you could use but you don't need them, all you need is the Pen tool and the Command or Control on a PC key.0355

Command on a Mac, Control on a PC, you've got the wide arrow, click and drag around the path and release, there's all your points back but look...every one of them is black--they're all active.0372

If I wanted to move the whole path, what you're going to do is only be moving active points.0386

Command on a Mac, Control on a PC, all points are active--doesn't matter which one I click on; click and drag, it activated that point but it left the other ones and I can move the whole path.0393

If I only want to work, let's say I want to move this point or work on it; Command or Control on a PC, got the wide arrow--click and drag across that one point, every other point became inactive, this one, again keep that Command or Control down, click.0406

You've got the arms, you can now, with the Command down, click and drag, as long as you got that wide arrow, you click and drag and you can move the point, you can also adjust the angle, you can adjust the--oops, I lost them all, we'll go back here, select the one individual, click, and now I can control that one control arm, the direction and move the point.0425

All while I'm holding the Command or the Control key.0452

The arms--notice they'll always be parallel unless you did a hard corner...there we go, so it's the Command or Control key, and the active points are the black ones, OK?0456

So there you went activating a point, active and non-active--black, white, activating a point--Command or Control, clicked on a point or points, drag across them, moving a point...let's just do it one more time.0469

There's that path again, one active point--to move it, it's the only active one--Command or Control--click and drag, or adjust the--oops, I lost them all, click and drag, got them all back but they're all active.0487

I just want this one--click and drag that point only, click on it, now I can move it and I can also click and drag and move each of the control arms, OK?0500

Very, very simple.0511

There's activating it, and moving it.0514

Deleting a single or multiple points, and adding points--we'll do this all together, very simple.0516

Let's say I wanted to delete a point.0525

The point must be an active point...now if all the points are active, if I hit the delete, everything was deleted--it only deletes active points.0528

For example, if I was to click and drag across just those two, notice that's active, that's active and the other ones are not, and I hit delete, these two points will be deleted...OK?0542

If you want to delete just one point, Command or Control, click and drag (oops I lost them all, got back) just activate the one point, that's active--if I click delete, it deleted it--now it also deleted that segment, it didn't make it tag through--it took everything connected with it, so now what we need to do is activate a point.0558

And to activate the end point--notice when I roll the cursor you get the white square with the line through it...now it's an active point.0583

We can now go over to the other point with the zero, we'll close it off, click and drag...and make my little jelly bean, OK?0592

Very simple--deleting a single or multiple points, it all comes down to the Command or Control key and dragging across to make as many points as you want active.0605

Let's take an example real quickly on a car.0617

Let's just take part of this automobile...OK, let's just select this seat, and I click and drag tangent, click and drag tangent, click, click and drag.0625

Now, let's just say for the heck of it I've put a whole bunch of points in here accidentally, and what do I do, oh my gosh?0639

Command or Control, get the wide arrow, click and drag around all of the points you want to remove, notice every single one of those points is black, so when I hit delete they all go away but now everything else is black, so I have to reactivate my single end point to continue.0647

Roll over it, see the white square, and we're back in business--click and drag.0666

Now, I made a mistake, I clicked and didn't drag and this is straight.0673

I can delete this point because it's the only active one; delete, click to highlight and activate the end one--now I can go back and click and drag, Option or Alt, click and re-position my arm and away we go, OK?0677

That's how you delete single and multiple points.0692

Adding a point...let's see, we're going to use this pas sample again, alright.0695

I'm going to go click and drag, and I'm going to go way over here and click and drag...and this isn't working very well is it, look what happens.0703

If I get the curve right down at this end, it's wrong at this end, so what do I need to do?0714

I need to add a point--I need to really start over again, activate that point...oops, start all over again.0721

Click and drag, click and drag and I'm going to make it right where I'm working...wow, well so much for that idea, that was perfect!0730

Let me try another corner here, sorry about that.0742

Alright, here we go, this will work--we'll click and drag over here and we'll go way, way, way too far.0745

Click and drag over here, and I cannot, if this fits I'll die...there we go, it's not going to work.0752

I've got it tangent right here, but it's out here and it's in here and it's tangent there, how do I do that?0762

We're talking about adding points, very simple.0769

Now keys; cursor, I'd like to add a point right about here, look, I just hit the roll over the path, it's a plus sign--I click, and now I want to move it, how do I move it?0775

Command or Control on a PC, click and drag it, and I can also adjust the control arms, see I got this section fixed.0787

Now let's add a point over here, click, Command or Control, click and drag it down, and that's not too bad--let's pull that arm out just a little bit, and look, by adding two points and moving them, I fixed the problem we had.0796

Now we need to activate this point again.0814

Now, it's inactive--I don't want to take it away--Command or Control click and drag and it becomes the only active point, click on it and we're back in business but my control arm is way too long, so what I want to do is regenerate a control arm--remember that's like a convert point.0818

Option or Alt, click and drag, and now I'm going to make it just parallel and the same length as the other arm, and now I can continue--click and drag and away we go.0838

OK, pretty simple--you notice what it's doing here, on the fly by adding a point or subtracting a point plus when you hit the path (we haven't taken away a point yet) by adding a point, holding down your Command or Control key, click and drag, to make sure it's active you can move the point, you can adjust the control arms, see how easy that is?0852

And if you need to regenerate one; Option or Alt, click and regenerate, simple.0874

Adding a point we went, deleting a point...deleting single and multiple points, let's go back to the pas sample.0881

I'm going to just go ahead over to here, and I'm going to just screw around here and make some mistakes...alright.0894

Now, I've obviously screwed this thing up big time, I'd like to delete some of these points and help myself.0909

I want to delete a point, no keys, just roll over the point...see the minus sign, it's gone.0916

Now, I want to delete another one, minus sign is gone, another one, minus sign, it's gone.0925

Now I'll delete this one...minus sign, it's gone--we got this one, Command or Control, get the wide arrow, click, move that point, and fix...we're going to delete that, somehow the control arms got messy, we'll take that out too.0931

Now we'll add a point right here, Command or Control, and just move it over, and take this point and move it over, and we fixed it, right on the spot, very, very simple, OK?0951

Adding and deleting points.0965

Now, how far apart to place the points to make a path?0969

This is the tricky one...let's go back to that same pas sample--let's do another one, I think I have another...there we go, here's another one.0973

Let me just make it a little bit lighter...there we go.0986

Alright, how far apart should you have your points?0991

Example, in this section right here, it's pretty uniform and it's a smooth, wide curve, so we'll click and drag a good distance.0995

The rule of thumb when you're kind of in an open space is roughly three times the length of the control arm, so we figure maybe here sounds about right.1005

Click and drag, let's see what happens...it's not bad...but I think it's a little long because I seem to be a little off here, but let's see what happens at the next point.1017

See now, this control arm--one, two, three, be way around here, that's just too far, let's shorten the arm--well let's just try, let's try.1030

Right about here, let's see what happens--I click and I drag...and it's semi-OK, but look here--the pas out, pas out, it's overlapping here so that's an easy fix, plus, new point, Command or Control, move point back, adjust slightly, problem solved.1039

Now we're into the curve.1060

First of all we've got...let's activate this point again...click on it, see we've got a long control arm, that's not really good for going around the curve, so we need to equalize if anything the control arms, makes sense right?1062

Command or Control, take the control arm and just shorten it...we're still OK, and now let's go one, two, three times the control arm, right about over here, click and drag...and look, it comes in pretty good.1078

Might be a little of, so we'll go Command, extend that control arm just slightly and pull that one down, so you can do this and adjust as you're going, you don't have to reset points very often.1098

Let's go three times; one, two, three, that's a little weird but let's see what happens; Command or Control, pulling tangent and we got a problem, so we need to put a point in here, move it out just a little bit, put another point in here, move it in just a little bit, and take this one and adjust it just slightly...just like that.1110

Added a couple of points and solved the problem, and here, now we're going to go back and activate this point, very long control arm--let's make it shorter...to equalize the arms.1140

We'll come around one, two, three lengths, click and drag tangent, look at that, pretty good feel.1155

Three times this one; one, two, right about at the end, click and drag, there we go.1161

Change the corner; Option or Alt, click and regenerate (let's move that point a little bit, Command, up and out, OK) one, two, three times the length, there you go!1167

This one; one, two--you can't go more than two so we'll click, and it worked.1182

Option or Alt, click and regenerate the control arm...we'll go one, two, three times which is just about here...and that works just fine, one, two, three times--you see, roughly three times does it, and if it doesn't, you can fix it.1187

Now we got a long one here--one, two, three--that's way down here, I don't even know if this is going to work, let's click and drag until we get it to fit here, and it's a little out here, add a point...Command or Control, move the point in, we're just fine.1209

And reactivate this one; Command or Control, drag across it, click it, we can deal with that--one, two, three, let's go way down here...click and drag...and it falls in a little bit off.1226

Add a point, click...whoops, I'm going to subtract that point because I made a mistake...got it out of there, add it back in, Command or Control, move it in place.1245

You're getting the point now--reactivate this point, it's white--Command or Control, click on it, the arm is way too long--Option, Alt, click, drag...one, two, and let's go all the way to the end...pull, OK, you get the point.1258

How far apart to place points to make a path?1278

Roughly three times the length of a control arm, you may have to make a couple of modifications--you notice we do that by adding a point, activating a point, modifying the point, OK?1283

Now let's talk about saving a path real quickly...let's go back to that shape and let's just finish it--we got almost to the end.1296

Option, click a new one, one, two, three, there it is...I think three here--we'll just go right here to this hard corner, looks good--Option or Alt, click, drag down here and close it off.1305

Now, if when you hit the close or start point you get some funny things happening with your curve, hold down the Option or Alt when you do it, then click and drag (whoops) Option or Alt, click and drag, and it freezes the original point and it helps you a little bit.1322

And there we have our pas, and now what do we do with it?1345

Let's go to the pas panel...we can save this path.1348

Right now it's a work path, if we go to the dropdown, go save path, path one we'll just call it--there it is, so now we're just going to hit outside it, path is gone--when you save your image, the path will be saved for future use, and you can always regenerate it and make selections from it if you wish.1353

You can also fill in stroke pas, I don't know if I talked about that quickly, let's do that to close this lesson off.1374

Let's take the...where was our, oh, OK, filler stroke right here, very simple, we have a work path.1383

If we want to fill it, go to the Edit, Fill Path, you can fill it with color, if you wish you can fill with a pattern.1390

Let's pick a pattern out of our patterns...let's go with rock patterns...append...there's a cool one right there, fill that...we'll click OK, 100%, no feather, and now we've filled that shape with a rock pattern.1401

And you could do anything you want with it, this is graphically.1420

OK, that's filling, you could also fill with color; Edit, Fill, color...I didn't activate the path...oh, I filled--there was a mistake.1423

Edit, Fill over here is filling the document.1437

Go to the pas panel, fill path, sorry about that, that was my fault, OK, OK, fills the path.1441

Now we can stroke the path, which means you're putting a border around it--what that's going to do--you can use any of the tools--I prefer to leave the brush tool, and my brush tool right now is set at 9 pixels, it's red, it's 9 pixels and 100% hardness.1451

Let's make a different brush for fun, let's pick a...looks like a maple leaf, I want to see what this does myself--74 pixels, let's knock it down a little bit...OK.1468

I'm just going to fill it red, and we're going to now go back to stroke the path with the brush tool, and there you go--wow, how cool is that?1482

I had brush control set that it was all scattered and stuff like we talked about, so there's a way to put a really cool edge around a standard...let's take that brush and go back to just your normal little brush.1492

Normal stroke is just an edging right down the middle of it, OK, but now you know you can also stroke with a pattern too...1505

The brush could be set at a pattern--I want to do that one more time with that...where's the roses?1518

Hang with me for just a moment, there's a rose, and we'll make this a kind of a pink color...instead and let's see what we've got now.1526

Stroke path with a brush, and it just didn't have it scattering on it but that is the idea and then you go away and you have edging on it.1538

So, there you have in Pen tool part two, all of the ways to deal with the points on a path, from adjusting them to activating them to removing them, fixing the problems as you go along, and this is how to use the Pen tool in Photoshop CS6.1548

Hi everybody, Mike Brown here again with you, welcome back to educator.coms's Adobe Photoshop CS6 course.0000

We've now dealt with corrections, and that is exposure and color, we have dealt with selections in length, to enable you to isolate areas for corrections and so on and so forth, and now we're going to deal with another powerful feature in Photoshop that allows you to be unbelievably creative.0008

And that is the Layers feature--and layers allow you to bring objects into an image and create composites of different images and different effects and all sorts of stuff and they don't bother each other--they can be dealt with in individual layers or a combination of layers.0029

Wonderful stuff that you can do with them.0048

You couldn't do what Photoshop has available without layers, and now we also have adjustment layers which allow you to apply all of your exposure and color corrections, and some other effects as well, without altering any physical pixels of any of the picture layers.0050

This is so powerful, so let's get started.0075

In this lesson, I'm going to talk about the layer basics; how layers work, the layers panel; what are the features of the panel, adjustments layers; what they are, why they work and how you use them very briefly.0079

And then I'm going to give you a quick example of using adjustment layers to show you exactly the power, and then in the next lesson we will expand to layer masks and putting it all together.0094

So let's get started.0106

Here's a layer sample, I'm going to change my screen mode, and spacebar.0109

First off we'll talk about the Hand tool again--remember the Hand tool moves your entire image.0116

Now this looks like a singular image doesn't it?0122

We're moving it all around, but when I open my Layers panel, low and behold, this image is actually made up of five different layers.0124

The star, the triangle, the circle, the square and the white background, and they're all separate layers--they're actually stacked up above each other.0135

The way layers work, is essentially like a deck of cards; they stack up and you look at them from the top down.0147

In this case you see the star resides above the triangle, the triangle is above the circle, the circle is above the square, and the square and all of the other objects are above the white background layer.0154

Now, we just showed you that the Hand tool moves your entire image and you notice all the layers don't change position, they all move.0169

The Move tool, however, moves only layers, and only active layers--you make a layer active by clicking on it--when you click on it, it gets highlighted in blue, OK?0177

The only layer that you cannot move is the background layer, it has a lock on it.0192

If I try to move it, click and drag, it tells me I can't move it because it's locked, well I knew that, and now you know that too!0199

You cannot move it up in the stack either, it is absolutely locked in its position as a background layer--that's one of the characteristics of a background layer.0208

Now, all of the other layers can be moved, combined, turned on, turned off, all layers can be visible or not visible--see the little eye icon next to each layer?0221

Watch the circle--if I click the eye, it turns it off--it did not delete that layer, the layer is still there, it just turned it off.0235

This is very powerful too, because sometimes you might want to use some layers for some reason in one usage, and then turn some of them on and turn some other ones off for another usage, all within one document rather than having to redo and do several different documents--very powerful right there.0244

So we'll turn it back on...now, if you want to move a layer, you use the Move tool, highlight the layer you want to move--we'll highlight the circle, and we'll click--and you don't have to click on the object, click anywhere in the image and drag.0265

And you notice that the circle moves around within its relative stack.0284

It's still below the triangle and above the square but we're just moving it round positionally in this particular composition.0291

I'm going to move the circle to there, and then I'm going to take the square and move it down over here a little bit, and take the triangle and slide it on over like that, and now I've moved three different layers and changed the composition somewhat.0300

There's one of the things that's powerful right there--you can adjust your composition.0315

You can change the opacity of a layer as well, notice right here an active layer, opacity 100%--you can do it with the slider, you can do it with the scrubby or you can type in a number--notice when I start changing the opacity down, you can see transparency through the layer, more and more.0319

If I go to zero it's basically like turning the layer off.0341

I can have any level of opacity on the layer I want--this is quite powerful as well.0344

You can also change blending modes on a layer...they're all here, let's try a couple and see what happens...wow, look at that, that was an exclusion and it produced some kind of an effect.0351

What's difference didn't do anything there, subtract...didn't do anything there, how about divide?0364

Did various and sundry things--you can blend one layer with everything else that's below it, OK.0371

Now, you can also move your layers, not only in lateral position within the image (let's also just rotate that triangle around a little bit in its layer and now we got a better shape to look at) we can move them up and down.0378

Let's say that I've decided that I want the square to be above the circle and the triangle but below the star.0400

Very easy; highlight the layer, click and drag and as soon as you do you see the fist, and every time you get in between--I want to put it above the triangle--see I have a highlighted line?0409

If I release that, it will move up one, notice that it just went above the circle but it's still below the triangle.0421

Come up one more...and now the square is above the triangle and the circle but still below the star, so that's moving one layer and you can move them down very simply, let's take the star down one.0429

Right down two actually, so I could take it down one and it doesn't look like it's moved any, but if I wanted it to be under the square, notice--oh it us under the square, sorry, be under the triangle, I have to go another one down.0446

Drop down and now it's under the triangle--I kind of like it in between the two.0463

We'll just move that up a little bit, there we go.0468

If you want to move two layers at a time or three or four or whatever, highlight those layers, if you want to do let's say the circle and the square, we'd like to move...0471

The square is already on top, let's move the star up...move the triangle; circle and the triangle up to the top, and they're going to end up in the order (this is the topmost of those two layers) the triangle will be first, the circle will be second, and they will be above the other two.0486

And you don't have to click the top one--you can click the bottom one, go up until you see the highlighted one, and there you have it.0504

Now let's say you want to move two that are not adjacent; let's move the circle to the top and the star right below that, and so we just highlight those two, move up until we see the line, and now the circle's at the top, the triangle's below that...0511

Excuse me, the star's below that, the triangle and the square.0528

You can do that in any order you want, any number of them.0532

If you wanted to move, let's say, three in a row, you could go highlight, Command or Control click to highlight, Command or Control click to highlight, or click the top one to highlight and hold down the Shift key and go to the bottom most in line and all in between--you understand how that works.0536

And then you can move those up from there.0556

OK, that shows you how to move them, show you how the visibility works, and you understand (see the little checkerboard, I want to be clear about that) I'm going to turn that off, and this shows you that on these layers, that--let's just turn those off--on the circle layer only, that's the object, the rest of that layer is purely transparent.0559

So when we move it around, nothing else moves but the object itself, that's what the transparency is--that's why you see those against the white.0586

We turn the white background off of course it's transparent.0596

Alright, there you have those features--you also got the blends and opacity.0600

This line at the top...I'm not going to go into a lot of detail but what it allows you to do is organize types of layers.0604

If you have an object (let me quickly show you with this one here) look at the number of layers I have on this particular one.0614

I'm going to take this out...and that's how you trash a layer--drag it and drop it in the trash, we have all sorts of layers here; these are regular pixel layers, these are what are called and you'll find adjustment layers.0622

These right here that have the little object...they're all intermixed because that's the way I made this particular composite.0639

I can filter to just see adjustment layers--if I click that, that's all I see are the adjustment layers.0651

If I click here, I only see the pixel layers, but I don't like this personally because I'm working on a layer because I know where it falls above something else that I'm working on.0657

If I isolate just a specific type of layer, I don't know where it's relating to my other stuff, so you might use this if you're in graphics, you might not--that's just telling you what's there.0670

OK, let's go back to the layer sample.0684

These items here allow you to lock various aspects of a layer, whether it be the transparency, lock the image pixels in position, lock the position of the--all sorts of stuff like that, you can fix it where it is.0687

I don't want to do that either, it's not going to move unless you physically move it, we're trying to make life easy here, so we'll just deal with on and off, the various layers themselves, moving them around, that takes care of that.0703

Down at the bottom of the Layers panel, these you will be using.0718

With layers, there are layer styles, here they are, all right here.0724

Or you can also access them right here--these are things like drop shadows and bossings, all sorts of stuff--we're going to go over these.0731

Two ways to get to them; layer style from the Layer dropdown menu, or right here, nice and convenient.0740

This adds a mask or the possibility of a selection--let's say I have a selection right here...0747

And I wanted to attach it to the layer, all I have to do is click that and it made a mask, and now...I didn't want to do it that way because that's on the triangle, let's make that selection over this section--oh, I know what I did wrong.0761

I want to make this at just one pixel...make a little selection right here, and I'm going to attach it to the triangle layer as a mask, so now the only thing you see, you don't see the triangle any more, you just see that little circle because I masked everything out.0780

There's that selection I made, that's what's called a layer mask, we'll talk about them in the next lesson.0800

OK, I'm going to delete it and we're back.0807

That shows you what that is--a mask, these are adjustment layers...powerful.0811

These are all of your exposure, color, black and white photo filter, gradient maps, the things that we utilized right up here in the Image, Adjustment menu--there they are again; exposure, same things, right there.0817

They are available as adjustment layers under the Layer menu, new adjustment layer--there they are there...get out of here, I didn't want that...inadvertently did that.0833

Or they're down here, we'll talk about those in a moment.0852

If you have a bunch of layers that are similar that work on something, for example, here's Triana...and here are all of these adjustments right from here, down to here of facial adjustments.0856

If I want to group those all together and put them in one place where I can find them, they're going to stay there, all I have to do is highlight the top layer, I'll click this and make group, and when I do this (there's the group, it's just an empty folder right now).0876

So I select the top adjustment and go all the way down to the bottom of that list--Shift click, they're all highlighted, just drag them up and drop them into that group layer (come on...think I did, there we are) and notice, they're all now in the same place because I put that group right up top, but they're now in a collective area--just makes things a little more organized.0896

I could call this Facial Adjustments...and the layers stayed in the order--I did that--I just put a group into play, that's what the group thing does.0926

This creates a new layer, and let's show you what that does.0940

Right now we have our title block which you notice is a layered document, we have the background layer, a shape layer, Photoshop type layer, we have the stroke, another type layer, a couple of hidden layers, and I'm going to put a blank layer on the top.0944

It will go right above whatever the highlighted--if I put it here, that's where the layers come in, now we'll move it all the way to the top, OK?0966

I'm going to use that to check off--we've gone over layer basics, and we're just about done with the Layer panel itself...so we've done those two things--what I'm doing, is I'm actually drawing on a blank layer.0974

It's just a blank layer--you can see the transparency but I'm drawing on it so I don't affect other layers--this is another thing you can do; the one layers...single layers will not affect the layers below it unless you want them to.0991

OK, let's go back and look at adjustment layers very quickly, and I'm going to do that with this image right here...I'm going to go screen mode, move it over, come back right over here.1007

A quick tip; when you open up an image, it only has a background layer.1022

The first thing you want to do (I've mentioned it before) is to duplicate the background layer; go to the Layer menu to duplicate layer, go to the dropdown Layers panel menu, duplicate layer, or the shortcut Command on a Mac, Control on a PC plus the letter J, duplicates it.1028

Very simply, if you've worked--and this is the layer you're going to work on...if you make some mistakes somewhere down the line, you need to fix things and go all the way back to the beginning and don't have enough history steps, if you worked and only had the background layer, you have nowhere to get that from.1046

But here is the duplicate layer, so I can work all day on this one, and if I need to go back and recover something I can go right back to the background layer, or another use for it.1065

For example, right here, I took the background layer and duplicated it, moved it all the way up to the top, and you see the original (that's the same as the background) I turn it off, and there's everything I've done, so on, off, it gives me a before and after appearance, that's another use for that.1076

Let's go back to this one, OK.1096

Very quickly, adjustment layers, I'll show you how they work.1098

Let's quickly make an adjustment on the sky here--I'm going to make a selection just really kind of roughly, OK we've got that, before we want Image, Adjustments, curves, and we pull it down, make it...why did that not work?1103

I'm on the background, wrong place.1118

Image, Adjustment, curves, pull it down, make a change, pull it down, there it is, and what I have done is I have worked on the physical pixels of that layer, so that if I ever want to come back and change it again I've got to rework on those pixels which degrades your image.1120

There's another way to do it (Command+Z) still have the selection, we'll go down here to the adjustment layers, go to curves...exactly the same...feature, except that--notice what happened.1141

A new layer was created with a mask of the sky...notice, just the sky is now attached to that layer so that when I change the adjustment, it will only affect the sky--we've done this before.1160

Now I can go in and do whatever I want to it, let's just mess it up, and now I'm done with it, and normally you'd say "boy you screwed up your image" because I'm going to take the Lasso tool with another soft one--I'm going to very quickly select greenery, just very quickly shift greenery just for fun.1179

Put another adjustment layer in for hue saturation, and I'm going to change the hue, make it kind of a fall tone look.1200

Well, now you go "wow, the sky looks awful".1210

Well, here's my adjustment layer for the sky, all I have to do is double click, and there's the adjustment right there, and now I can go back and correct it to wherever I want it to be, and I did not affect a single pixel with either of these layers.1213

This is only mathematical representation...they're gone.1234

I can change them forever.1238

Here's the hue saturation--we don't like that, OK fine, highlight it, double click, there it is, let's change it back--let's just make it a little yellower, or let's just take that out and increase the saturation of the green.1240

And so we made that adjustment--we went from there to there, made another adjustment--we changed the sky, changed the greenery, went back and changed them again--you can do this all day and never affect a pixel with any...come on...of these adjustments here, whereas over here they would've been physical pixel changes.1254

We can alter these or turn them on and off all day, and all night, without ever hurting anything, so there you have adjustment layers, why they're valuable, how they work, an example using adjustment layers, and that pretty much wraps up your introduction to layers and adjustment layers.1277

We learned the basics, the Layers panel, the adjustment layers quickly, and an example of why they're so useful.1301

In the next lesson, we're going to go over more detail about how you put this together and how you utilize them and what those layer masks that we have right here, how to utilize those in various methods, and expand more on layers and adjustment layers.1308

I'll see you back in the next lesson.1327

Hi everybody, Mike Brown again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In the last lesson we started talking about layers and adjustment layers, and the functionality of layers and how they work, and also what adjustment layers were briefly.0007

In this lesson we're going to expand on adjustment layers and layer masks, and more about layers--I neglected to mention two important items about the functionality of layers, so let's start right off with that.0018

Two more things about layers.0033

Here's our layers sample again--I'm going to change my screen mode; letter F as in Frank, move it over, open up my Layers panel.0035

Remember you can turn your layers on and off, you can shift their order in the stack up and down or remember they're visible from the top down.0044

You can also move more than one layer at one time, highlight one, Command or Control click to highlight a second one and it doesn't matter which one you grab, let's move them to the top, up they come--you see the little line highlights, now they're up.0054

You can combine layers, let's go back up with that one, star on top, circle right below it, and let's lock the star and the square.0069

Highlight the star; Command or Control click, we have the two layers highlighted that we want to merge together.0080

Go up to the dropdown menu, it will merge the active layers into the topmost in the stack with the name in position of the topmost layer.0089

Merge layers, notice it's now layer one with the two items locked--we'll undo that...get it through there, OK.0102

I neglected to talk about the background layer.0112

Right now, it's locked, you can't move it up, you can alter it by painting on it, you could also retouch things on it, but you cannot delete from it--in other words you could undo what you added but you can't delete to transparency as with the other layers.0115

If I select an area, and I click the delete, it will only allow me to do color, content, history and so on and will not allow me to delete that, but we can change a background layer to a regular layer very easily.0135

Double click it...you get this box, rename it, we'll call it Unlocked Background Layer.0152

You could also color code it, make a blend mode if you wish, change the opacity but we're just changing it into a layer.0164

Notice the lock disappeared, now we can move it up anywhere we want to, adjust our opacity down on it as we choose, we can also take that Marquee tool this time and delete to transparent.0170

Look at the thumbnail, and you can see it appearing around here so if we move it all the way up to the top, we've now created a Mac out where you can see through it to the bottom.0186

That's how you modify your background layer, so that takes care of the unlocking a background layer.0197

Let's talk--got the wrong brush...check that one off...let's talk about linking layers for a moment.0210

Now, to link layers let's do it with this title box right here.0220

Highly layered panel, let's say--let me identify, on this layer right here, notice the text layer has three of my options on it, below that is a fourth one because I'd added a new one, and we also have this layer here for the checking.0227

Let's say I wanted to add one more on that first layer; I'll take my type tool, highlight the layer, click, come down, type in four, and we'll just put some garbage--type in there so you can see it, and now I have to rearrange things.0245

I need to take the layer up here and move it down--Move tool, (I used my arrow keys) and drop it down.0262

OK, we've done it, but now the composition's up my border doesn't look right, I need more at the bottom.0271

Image, Canvas Size, we'll lock it so I can only add at the bottom, let's make it like 3.8 and click OK.0277

Well, now I'm wrong the other way--I could crop it up, but let's just move this group...there's three layers involved; this one, this one and this one, so I can highlight one (Command or Control 2, Command or Control 3) Move tool, and move them around.0286

Now, let's just say this was some sort of a composition where I might increase the amount in that stack again, so that I would have to do this one more time.0309

Now obviously we did that, but once we move away they're no longer connected so that we can move them again.0320

Well, we can permanently connect them, permanently until you decide not to by highlighting all three of them again, and going to this icon at the lower part of the Layers panel.0328

Remember this was layer effects, this one is a new mask, this is your adjustment layers, this is a group folder, a new layer and the trash.0342

This is the link icon--it will link highlighted layers.0352

Click, there's my link, so now even if only one layer is highlighted, and I use my Move tool, all three of them are permanently linked until I would change that, and the way I would change that is highlight one of them, go to the dropdown menu to unlink layers.0357

And it will only unlink that one you notice because that's the only one that's highlighted.0380

Command+Z, that's if you want to remove a single one at a time.0385

Let's say we don't care about the check marking, we just want to remove that, leave the type alone.0390

We just go unlink layer, now we have two left--Command+Z.0396

If we want to unlink all of them, first of all you highlight one, dropdown, select linked layers--now they're all selected, go back again, unlink layers and all three of them are now unlinked, that's what the linked icon is all about.0402

So let's go ahead and cross that particular one off...come on, highlight one, check it off.0421

Alright, that gets us up to speed on layers, let's talk more about adjustment layers, and at the same time, layer mask--we're going to intermix this together.0429

Let's pick this photo right here, change the screen mode, notice it's just a background layer, just in a freshly opened image.0442

What's the first thing we do when we open an image?0455

Very good, duplicate the background layer--how do we do that?0460

Command or Control on a PC, the letter J, shortcut or dropdown menu--duplicate menu, or the Layer dropdown menu, duplicate layer, now we have our duplicate layer.0464

I look at this image, and I'd like to work on the sky, I'd like to work on the overall exposure, I'd also like to bring the color up overall, and I'd like to maybe work on this bluff right here, how can we do that simply?0477

Well we know how to make a sky selection, we know how overall's very simple, we'll start out with an adjustment layer for exposure; curves.0492

And as the layer created itself, there's the exposure adjustment, remember this is a mathematical formula, we can always change it, come back and change it again, but it also automatically adds a mask.0505

A mask, if you remember, is the same as a saved selection--an alpha channel and a mask are the same thing, this is the same.0521

Option or Alt to view it, it's white which means that it's completely revealing, there is no mask at the moment.0530

We'll deal with that in a little bit.0538

Now you notice when I highlight the mask and I get the little frame around it the Properties panel gives me a masks adjustment panel, if we hit the mask edge, look what we have.0541

Refine mask, which is exactly the same as the refine edge dialog box to refine a selection, because what is a mask?0556

It is a selection--we didn't have to load it, but we can do the same exact things we did to a selection.0566

OK, and you can output right back to a layer mask, or a selection.0573

We'll cancel that, if we highlight the adjustment itself in an adjustment layer (there's the little frame around it) notice we now have our curves adjustment.0580

By the way you can increase the size of these boxes so that the adjustment is easily viewed.0592

We're going to work overall, so I want to increase it just a little bit in exposure, leave the whites alone so I don't burn them and snap the contrast...a little bit...that's pretty good, and now remember as a layer, you can turn a layer on and off and an adjustment layer is just like a layer--it can go down below.0600

Now you see nothing because of course our duplicate layer is above--we'll move it backwards and a visible point top down, turn it off, turn it on, that was a bit of an improvement.0623

Let's take a hue saturation layer...and again, you'll get a mask, and what we'll do this time is just jack the, just a little bit of hue saturation, turn it off, turn it on just a little bit so you can see it in the foreground here, how the color came up.0634

So we have those two.0655

Now, I would like to do the sky by itself, and how I'm going to do that--I'll make a selection; Quick Selection tool, increase the brush size a little bit (right bracket key up, left bracket key down) and just wrote it to the sky, and it looks pretty decent, I think I probably missed a little bit.0658

We're not going to worry too much about it--I see an option, pull back here just a hair, option right there, OK, close enough.0680

You can look at it with Quick Mask...we're going to actually go to refine edge, feather at one just so we have a little edge on it, done, OK?0690

Sky selection, now I'd like to make an adjustment for the sky.0700

We're not going to do pixels, we need to be on our main layer--you can't make an adjustment of an adjustment layer.0705

Image adjust--we could go here in the pixel stuff--remember we don't use that hardly anymore.0712

We're going to use adjustment layers--an adjustment layer for the sky for curves.0717

Low and behold, notice the layer mask now is a true mask--it took that sky selection, and made a mask for that layer so that the adjustment will only act upon the sky.0723

To view the layer, the adjustment, to view the adjustment mask, layer mask, Option or Alt on a PC, click, there it is!0739

Sky only--Option or Alt, click again, and now we'll just highlight the particular adjustment and we'll take the sky and bring it down and let's snap the contrast to it...that's kind of cool, I don't know if we can do anything else...that's good enough right there, give you the idea.0750

Turn off, turn it on, we have now separately adjusted the sky, now I want you to see that when I turn this off and on which is the overall curves, it too affected the sky even more because this effect affects this layer, affects this layer--they're all coming down through so the curves and the hue saturation--all three of them are working on this layer but this one is the additional sky only.0774

I want to do one more and we'll talk a little more about that as we go.0806

I want to adjust this bluff, so I'm going to do this the easy way--here's a trick, watch.0809

We're going to make an adjustment layer kind of like we did here for the sky but just for this bluff.0815

We need to accurately do it and there's a real quick way, efficiency.0820

Quick Mask, take our brush and we're painting a mask, so we'll have to invert the selection, remember double click, we're going to paint a mask, that's OK.0824

Quick Mask on, brush size up, now I'm not going to worry too much about this hard edge, we'll fix that in a minute.0838

Just go down the bluff, come on over with a nice soft edge at the bottom, we'll just partly fill it in, we'll call it right there.0848

Hit the Quick Mask, now it's--remember, we made a mask, so we need to invert that selection...select, invert selection, Quick Mask--notice, now it's just a selection--you see a mistake, no problem, watch this.0856

Now, let's make a curves adjustment layer for just the bluff...and let's take a look at the mask--Option or Alt, click.0874

We see that the mask is not proper so let's paint it--you can paint a mask, no problem.0888

With the brush, we're going to paint white, and look...we've fixed the missed areas of painting, that's good.0893

Option or Alt on a PC, click and we're out.0903

Command click, Command or Control--notice we have an edge out, we'd like to match that edge up with the sky, how do we do that?0907

Very easy...think...here's the sky, we'll load the selection of the sky, there it is, perfectly along that ridged line.0916

We'll make visible and highlight the curves adjustment layer for the bluff--Option or Alt, click, look--that's a selected area there and there's white in there that we don't need, so we'll flip this to black foreground, take the paintbrush, and just paint along.0927

And now we've matched up that edge very, very easily, and we'll go Option or Alt, click, and now we'll go Command or Control click that and there is your...see?0949

Perfect on the ridge and soft below.0964

Using different masks to help modify a new mask.0968

OK, now we just go to that, and we can Command or Control+H to hide it, let's just open up that ridge line just a little bit...there we go.0973

Turn it off, turn it on, Command or Control+D, and that's how you deal with adjustment layers and layer masks.0985

One lesson we're going to continue this as we go on, there we go.0996

OK, let's go back to the beginning...there we have...more adjustment layers--you see now that the masks are attached with them and how they're infinitely changeable--you saw that already, and now we can play with the mask feature on the adjustment layer.1000

And adjust the mask, change it, anything we want to do with that and continue to change your adjustment layers.1022

A real powerful feature.1029

Layer masks--you understand what they are now, how and why...and the final thing I want to talk about is masks versus alpha channels.1033

Let's go back to the Grand Canyon, and I want to just load up this selection here of this sky; Command or Control click the mask.1044

Then I'm going to go to Select, oh actually we'll do this on another image, here we go, flower composite.1055

OK, I already have two adjustment layers with the associated masks for this rose in this composite.1061

The rose itself as you see is a pink rose--that's the physical layer, there's a curves layer and a hue saturation layer, and you notice that the mask is of the rose.1071

I'm going to load the Option or Alt click to get it back, Command or Control click the mask, there's the selection, select, save selection.1084

I will call it...Rose...and now de-select that, open up my Channels panel...and look what you have--there's the rose.1095

That's the alpha channel--we talked about them before--it's the black and white representation of the rose selection.1110

Well, watch carefully when I Option or Alt click, it's exactly the same thing--Option or Alt click, and that one's the same as that--all three of those are identical.1116

So it shows you that an alpha channel and a layer mask are saved selections, saved as black and white, they're identical with one powerful exception.1132

The alpha channel cannot be moved--you can modify it, you can paint on it, modify it, but you cannot move that selection.1148

Over here, once it's made into a layer mask, I'm going to select all three of these layers--Command or Control click all three, so the rose and the curves and the hue saturation layer, with appropriate masks for the rose are all selected.1160

Let's move them, watch...look at the thumbnails, I'm down over here, and look at the thumbnail now.1180

The rose mask moved...the actual selection itself moved, and I don't have anything selected, I just have the three layers connected so I could move them.1191

Masks are moveable...watch this--let's go back to the beginning and I'll just take the hue saturation all by itself.1207

No selection, and move it, look what happens, see?1216

That color change is moving all over the place, you can even see it in the alpha channel--there's a hue saturation mask that shows up temporarily, it just moves wherever I want to move it to.1220

What that shows you, they're the same and they're different--you cannot move a selection--you can modify it, you can move the mask of a layer mask any time you want to, and it gives you the power of having adjustments on a physical layer and then moving the adjustments and the layer to somewhere else.1232

So that's the difference between, and the similarities between alpha channels and layer masks, OK?1257

So we'll come back in the next lesson, and I'm going to show you a couple of really cool tricks on becoming very efficient with alpha channels and layer masks in working completely on an object.1267

I'll see you in the next lesson.1282

Hi, Michael Brown here again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In this lesson, we're going to go over the new Photoshop CS6 workspace and all of the various features that are different and the same.0006

OK so let's get started.0016

For any of you who are familiar with Photoshop in any regard, and I'm going to go ahead and open up Photoshop CS5 so you can see the difference, the initial thing that you see is a real visual change to the interface--it's, by default, a very dark gray.0018

This is what it's always been for the previous versions of Photoshop, a medium gray document workspace, if you see all of the outer functionality is in a light gray and as you can see, that has been changed.0038

We'll get out of CS5 and get back to where we need to go here.0053

Now this isn't cut in stone, you have adjustable options on this, but this is the way they start it now.0057

And under this Window menu up here, I want to start by showing you right off the bat one thing.0065

See the application frame down here that is checked, if I uncheck it by highlighting it, you are now looking through at your desktop.0073

This is always available and has been for the last couple of versions of Photoshop.0086

Before, you didn't have the gray background available--in CS5 they have it, now I like it because...0091

I'm going to talk briefly about colour--if you have a coloured desktop, I think we talked about this earlier in the introduction, colour affects how your eye sees, and if you have a blue background for example that's behind your image, that is altering the accuracy of the colour that you detect with your eye.0099

So neutral gray is really what you want, and so now if you've got a flower on your desktop, no problem--just go to the dropdown window and activate the application frame and now this is a singular unit and you don't have to worry about your desktop.0122

Alright, the first thing we want to look at is the new interface, and we haven't done preferences--we'll do that in the next lesson, but I'm going to jump to a preference because this coloration here is adjustable.0142

If you go in your Mac to the Photoshop dropdown menu to Preferences, if you're in a PC go to your Edit menu, dropdown all the way at the bottom of the Edit menu you will find Preferences and will go to the Interface tab, and you see under the Appearance theme here.0155

It defaults at the dark gray, you have the choice of lighter (this was the basic before) medium gray, darker gray, or jet black. 0178

Personally, I like the medium gray document window and the slightly lighter gray round the outside so I'm going to change this from the default to that one.0188

There are also, which you will...I will show you as we go down through here, different screen modes, and you have the option of changing those colours as well. 0200

OK, and there is also a shortcut that is not in the books...if you want to change the colour of this document workspace, which is what this is called behind the window that's open, on a Mac...Control click, on a PC right click in the gray space around and open image, and there are your choices--you can alter the tonality of document space independent from the outside just by doing that.0213

OK, that is how you change the actual coloration there.0250

Alright, so let's get started.0255

We talked about the new interface (let me put a new layer in here so we can kind of check off what we're doing) we discussed the new interface directly, let's start at the left.0257

On the left vertically, we have the Toolbar, and this obviously contains all the tools that you will use to perform the various functions that the tools do in Photoshop.0270

If you're a previous user, the only difference in appearance of this Toolbar from CS5 or previous ones is that down at the very bottom here, we have the Screenmode choices, and I'll show you what those are right now--you are in the standard screenmode right now, you have a second screenmode that removes the actual bars and allows you to move your image around as much as you want.0283

In the standard, confined workspace, when you zoom up it stops your image and doesn't allow it to go past the window, but if you go to the second one, now it not only goes underneath it, you can move your image anywhere you want on the screen behind those.0312

The third screenmode is the fullscreen mode, and it loses the other, outer pieces--don't freak out when this happens and it will when you do this the first time, you go "Oh my God where did they go?"...simply hit your tab key, and you can tab on and off all of the surrounding functions to the document window--and this occurs, by the way, in any mode, alright?0334

We'll go to the second mode, see that?0360

And the third one where you have nothing, comes right back.0363

Now, shortcut for these modes by the way...if you click and hold on that particular icon at the bottom you'll see the shortcut is the letter F...F as in Frank changes your screenmode, you can do it also here, and the third place you can do it is under the View menu...there are the three screenmodes.0366

OK, let's go back to the standard screenmode--there we are.0390

Alright, now back to the Toolbar, the Toolbar is vertical as a single column, it can be a double column if you choose by going all the way up to the top of the Toolbar at the left to these double arrows and click it, and it becomes a double column. 0394

I'm not a real fan of this, you have wasted space below and you've intruded on some of the available space for the document window and I want as much space as possible for the document window, so for me personally I prefer the single column...your call with whatever way you like it--I'm going to set it back by clicking.0410

That's the Toolbar.0429

And just another little briefy...notice for each tool, at the lower right corner if you see a little triangle, that means there are sub-tools--if you click and hold you get a fly-out menu with all the sub-tools in that particular category.0430

That takes care of the basics of the Toolbar.0446

Right above the Toolbar, across the top of your document window, you see what is called the "Options Bar", and what this is very simply are the options that are available for the particular, highlighted tool.0451

If I change the tool watch the options bar...I click and different options appear which are the ones for that particular tool--they would even change if you go to a sub-tool or go to a different sub-tool, they change again.0466

Each tool, when it's highlighted, the Options bar will change accordingly, and they go with the tool.0480

That's the Options bar.0487

Above the Options bar--oh, one thing on the Options bar, the far right side of the Options bar you see this little drop down button?0492

These are all of the available workspace configurations, we'll get to that at the very end but I just want to show you that's where it is, you can customize your workspace, and it's accessible under here, or under the window workspace.0501

Alright, above the Options bar, all the way across to the top, first half, are a series of dropdown menus, and accordingly this is called the "Menu Bar".0518

All of the various functionalities for files, edits, image, layers, type, select, filter, view, window and also your help menu are under here, the Menu bar.0531

We'll deal with this in another lesson in its entirety. 0544

So once again you have the interface, you have the Toolbar at the left, Options bar above that, and right above that is the Menu bar.0548

On the right side, and these are extremely important as well, these are the panels, and this is called the "Panel Dock".0556

All of the available panels for Photoshop are under the Window dropdown menu right under the extensions.0565

If you have an extended version of Photoshop you will see that there is a 3D indicated right above Actions--that would be an available panel.0573

I don't have the extended version, I don't work in 3D, so this one doesn't have it.0584

Actions all the way down through tool pre-sets, these are the available panels that can be docked over here on the right side.0589

Right now the ones that are there, are the essentials--I have a custom setup that I have done before just to show you, if I do that it changes the arrangement--I saved that as a specific, we'll go back to the essentials.0598

What the panels are basically are mini applications that afford functionality in many many degrees (we'll go over the individual ones later) but they provide you equally as much functionality as you get from the tools and your dropdown menus, very essential stuff in the panel.0614

Now, this panel can be arranged a little bit differently, notice again a double arrow over here will collapse the panels to just icons, and in this case titles in the second column (it's only icons).0630

You can adjust the width by moving your cursor to the edge until you see the double arrow--click, and you can collapse them further or expand them further.0645

In other words what you could do here if you wanted would be to take that second column and bring it out and that way it would show you the title to open a panel, click, close and click again, click and click, and if it's only an icon, click the icon, click it to close it...click to open, you could also close with the double arrow--if you click the double arrow for this column, it will open all of the panels up.0654

Alright, that's your Panel dock.0680

Across the bottom, and this is a new feature in Photoshop CS6, you see Minibridge and Timeline.0682

We talked briefly about Bridge which was the editing program. Minibridge is a...condensed version, if you will, of Bridge that you can access without leaving the Photoshop interface.0689

You click it, double click here, and it requires that Bridge is open, and there you see that there is a slight...not dumbed-down version but less features right here than you would get if you went directly to Bridge, but if you have favorites and things that you use frequently, you can very quickly access them and you can double click and away they go.0705

The Timeline feature is literally a video timeline...with Photoshop CS6 it has a new feature...really really cool, you can edit video right here in Photoshop with all sorts of functionalities for adjustments of exposure, colour, a lot of stuff.0733

Timeline resides down here, again double click and it goes away. 0749

So that takes care of the panels, it takes care of Minibridge, now we'll go right to the document window.0754

The document workspace, as we've talked about, is adjustable in its tonality again, Control click or right click on the gray and you have a choice of whatever you might want to have it for--I like it at the medium gray.0763

At the upper left of the document window we'll see the title of the open document (let me open another document up here--I'll open a picture... on my desktop...let's find one--oh here is one, oh there it is that's a nice one, what the heck I'll put that up) and it's a pretty large one so it opens up and now it's in the position, and you see there is the title bar--in fact we'll use this, it's a lot more pleasant to look at.0776

In the title bar, what you see is the actual title of the image, dot, and after the dot is the format, in this case psd is a Photoshop file so it's aspindd.psd, it's at 16.7% magnification which is also reflected in the lower left hand corner, and you can change that right down here if you wanted to, let's say you wanted to go to 22%...up it comes.0807

It's a little too big, but it reflects the same in both places (I'm going to bring it right back down to the image, actually I'm going to make it a little smaller).0837

And next to the magnification in parentheses, what you see is...if it is a layered file, and in this case the layered panel is open and you see I have several layers here, the highlighted layer (as you can see that one here is in blue) that's the one that is identified up inside the parentheses.0845

It also indicates that this image is in RGB mode, and it's 8 bits per channel.0867

If I was to make an adjustment change on this image, just for fun let's go ahead and do one here--I'm going to change the exposure on the sky just slightly, notice immediately an asterisk appeared at the right side of the title bar.0874

That indicates that a change has been made, and the image has not been saved after the change was done.0891

Also, at the bottom of the window, next to the magnification, is a menu to give you different ways to view information about this document; document size, profile dimensions, efficiency, how much RAM you're using, the current tool, all sorts of stuff.0899

I like the document size, I just leave it there so I know how big my document is as a basic document and also as a saved document.0915

And then of course there is the background of the document window.0926

Now, there are two ways to present your documents.0931

You notice--I'll open up another image just so we can utilize three of them--here is another one...now we have another image open and you notice that they are opening up in a tabbed format; all I have to do is click on the specific tab to go back and forth.0934

I can also change the order of the tabs, if you have more tabs than the window size (let's just open another one, see if I can demonstrate that very quickly...find one more here...Zabriskie there you go) it didn't quite get there but, if you got more of them there'll be a little dropdown arrow that continues the list of how many there are across here.0950

Alright, so that's the tab format.0972

You can show open documents in a different fashion by going to your window dropdown menu under the Arranged tab, and you have a whole bunch of choices here; the two primary ones are, as we have here, consolidate all to tabs or float them all in windows.0974

Now, you have have them all loose and floating so that...I like to use this a lot of times when I'm working with multiple documents; it's very easy for me to just move them around, and maybe I'm taking one piece and moving it to another.0997

You can bring them back to the tabs by going to Arrange, Consolidate to tabs.1010

You can always break an individual image away from the tabbed format by grabbing its title bar and dragging it down and now it's floating.1015

If you want to re-tab it, just move the title bar up in the document workspace until you see this blue frame that appears--notice, once you see that you release and it will go right into the tab situation.1034

So that takes care of that part of the document window, let's go back to our workspace summary, and we have summed up the document window, we also talked about arranging documents and the last thing I want to talk about is customizing your workspace.1040

Now, if there are panels over here that you don't use or don't like and you want to customize for the primary panels and arrangement that you like, you can simply take a panel like this, drag it away and we'll close it, or if we want to get rid of swatches, which is already there, I highlighted it, and it's gone.1057

Styles, I don't want that one either, we'll take styles out of here--by the way the checkmarks are the active panels that you see which in this case is only layers, layers channels pass, I like to have the info panel, it appeared in the far left and if I want to change its position, grab it, drag it.1078

And I can go to the bottom, there's a line, it'll appear behind that tabbed group, and let's say I like particularly to have my layers floating, and let's say this is the arrangement of the panels, and the way I want them.1098

Now when I close Photoshop, it will reopen this way but I can also save this workspace for this specific task, and you can have different workspaces for other tasks by going to that little button I talked about at the right side of the Options window, dropping down, floor to window, workspace, going down to new workspace, and we'll call this NBtest1, and I'll save it.1114

And now if we go to that dropdown menu, you'll see that that's highlighted--that's the one I'm using, if my particular one that I most of the time use, is this one.1140

Now you have the option of flipping back and forth from different workspaces for different purposes.1153

We'll go back to the essentials.1161

So there you have how to customize your workspace, and just a real quick summary…1164

The new interface is adjustable in your preferences interface by clicking for the background adjustment; you can also adjust the various screenmodes individually, and you can adjust the document workspace with Control on a Mac, click, or right click on a PC, for that we have the Toolbar on the left, Options above it...Options bar, Menu bar at the top, Panel dock at the right, Minibridge and Timeline at the bottom.1170

You can arrange your documents in several ways, under the window Arrange menu, and you can customize the workspace for your particular needs.1200

That takes care of the lesson on the basic, Photoshop CS6 workspace; I'll see you in the next lesson.1210

Hi there everyone, Mike Brown again with you, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In the last two lessons we've discussed layers, adjustment layers, masks and masks' relationship to alpha channels and showed you how they all interact and work.0007

In this lesson, this is going to take all of those pieces and put them together, and we're going to retouch an image for exposure and color using layers, adjustment layers and masks and the alpha channels, all the pieces.0019

From start to finish, utilizing only a single selection--this is how to think and do things efficiently a different way, and I'm going to show you a trick that is not in the textbooks anywhere that can really change how efficiently you work, so let's get started.0037

Sit back and enjoy this one and follow along.0058

OK, here's an image, I'm going to change the screen mode; letter F, Hand tool, move it over, zoom it out just a little so you can see it, we'll keep the Layers panel here, and we'll keep the Channels panel.0062

So, first off as we've been going along, we'll look at this image and see what needs to be done.0078

Our sky is over exposed, the ocean is over exposed, the land mass is too dark, the beach area has no pop and the foreground, the colors are OK--it's a little yellow-red but that's sunset view, you get that kind of yellow haze, but it doesn't snap much.0086

So the way I look at it, the sky is one, the ocean is two, the cove is three, the bluff is four and the foreground land mass is five different areas that we need to attack to get this image done.0105

Normally you would say "oh gee, that's five selections...not", we're going to do one selection and modify that selection via masks as we go along to create new selections from the original very easily, watch.0122

And I'm going to show you an unbelievable trick that turns your masks into just like Quick Mask--we've been looking at the masks in black and white, and now we can see them as a transparent overlay--this is the trick that's not in the books.0141

So let's get started.0159

OK, first off we need to make a major selection.0161

We have sky, sea, all the way up into the cove, so let's go ahead and make a selection of that (I'm going to default the foreground and background here) Quick Selection tool, increase the brush just a little bit and we'll just run it through the ocean, down into the cove, and there it's cooking.0164

So let's Quick Mask now; Q or the Quick Mask icon, zoom it up, take a look.0183

We can see already, that it's going to have to be feathered--you can see how harsh it is, but let me change the opacity back a little bit because I want to see through it just a little bit more, there, that's better.0190

This way I can see where the ocean is.0206

We're going to paint, and what we do is white paints away, X flips them, and we're going to make a smaller brush here--left bracket key to make it smaller, and I'm just going to paint down in here until I get into that foam area, and I think that's ocean--yes it is.0208

OK, that's pretty close, a couple of rocks there but not a problem.0227

Let's quickly follow our way around, let's paint a little of that foam out, those are good...that's pretty close...making the transition edge here--we'll just put some feather in it, but I'm not too concerned about the rocks getting darker or the foam getting brighter, that will match in there just fine anyway.0231

Let me--those rocks are a little too dark, put those back it, down here's a little foam there, paint that out...we'll just go ahead and do this one here...that one there...0254

I do see that we need to paint in the island, so let's make sure we're painting in black, and we'll just go ahead and quickly paint the rocks--try to leave that water alone that's in the center there...that looks pretty close--rock, rock, rock, close enough.0269

Anything else of consequence?0290

No, we're looking pretty good--right there should be white.0291

OK, out of Quick Mask, go to the Select menu, save selection, we're going to call it Sky and Ocean.0295

Now we have our basic selection--let's zoom out, de-select and let's take a look at the channels...come on, there we go.0306

My Pen tool is very sensitive today, so we'll click on that and there you see the Sky and the Ocean--I see I forgot to do one thing; I didn't feather the edge.0318

Let's go ahead and select it, let's get a highlight on any selection tool--go to refine edge, I'm going to feather it, two, click OK, and I'm going to save that selection over the original because it's the same selection with a softer edge.0330

Select, save selection, not new, save it over the Sky and Ocean, and you'll notice that as we zoom it up, we've got our nice little soft edge.0350

OK, we're good.0362

Now, let's go back to RGB, so what's the first thing we do with our image?0365

I should've done it at the very beginning...thank you, duplicate the background--Command on a Mac, Control on a PC plus the letter J for the shortcut, or duplicate layer here on the Layers dropdown or over here, now we have that.0371

So, the first thing I want to do is take the order.0388

I need the sky to come down, I need the ocean to come down, I need to snap the cove but I don't want to make it come down anymore, and we have a full selection of everything, so what I'm going to do is start with the cove and I'll show you how this works.0391

Got the whole selection, got layer one highlighted, we're going to make an adjustment layer for curves, and it's going to affect (as you see it made the mask--Option click, it made the mask) it's going to affect all of that but I only want to look at the ocean--I mean the cove, the inner cove, sorry.0407

So we're just going to put a point in the middle and snap the contrast to that cove, made it dark, we'll lighten it up a little bit...I think that'll work, let's take a look, off and on, it did affect it.0429

We can change a layer later--remember this is mathematical, but it's blown out everything else, so I want to try to modify this mask right down to the cove, very simple.0445

Here's the trick; if I do it this way I can't see where I want to paint, I'd like to do a Quick Mask--I can do that by loading the selection, making a Quick Mask and then saving it back...better way, don't even need to load it.0455

Highlight your layer thumbnail--mask thumbnail, click your backslash key--that's the key just immediately to the right of the right bracket key...pow, there you go, we can now see it all, we can actually paint on it and see what we're doing.0472

Here's the brush, we'll paint in red, let me get a nice, large brush with a soft edge--got it, and paint right there is where I want the transition and just paint out the rest.0489

And hit the backslash key again--backslash key...there you go.0503

Now, notice that the only effect that that layer has is now on the cove, so now let's go back, we want to do the ocean.0508

Command or Control load the selection again, highlight that layer so we can stack them up in order, your new adjustment layer or layers come in right above the active so now when we do curves here, it comes in with a new mask--we'll call this one Cove, name it so we don't get lost, we'll call this one Ocean.0518

OK, now, I want to modify this selection right now so that it's only the ocean, not the sky and not the cove, so the first thing I'm going to do (I got the mask highlighted) Command or Control click the Cove mask thumbnail, and there is (backslash key, well we're in the wrong one) there's the selection for the cove.0541

Down here, I'm going to hit the backslash key, and you notice that that mask now shows everything with the selection of the cove over it, all I have to do is paint.0566

De-select, and now hit the backslash key again--backslash takes it back, and now I have modified that and I can see I need to clean up an edge, see?0580

That's where the black and white comes in, there we go right there, Option out, and so now when I do my curves, it's only going to be the ocean and the sky, we'll take care of that...come on...boy, my cursor is going nuts today...0592

Bring it down a little bit, snap it so it pretty much matches the cove, see that?0610

Off, on, looks pretty good.0619

Now it hit the sky, but we'll fix that in just a half a second here.0620

We're going to hit the backslash key on that thumbnail--notice I highlighted the thumbnail, there it is.0627

We're going to come up and we're going to remove the sky...the way we're going to do that (get rid of these) I'm going to make my brush size smaller.0634

Now I want to just remove the sky, so I'm going to Shift...that will hold this in a straight line because that's the horizon line.0645

The bottom of my cursor right at the horizon--Shift...missed it, Shift, click and drag and it will drag straight, notice it's right across.0655

Now I'm going to move up a little bit and do the same thing again so I can make this big enough--do it one more time...there, now I can make the brush larger and paint out the sky...make it even bigger to do it quickly...and there you go.0668

Backslash key to get out, size it, get all the tools back, and now you can see that it only affects the ocean, and we have a clean horizon line.0690

I did something weird here...there we are, back, I hit something...my Pen tool was going berserk.0707

Alright, so there's the ocean only, off and on, we're looking pretty good!0718

Alright, so now let's move on with this--we'll close that up--now I need to do the sky, and so what I'm going to do is I'm going to take and I'm going to load this selection, which has the sky edge, alright?0724

Bear with me...I'm going to invert that selection, and now it's the sky and notice how it's separate--if I hit the Quick Mask, there's our sky and all we have to do is paint in this, very simple.0740

Back here...curves, all this did that by loading that and flipping the selection, we're going to look with the backslash key, there we have it, all we have to do is paint the land mass, very easy.0752

Let's come right across here, and paint out the land...see how that works?0767

Just learning to play with a single selection and just like that we have the sky absolutely perfect--backslash key, take our curves and adjust the sky down...right about there looks pretty decent.0775

Now, I can see that the ocean is too bright, so we'll take that adjustment layer and pull it down just a little bit more...there we go, and let's zoom it back out, now we've got--the sky's a little dark, so let's name that sky by the way.0794

And let's open that up just a hair...there we are, that's much better, that looks reasonable.0815

Now let's deal with the land mass.0823

Notice how we're just thinking with this one selection--let's load it; sky only, so everything else is the land, Select, invert the selection.0826

Quick Mask, and there it is, there's the land mass!0836

Highlight again, and we're going to do another curves, and this one, we'll just do it only enough for the land mass in the foreground, comes up a little there, turn it off and on...foreground land, we've got that.0840

Now I can modify that mask for the other one; we'll go Command click and load it, back here one more curves, and we'll call this the Point, and we'll now backslash key, highlight the layer mask thumbnail, backslash, and all I want to deal with is the point and I'm also going to pull up the beach.0862

So what we're going to do is we're painting in black, I'll just start here and kind of follow loosely around the...beach area...or the...what would you call it...beach, shoreline.0890

OK, there we have that, again, that magic backslash, out we are, and now all we have to do is highlight the curves and open it up in that area...snap it just a little bit, bring it down, and there you go.0907

So let's close up the Properties panel, the Channels panel...let's leave the Channels open so you can see what we did.0924

So now, we're going to take our duplicated background layer and move it to the top.0932

Just drag it up to the top, and there's where we were, and there's where we are--what a huge modification and we did the whole thing by making a very simple selection of the sky and the water and making an adjustment for the cove, for the ocean, for the sky, for the foreground of the land, and for the point.0938

All by painting and modifying and using each one on the layers masks, very simple--I want you to follow through this lesson two or three times and look at it, plus the magical trick of the backslash key so that you can turn the mask into an editable overlay.0964

A phenomenal feature in Photoshop CS6.0985

Hi everybody, Mike Brown here again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

So far in this course we've gone over selections, corrections, selections at length, corrections, exposure and color, your retouching tools and all about layers and layer masks and how they all relate.0007

So now we're going to put this all together, and in this lesson and a couple more, we're going to talk about composites.0023

Principally, photo composites, and how to take different photographic elements and combine them to make one finished image that is absolutely undetectably perfect.0031

There are some techniques in here to perfect the compositing of photos that don't necessarily have to be used with such precision in making graphic design composites, but the principles of compositing are exactly the same.0045

So let's get started, what we're going to talk about in this lesson is seeing digitally the art of being able to visualize how elements are going to fit to make a finished product.0065

In other words, when I was doing automotive compositing--let me just show you an example, here's a composite that I did for a Martin Chevrolet from scratch, and they wanted a Corvette in action.0079

So here's the Corvette going down the roadway, the sun is coming in, you can see it's flashing across the background, the background is blurred perfectly, the wheels of the car are spinning, the roadway's blurred, the car's crystal clear because effectively we're panning the camera with the car so that the car stays crisp.0095

But you can even see through the driver's side windows that the background is blurred, and even--it's kind of hard to see through here but it's blurred right over in there.0118

The edges are nice and clean on the cut out of the car, everything looks like a single image, but it's not.0128

There's the car--it was shot on the back parking lot of the dealership, just to make sure that the light was correct, the window's even open on the car, the gal is driving (supposedly) with the window open.0137

The background, this was the original background facing with the roadway going downhill--actually the actual original of this shot was in this direction--this was the way I shot it, but I saw that, and this is the seeing digitally.0151

I went "OK, the light here is coming just from the right and slightly backlit, maybe one o'clock, it's in the afternoon, if I flip the image (and this is what I was able to see).0170

Now I just look at the light and you can see it's backlit slightly--you can see that shadow up here is slightly down from the bush--it's almost noon time, but it could be later in the afternoon--a little shadowing out to the side, you can see that on the side rocks".0186

So that matches up with the Corvette.0203

Now we have the shadows a little longer in the back, but it could be about one or two o'clock, and also could be one or two o'clock and when we've blurred up a little bit, it's going to match, so I said "that's fine", so all we had to do was rotate the car uphill, rotate the roadway uphill and size everything in place, and low and behold, it's a flawless composite.0207

That's what I talk about, learning to see digitally, and the elements that you have to keep in mind; size, lighting, perspective and color matching.0233

Now in this case, for the Corvette, the background was the principle element.0247

The car is being moved into the background, not the background into the car, and so if we look at the size of this image, it's 150 DPI, 18 inches wide, and if we look at the original car...0256

It's 150 and 18 inches wide, so the car is actually larger than the background because you notice the car had to be reduced, and that's fine because as we squish it down when you reduce an image size, you don't really lose any detail--it does throw away some pixels, but it retains its sharpness.0276

If you have to go the other way and take something and size it up dramatically, then you degrade your image because it's always filling in the pixels--remember we talked about that before--let me show you a simple example here.0302

Here's a composite, this was the original shot and I composited in a sky, just to add a little oomph to it.0316

Now the sky shot itself is this image here, which is 84 megabytes, and the image of the couple is only 18 megabytes--it's 240 DPI, and the width is only 9 inches whereas the clouds...0324

The width is 20 at 300 which means probably about 40 inches wide compared to it but that's OK, because in the composite the people are the primary image.0348

And at 240 DPI, we could even go down to 150 and your image is almost 16x20, so you can make a 16x20 print very easily without even resizing of this image right here.0362

And so we bring in the sky and squeezed it down and that was no problem.0378

Even in this case, even if the sky had been smaller and we had to size it up to fill, and it would be degraded and a little bit soft, that's fine because it's a background element, and we could blur that background down so it could be a lesser resolution image.0383

But you have to keep this in mind; just replay this recording and hear what I said, you have to be careful about your lighting.0400

If the lighting is opposite, it'll be a dead giveaway so you have to match your lighting, you have to match your sizing, and be aware of the finished product, whether it's the element or the main shot, you have to make sure that you don't have to size it up a whole lot to get your end product image and degrade it--match them up.0410

Perspective is absolutely vital.0436

If you mismatch your perspective, the image will not work.0441

We'll go back to the Corvette again.0446

This shot right here, if you can tell by the roadway, it may be a little bit hard to tell, but I was standing up and this was shot at about chest height which would be about four feet off the ground.0448

You can see that it's down--the horizon line runs right about the top of those rocks, the bottom of that bush, somewhere in there, so when I shot the car, you notice that the height is about four feet off the ground so that when the two of them went together...0464

There's where the horizon falls--you've seen the top of the car, there's the horizon, and the horizon's about there on the image and you can tell from the perspective of the ground that it matches up.0486

If I had shot the car from a very high angle down and put it on this roadway, it would've looked very distorted because the car--you'd see a lot of the top and the roadway--you don't see much roadway, so it's low and high.0498

So you always have to keep that in mind, whether you're using stock elements that you're getting from a stock library or you're shooting the elements yourself, make sure that the perspective matches.0513

Now, height is not the only perspective.0524

The focal length of the lens--if you try to put a wide angle distorted shot into a long telephoto shot, it will look just as bad as if the height differential was there as well, so keep in mind that the two images should be of the same perspective--that is focal length and height.0528

OK, and color match is a good idea if you have a heavy differential, but you can correct that in Photoshop but it's best to try to match them up closely so that you don't have to heavily shift and get something that looks a little bit odd, OK?0549

Those are your four principle things and it's more size, lighting and perspective that matters, and that's whether you're getting them from a stock house or shooting them yourself, keep that in mind.0567

And as you do that, you will begin to be able to see digitally, in other words looking around you, you'll be able to see "ah, that element will fit in something, I'm shooting it" when you go ahead and take the pictures.0578

It takes a while, it took me about 7 or 8 months of travelling around shooting for car composites until I became totally aware of exactly what I needed perspective-wise and lighting-wise.0593

OK...so let's create a composite, utilizing what I've talked about here and showing you the easiest way to do things, alright?0609

Here's a basic shot that I took of some flowers; we have a group in the lower right, a smaller group in the upper left--it's actually two parts.0621

Now technically, a composite with three elements usually balances, in this case the fact that these redder flowers are so small, and there's dead space over here even though that balances the dead space at the bottom, this is a little bit off.0630

It would be really nice if there was a little more stuff right up in this corner, so I said "alright, what I'll do is I'll go find a flower that I can composite into this image".0647

Now, the first thing I was aware of--I shot both of these by the way with the same camera, but I'll show you that.0660

The lighting; the lighting is not at sunset where it's straight across, it's not at noon straight down, you can see the shadow down here indicates that the light's at about maybe 2 o'clock on the clock face coming down into the image like this, so I would like, of course, to shoot a flower roughly with that same light.0666

Sorry, in this arboretum...there was this rose, and the light is the same angle but the opposite direction; high right to low left, high left to low right, but I immediately recognized that I could very simply shoot this flower and flip it...0689

And low and behold, notice that the light here, and the light here, now match up--this was what I saw when I shot the image.0717

Now, as far as image size goes, I shot them both with the same camera; this is 20.3 megapixels, and the flower itself is also 20.3, and I'm going to have to size the flower down here which is fine, because it's going to be a principal part of the composition, it will not degrade the image.0727

No problem at all, so we're in good stead on sizing, we're in good stead on lighting, and the perspective, I made sure that I left the camera at the same zoom ratio that I shot this when I shot the flower so that it wouldn't be distorted.0750

So everything seems to be good, so now we have our two elements, what we need to do is get the flower selected, and get it over into the main image.0770

So, let's zoom up here, and I'm going to show you an easy way to make sure this flower is selected--everything is efficiency.0785

We could take the Quick Selection tool and work our way around, but we have edges and places where it didn't get the flower because it was indistinct--we'll then have to fix it.0794

We're going to solve that problem right off the bat--we're going to duplicate the background; Command or Control+J, we're going to go, and it doesn't matter what I'm going to do to this background because I'm only doing this for selection purposes; I'm going to delete the background.0806

Image, Adjust, curves, and we're just going to really distort it, because all I'm concerned with is getting distinct edging around the flower, and there we've got it.0822

So I click OK, now we'll take that Quick Selection tool in this layer and just drag it around, and it will snap right out to those flower edges, and you notice that that area where we had it run over before, doesn't happen this time because we have distinct edges.0837

So now we've got the selection, let's save it...and trash this layer, so now we're back to the flower, but we need to do a couple of things.0861

We need to feather the edge--let's look at it under Quick Mask, let's change the opacity up, so that we really see this well.0875

Let's zoom it up, and you see when it made the edge, you see the little black fringing, the dark fringing--what that really is, is the background of the image--it did not find the edges exactly, you know it's a little in here, a little out there.0885

As we go around, you see that fringe--now if we copied and pasted this image into the other picture, we're going to have an edging that gives away the fact that this has been composited, so we need to clean that up.0905

So we've got this--let's go to refine edge...and we're going to feather it a little bit more than I normally do--I tell you one pixel is normally a good, clean edge.0919

We're going to up it to two pixels, and the reason is that the way to get this edge clean, is to take our flower selection, invert it, and delete the edge and that will push that dark edge in, and it has to be soft enough to do that.0932

OK, so rather than one, we'll feather two--see how it got soft, you can see that?0949

Now we're going to use the shift edge in the refine edge dialog box and move the selection back in enough--let's view this on the overlay.0955

We're going to come inside enough that we get that black fringe out of there, watch.0966

Take the shift edge, and move it in--look, you can see it already--we're going to move it all the way.0973

Notice, as we go around, here's where it was, see the dark edge?0980

As we come back, it gradually moves inside of the flower...click OK, we'll go to Quick Mask and I'm going to reduce the opacity this time so that you can see it (let's go down to about 45) hit the Quick Mask again, and there...0985

See that faint edge?1008

That's the flower edge--you can actually see it right there, you can see actually see it right there, you can see it well right up here--we've pulled the selection inside, so you go "why are you doing that?"1011

Now I'm going to save that as a new selection because I want to show you...let's go to the alpha channels, zoom it up, and quickly, you see it's harsh and it's out, and you see now it's soft and it's in, notice the difference?1020

There it is, we soften the edge, we moved it in which will give us a clean cut on this flower when we take it and move it over, so now that we've got that let's load up that good selection, and we're going to copy the flower.1040

Now, in this case, we're just going to plain copy it out--Command or Control+C which is under the Edit menu, copy, and I'm going to do one more thing just to show you, I'm going to go Command or Control+N for a new document which will automatically take the size of the object that's in the clipboard which is the rose, I'm going to paste the rose in--Command or Control+V.1057

And let's zoom it up a little, and we still have just a little fringing left...we could've gone even a little more, so we know what it's going to look like, I can close this out.1081

So now we're going to go ahead and paste it into the image, it's in the paste board, we'll go over here; Edit, paste, Command or Control+V, there's the flower.1095

Now, let's take a look at that edge if we can--let's move it up to the top and turn off everything else, and yes we can see just a little edging, so what we're going to do; Command or Control, click the thumbnail, load the selection, highlight any selection tool, go to refine edge.1107

We're going to feather it...two again...and what we're going to do is we're going to contract it about halfway, there you see the blue line.1127

We're going to click OK.1139

Now, let's zoom out, that is the selection of the flower, we're going to invert it, so it's the selection of everything else--Quick Mask shows you that.1141

And you can see that we have a little bit of pink edge showing and the fringing, so now we come out, remember the selection is everything but the flower so if I hit delete, it's going to delete that edge back into the soft, two pixel feather, and it will push it in a little bit, and it will still be soft because it's only two pixels and it won't go all the way to hard, watch.1154

Command or Control+H, let's find a definitive edge, right there, hit delete, and look...Command+Z, Command+Z.1184

It cleaned the edge and it's still soft--if I can do it one more time, it starts to get a little hard, and so now, if we look around the flower, see how beautifully clean the edge is--no fringing give away.1193

That little dark spot but we can live with that at the moment.1209

Turn the background back on, we can clean that out right now...let's go Lasso tool, feather of one, and we'll just make a little selection round the flower and delete that piece out of there.1212

Now if we move the flower you will see that the edge is now perfectly clean, and it matches up in the same type of edging as everything in the photograph, OK?1230

That's how you ensure that the object that you paste in is flawlessly matching.1243

Now, let's get to the composite...we wanted to put this flower in the image and I want to make it smaller, put it over here and I'm going to put it behind these red flowers--drop it in the background.1249

You go "how you going to do that?"1263

First of all, we're going to load the selection, Command or Control+T to transform, Shift to hold the aspect ratio, and we're going to pull the flower down in size.1264

Stay inside we can move the whole thing, and I see right now I'd like to rotate it a little bit, get that light a little bit more correct--there we go, and the size is a little too large still--Shift and pull it down, that looks about right.1276

We'll click OK--we can always change it later, Command or Control+D.1293

Now, the flower is in position but you're going "how are you going to put that behind the other ones?"1298

Nice little trick here.1303

Turn it off, go to the copied layer, Quick Selection tool, and we'll select a group of these red flower petals, enough of them that we are significantly--see the overlap right there?1305

And so what we're going to do is we're going to copy them; Command or Control+C, highlight the rose layer, because when we paste an object remember it always comes in, in a layer above the highlighted layer, so it's going to come right in (Command or Control+V) into its selection, right above the rose.1325

Now let's check out the edge on that...it's got a little fringe on it, notice right in here?1347

Sam thing happened there, so we'll Command or Control click that, feather at one...I think one will be adequate here, and we're going to contract it just a little bit, click OK, invert the selection again just like we did with the rose...1354

Hide them--Command or Control+H and hit delete.1379

Notice that it cleaned out the edge--we'll come in back, there's that little fringe, and when we delete it--actually delete it twice this time, and now it's perfect, and the rose is now behind.1382

It's still a little bit too large so we'll go back to the rose, Command or Control+T--that's the whole image, sorry, you've got to have the layer...1400

Load the selection--Command or Control, now Command+T, Shift, and we'll make it a little bit smaller, and move it right there, that's good.1410

Alright, one final thing to do here; Command or Control, select the flower, we're going to go...let's go hue saturation, click colorize, up the saturation, change the hue--we'll make it yellow.1420

It's a little flat compared to the lighting, so Command or Control click the selection--either the flower or the mask, either one...go to curves, and pull it down just a little bit and snap the contrast...and there!1439

You now have a composite where we started here, pasted in a rose, put it behind the flowers, changed the color, and adjusted that, and we made a composite that's absolutely flawless on its edging, and looks like an original image by using another object.1458

So in this lesson so far, we have looked at the concept of...seeing digitally, being very careful to visualize how things are going to match up from the stand point of sizing, image quality, lighting--make sure the lighting matches, perspective...1485

Everything is shot at the same perspective, height, focal length, color matching--in this case we altered the color to match things up, and showed you how to create a flawless element edge.1512

Remember, this is absolutely vital.1525

Size, lighting, perspective and getting that edge flawless so that you don't see any fringing, and then we just very simply copied and pasted into another layer, to create a final flower composite that is undetectably a singular image made up of two different images and some modifications within it.1529

All done in Photoshop CS6.1556

In the next lesson, we will explore compositing even further.1560

Hi everyone, Mike Brown here again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

We've talked about selections, we've talked about corrections, we've talked about layers and non-destructive corrections, now we're going to talk about retouching.0007

If you remember my four basic categories of Photoshop; selections (most important) corrections (exposure and color) retouching, which is the physical alteration of the pixels and then manipulation which is composites and things of that sort.0018

Retouching is vitally important as well; it allows you to fix all sorts of distractions, mould and improve your images in the industry of fashion.0035

Retouching, you see it all the time on every magazine you see on the street corners, you see the covers of the fashion girls, all with their faces absolutely perfect.0047

Believe me, they don't look that way in real life, that's retouching--that's Photoshop.0057

They look skinny, the dresses look perfect, everything is absolutely perfect--nobody's perfect--that was manipulated with the retouching tools, so we're going to go into that pretty deeply here, but in this lesson we're just going to cover the basics.0062

And what we're going to look at are the basic retouching tools and how to properly use them, and there are really four of them; the Spot Healing Brush, the Healing Brush tool and the Patch tool--all three of those are under the little band aid, and they work in a similar fashion.0078

There's a fourth one called a Content Aware Move tool, which is new in CS6--I went over this under the Content Aware lesson, there's also Content Aware Scale and Content Aware Extend which are both wonderful.0096

The Content Aware Move...has a tendency to disturb pixels--we'll go into that as this lesson goes on, and the final tool which has been around since the beginning of Photoshop, the Clone Stamp tool they call it but we all call it the Rubber Stamp because of the icon.0113

What this tool does is literally clone--it takes something from one spot and reproduces it in another spot which allows you to do an infinite variety of things, but it's how well you use that technique that makes it flawless, and I'm going to have a demo here on these basic techniques--not just showing you how the tools work but how to make them work for you...0134

And some tips on flawless retouching, so let's get going.0157

I'm going to take this image to start with--this is a shot I took of a friend of mine, and it's a nice shot, we got a little flyaway here, up there, that could be taken care of in retouch.0162

If you'll notice in her sunglasses, we've got reflections of the flash that need to be removed--those are distracting, along the side here the dress has a blousing out which looks pretty hideous, so what we're going to do is we're going to reconstruct that down into this area, and then we have some distractions from the background--these are things you really need to look at, is your background.0173

If you're sitting there when you shoot this shot and you shoot it and it's wonderful, but then look closely--she has a branch that grows right into the dress, it blends with it--almost looks like the dress and the branch are one, very distracting element right there.0199

This large branch growing out of the side of the arm, over at the side of the image here we got some lens flare--you see that haziness?0215

And then down here we have another branch growing into the side, and just one little distracting piece up here at the top.0222

These are the things that catch the eye--you're looking here and all of a sudden you see this little brightness, so I'll show you how to fix those, and they can all be done with any of these three tools and or the Rubber Stamp tool.0230

Now let me demonstrate--I'm going to go to the fourth tool first; the classic Rubber Stamp tool and show you how it works.0243

It reproduces directly one item that you source into another area, and just for fun I'm going to show you how this works using her lips.0252

You have a brush size and you have opacity that you can deal with here.0263

You can also sample from the current layer or other layers, but in this case we always, 99% of the time just leave it on the current layer, and align sample--I'll show you what that is in a minute.0268

So we're going to leave this at 100% opacity, don't mess with the flow, always deal with opacity on this thing, I don't want to confuse you.0282

Alright, brush size--you get brush size and hardness, and hardness when you're doing retouching with the Clone tool is important.0291

If you have it at very hard, I'll show you what happens.0302

We have a kind of a soft background here...oh I was going to demonstrate first how the tool works, I'm sorry, I got carried away there.0306

So, the way you use this tool, is you source from one spot that you're going to take from, and you paint it elsewhere, in this case just for a demo I'm going to source from her lips and paint a pair of lips on her chest, just to show you how it works, I know.0315

Option on a Mac, Alt on a PC gives you your target, click where you want to source from while you're holding down the Option or Alt key, then release both the key and your mouse, touchpad or the pen, and you've now sourced that spot.0331

Now, you don't see anything of it and I'm moving my cursor around, I haven't touched it down, but wherever I touch it and start to paint, it will reproduce starting from that very center, watch.0350

Click--notice, it's reproducing--I'll just paint around, it's reproducing precisely her lips, so it sourced from here and it reproduced exactly down here and you go "well that was really good, what good is that?"0360

So just for the fun of it we can do that right up here--what you want to watch for, is to make sure that you're using similar texture, lighting, as you have in the area that you want to fix where you're sourcing it, like right here, it's kind of greenish with a little dark.0378

We can take it from right there, that looks pretty similar--Option or Alt, target, click, release, and then go over here and paint, and you will see that it removed it, but I want to show you something, we're going to zoom it up, look.0398

We had a purely hard edged brush and look what happened, we can see it worked...from a distance, but when you get up close it's real easy to see what happened because we had a hard edged brush.0415

I'm going to undo that, we're going to go back, we're going to take that brush again; Rubber Stamp tool, this time I'm going to reduce the opacity...I don't want to reduce it to zero because it won't show it this one because it's blurry, but when the brush is completely soft, if you're trying to reproduce something that has quite heavy detail in it, it's going to blur it down.0431

So the best way to use your Clone tool, Spot Healing Brush--all of the tools with the brushes that are Healing tools, just put your hardness roughly somewhere between 30 and 40% is what I use, because it gives you a soft edge to allow it to blend a little bit, but the detail in most of the brush is quite clear, so we'll do that here; Option or Alt click, and this time we'll paint right in that area.0458

And let's go up and take a look...you can't see where the edges are--notice I'm going before and after?0490

You can see a little bit right here--we'll just paint a tad more right in that spot, and that got it, and notice...let's take both of those away--Clone Stamp...look at that, perfectly undetectable, you can't see a thing and the edges are meshing perfectly.0499

Alright, let's demo that just a little bit more down in this area right here, with the lens flare.0518

Now we see that that's fairly bright green, so I'm going to go ahead--you want to match your texture, so I'm looking at the tree and I'm going to take it right up here in this area and reproduce it down there.0529

Option or Alt click, and I'll start painting, and you notice that it's matching pretty well, and I come on down--now I'm not going to paint all of it, you want to be very careful when you're doing--let me go ahead and see what happens if I go all the way down here and take this whole thing out...perfect.0546

It looks good to start with, but I want to show you something--I've painted such a large area, that...I'm going to zoom it up once more, look right here, you see that little piece of leaf or something and this bright line looking thing?0569

There it is, down here.0588

That's called repetition, and you can even see right there this shadow spot and that shadow spot are the same, that's the same and that's the same.0591

What happened was that I painted too much area and dragged the brush down to where it started reproducing itself.0602

Now I can correct this very simply, S is the shortcut for the Rubber Stamp--Option or Alt click and just paint that over, and then we'll do it again from a different area, and come down and clean up those other two, and I see a little repetition right there--Option or Alt click and do it.0611

The better way to deal with this is to Option or Alt click and paint a little bit, then take a new source point and paint a little bit more, another new source point and paint a little bit more--keep shifting your source points as you move along--do a little bit, and then move the source points so that you don't get repetition.0630

That way it will never give away that you were retouching (zoom it down).0657

I'm going to just go ahead and take that out by going sourcing right there and paint around like that, Option up here, a little darkness greenery, and be very careful when I get close to the edge of her arm, don't like that little spot right there...0664

Notice I just keep changing the source point...and there...we went from there...to there, and completely...and I'm going to zoom it up, you cannot even see any evidence of edges or of any reproduction.0680

OK, let's go ahead and move over right under the arm and do the same thing--now that was pretty easy because it was outside not touching her.0713

Now we've got a problem, we've got the arm and we've got the dress which is even very, very hard to see an edge--I can't see it here but I can just about make it out.0724

What we're going to do, is take the Pen tool--here's where the Pen tool comes in, click and drag and I'm going to kind of semi-create a shape for that dress.0734

I'm going to take that little bulge out there...just smooth it down just a little bit, that's good, and I'm going to come over here to the arm, and then we're just going to very smoothly click and drag, remember?0748

Click and drag, come right up the arm, now I can close it off, I'll go get my pas panel, dropdown menu, make a selection with a feather of one, and now I've isolated--there's Quick Mask--I've isolated this area so that I can't get inside on the dress or inside on the arm.0765

What I can do then, is get my Rubber Stamp tool, Option or Alt click, I'll start down here, and then paint--notice it's not going into the arm and I'll resource that--I'll move it over right in here and come right up on the arm--I want to, or on the dress and just get rid of that...0790

Little bit there--Command or Control+H and let's see how it looks, it looks perfect.0811

Let's do a...we started there and we got to there, see how nicely that all blends in and you see there's no edging because we're using about 42% of hardness on the brush, so now you see how much better that looks?0818

We've clearly defined the shape on the body, and removed a distracting detail.0834

We're going to do one more down here--I don't even need the Pen tool for this, I'll do the Lasso tool with a feather of one, we want just a little soft edge, and just come right up, just a little bit and around there to protect it, and we'll go...looks like over here on the right is a good place to source from.0840

We'll take the Rubber Stamp tool, Option, click and just paint a little, Option click again paint a little more, Option click from another spot, I don't like that there so we'll clean up the edge...0859

I see what happened, I accidentally de-selected, see what happened--I was getting into the dress, that's why we needed the selection--I'll back it up in the History panel...0873

Command or Control+H, start again, Option click, we'll start right along the dress line, Option click, Option click and paint a little bit, and fix a little bit more and a little bit more and I keep changing that source point, there we go.0883

So we went from there to there, and now if you'll see we're just using the Rubber Stamp tool, we completely fixed up that background from any distractions, so that shows you how the Rubber Stamp tool works.0900

Alright, let's go and take a look at the sunglasses.0914

Now the Spot Healing Brush is a very interesting tool--it is exactly for what it says it's for; healing spots, and it does it like magic.0919

All you have to do--again you have a brush size and you have a hardness, and again I like to leave that hardness somewhere just under 50%, just to keep a little soft edge so we always get a blend, but yet most of it is hard in the center of the brush so that you have detail.0931

What the Spot Healing Brush does, is as you paint, and I'm going to just paint right over this spot, and I'm going to stop, that black area--the computer's looking inside the area that you painted to see what most of it looks like and trying to figure out what's different.0949

And it also is looking an undetermined (and this is the hard part) an undetermined distance outside, so it's checking a larger area than where you painted to see what the area looks like and it's going to remove anything that looks different and try to make it look uniform, and I do say try, doesn't always work.0967

Look in that case, Command+Z, right there, Command+Z, we'll even zoom that thing up...right there, it's perfect, actually you can see a little bit of the spread, but it works perfectly.0986

Blemishes, it's absolutely magic--look at that...all you have to do is just basically touch the blemishes, and you can see the soft edge on the brush--it's blending just fabulous...fix, fix, fix, that's what you use for your Spotting tool.1001

Now let's just go over a couple more to show you...this is what you do in the retouching of people, we'll go over more of that in another lesson extensively, and there you have it, that's how the Spot Healing Brush works.1022

Now, we're going to go up and we're going to do the sunglasses.1037

Always make your brush size just at or slightly larger than the object you're removing, paint over that reflection, and it's gone because everything was nice and uniform.1042

This brush works best in areas of uniform texture.1054

If you're doing something where it has several different textures you begin to get problems, but for this it's wonderful--we'll just paint over that and there it is.1060

Drop the brush size down (left bracket key) just take out these little tiny ones--look at that, just brush them and they're gone.1070

Now, we're going to try this one over here right by the edge of the sunglasses (move it up so you can see it) again we'll just paint it, let's try to stay away from the actual edge, right there.1077

Now see the problem that occurred, even though we have Content Aware, we'll try it with Proximity Match.1091

See if it does any better--it's a different way of calculating...same exact result.1098

This is what happens when you try use this tool next to an edge--I'm going to paint over and I'll explain it.1105

The computer is looking around inside and outside the painted area--outside goes down into the skin so it's trying to blend that bright skin in with the dark sunglasses and it doesn't do a very good job, so that's where you get problems with the Spot Healing Brush.1113

Then you just go to your Rubber Stamp tool...Option or Alt source up in the black and paint it because it's not calculating, it's just reproducing, and there you have that.1133

So it shows you that sometimes the Spot Healing Brush works, if it doesn't try it a couple more times because it'll recalculate each time, if it still doesn't work the Rubber Stamp tool will solve the problem.1146

Now, the Healing Brush tool is similar to the Spot Healing Brush except it allows you to control the area where it's going to look--let me give you another image up here and try to make that clear.1160

Alright, here's a car...if I wanted to...let's do this right here, let me get my layers up, OK.1177

See all these little spots in here--the first thing we'll try is the Spot Healing Brush, and let's see what happens, if it's going to work...it did not.1194

Let me show you, look right over here on the edge, see that?1204

It picked up the black because it was right along an edge, so we're going to try the Healing Brush tool.1208

Does the same thing with one exception--it works like the Rubber Stamp tool in that you get to source the area that you wanted to look at, and hopefully that will cure the problem, so we're going to just make the brush size a little smaller, Option or Alt just like the Rubber Stamp tool, we'll click it up in this red area--it looks to be about the same tonality...1216

Release, and so now we're going to paint in here with that area and see what happens...it didn't do it either, let's try it with a little brighter red, one more time.1239

Let's try that right in there...not bad, but you usually get similar results with either one of them, so once again there's another solution here, we'll go back, the Spot Healing Brush and make a tiny little brush size, and just take little tiny pieces at a time so that it doesn't confuse itself...1253

We'll just paint out the little specks one at a time, or Rubber Stamp tool, right down here looks fine, up there it doesn't--smaller brush, Option or Alt click, and just paint them away.1280

And just every time I'm painting a little bit and resourcing.1295

Now, if you have an area that's constant--let me go back a few steps here and show you this...OK.1299

You notice there's a line, if I uncheck that, what it will do is every time I brush and lift, it will now always source from the same point--instead of the source following at the same distance...let me demonstrate first of all the distance.1308

If I source here and I move over here, notice, look back at the center of the Mercedes logo--I can't point to it at the same time--right in the center of the hubcap, see that little cross?1329

Notice the little cross is always moving the exact same distance away from an angular and distance from what I'm painting.1342

If I move over here, look at the cross--it's now the same distance and angle away, it just moved off to the left.1356

In other words it maintains that distance exactly (let me just get that out of there) however, if we...1363

Underline it, option or Alt click right in the center of the Mercedes logo and now I'm going to paint over here a little bit...now I'm going to paint over here and now you would think that it would move to the left and start painting off to the left, but watch, look, that cross is still in the center.1374

Every time I paint it starts in the same place, so...in this case of retouching these little dots, this is where I really want to source from or even right up in here, we'll take the Rubber Stamp underlined, unchecked (Option or Alt click) every time I paint, it's going to pick it up from the same exact starting point.1391

If I do it down here, which is a little darker, you can see the cross down there--it's always working in the same spot--you have to be careful about repetition, but for this particular case it worked great.1415

Usually I leave it aligned--it follows no matter where you source from, and you drop your paintbrush, the source point will always be that far away.1427

When it's unaligned, unchecked, it always sources from exactly the same point, but be very careful because it's always sourcing from exactly the same spot, if you keep painting around, you are painting the same thing and you might get repetition which gives away retouching.1440

Practice with these and you'll see how it works.1459

Now we go back here, obviously the Spot Healing Brush is wonderful for these little items here, OK?1462

Now we're going to show you the final one; the Patch tool.1470

We've got big spots of problems here, I could try it with the Spot Healing Brush but it may not grab it, this is where we use the Patch tool.1475

The Patch tool has a little patch for your icon, it's a selection tool; you select around the area that you want to retouch.1485

Make a loose selection--give yourself a little outside overlap, just go right around and I'll pick this spot right there, OK?1496

I haven't checked at source, means it's going to consider the source and I move the source to where I want to have it replace with.1504

In other words, notice all this area around here--this is pretty much this big area right here what I'd like this to look like, so I click inside it, notice that as I drag it follows, and shows you what I'm going over.1516

And look over there to the right, when I release, and look what it did, it used this as the source.1532

Now you still have your selection so you have to de-select it--Command or Control+D, we'll do this piece up here, same thing.1541

Move it over, Command+D--look how wonderfully that worked--right here, we'll move it to the right here, I think that's pretty much similar...look at that, just does a great job, now watch this.1548

We're going to take a huge area up here...and let's see if we can do this--I'm not even sure if this'll do it.1561

We're going to take this and let me see where would be a good area to grab from, it looks to me that the best we can do is down here at the bottom...and release, oh my, look at that.1571

Now there's little spotty areas there, there's before, after, Command+D, but now let's go back to the Spot Healing Brush.1585

Up the brush size, and we'll fix the little spots.1593

You know, in almost no time at all that would've been really time consuming to do with the clone tool, and we'll fix one more...1597

Patch tool, time savers, so all is what you have to consider--we'll come right down this edge, over into here, zoom out one, we're sourcing it.1608

Now we can do this the other way...let's go back over here and change to destination, it reverses the process.1618

We'll make a selection like this, and then drag it over the top of what we want to replace, and it does the same thing.1626

Let's try the source one more time on that edge...right up the edge, around here, drag it over, and look at that, a pretty decent job--we can come back with the Rubber Stamp tool or the Spot Healing Brush, and clean up the other details.1636

So there you have...an interesting little treatise, if you will, on the Spot Healing Brush which is kind of the magical tool for taking out spots but be careful with your edges!1654

Let me pull up the layer...you've got to watch your edges on this...watch your edges...because that's where it has problems--when it reaches areas that are different, watch the edges.1671

The Healing Brush tool works similarly, and again you have to watch your edges.1689

The Patch tool is marvelous for doing large areas...my printing is terrible today...left handed upside down here...there we go.1695

So the Patch tool works great for large areas, and the Rubber Stamp tool is the big dog; it clones, literally.1712

And when you use these all in conjunction, it will enable you to retouch almost anything.1723

We're going to come back in the next lesson, expand on this and show you how to work on people and skin.1730

I'll see you in the next lesson.1735

Hi everyone, Mike Brown back again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In the previous lesson; retouching part one, I introduced you to the primary retouching tools which were the Healing tools; Spot Healing, Healing Brush, Patch tool, as well as the Rubber Stamp tool.0007

The differential between these two tools is that all of the Healing tools calculate to try to determine what is inside the area that you have selected, and what is close by outside to see what needs to be removed or corrected.0022

Sometimes it works and sometimes it doesn't--if you're working in areas that most of the area's nice and uniform, it's a wonderful tool.0042

When you get close to edges, they've tried to improve it but it still has a little problem when it looks into two different textured areas, it's going to sample part in and kind of doesn't work really well.0051

In that case, you move over to the Rubber Stamp tool which clones from one spot to another so that you can accurately replace a blemish with a nearby area.0063

OK, so we're going to start here in this lesson and talk about retouching people, which is what most people shoot anyway.0074

I'm going to show you some basic techniques for retouching skin, I'm going to show you how to retouch eyes, teeth and lips, retouching hair and a little bit of nip and tuck body contouring.0081

OK, let's get started.0095

Here's a photograph that a friend of mine took of this middle aged gal, good looking woman, but she's not 22 anymore, you can begin to see the age showing around the eyes, a lot of lines in the eyes, deep set.0098

She's showing little blemishes in the skin, we're showing a little bit of neck line sagging here and we've got various and sundry spots that need to be cleaned up.0114

So the first thing that we're going to do is spot the image, this is always the way we start out, and for that we're going to use the Spot Healing Brush, remember how that works?0126

Adjust your brush size and again I'd like to keep the hardness, you can play with this to see how well it works for you but I like to keep it somewhere in and around the 35 to 40% range, sometimes up to 50 or 60 but usually just under 50%.0138

Alright, so we'll just start with just spotting--remember all you have to do, again, it's in uniform areas, this is just wonderful--notice how beautifully it removes these spots and how quickly.0154

Now we could do this with the Rubber Stamp tool, but for every spot that you need to remove, you have to source a similar area and then paint it away, you know, literally paint it away, so it takes a little time to source and paint, source and paint, whereas with the Healing Brush, just find the spot and paint on it and magically it just removes it.0168

This is really a time saver when they came up with it--now see, right there shows you the problem with the Spot Healing Brush--we were close there, and as we did that, this time it didn't get it but sometimes it reaches out and it finds things that shouldn't be there, so you have to watch it when you're using that.0196

So we go through--this is normal, with retouching people, you just work your way through the blemishes and get the major ones (and we'll get that one right near the lip, one right near the lip there) you can even take--notice the age furrow right here in the nose, at the forehead.0217

We'll just paint right down there, and look at that, magically it removed that...again we'll--see there?0239

We got a little pickup but we can go back and fix that, you just got to be really careful, it sometimes picks up other things.0247

A little more here, just a few more spots, I think that pretty much gets it, notice we've got pores showing here, I'll show you in another lesson how we deal with those.0255

OK, you could do this for hours.0264

Now we have gone so far from there...let's look down in here, down to there--it doesn't look like much, but if you look closely, there's an awful lot that's been removed.0267

You can even work on the age lines down here--watch this--we'll drop the brush size down and just come up the line a couple of times there, and look, you can even remove those age lines.0284

Let's take that hair out of there, and clean up a little of the age lines, just painting on them.0298

This is all with the Spot Healing Brush...does a great job on a lot of this as long as you're in uniform areas of texture, you're in good shape with this particular tool--look at this, just cleaning it up.0305

Just be careful that you don't take too large an area, I'm not going to clean all of this but I'm going to run it up, let's even do part of this one here...oh yes, this is working great.0321

When it works, it's unbelievable--look at this, just absolutely amazing, I'll even go right under here and fix that up...OK.0336

Let's back out and see what that looks like now, take this neck area, we went from there...let's look at the neck area...down to there, see all improvement on that skin, really nice.0345

OK, now we're going to talk about retouching under the eyes (let's zoom this up just a little more so you can all see what's going on here).0361

Now, there's two primary ways to deal with this, I have a philosophy in my photography of maintaining the integrity of the image.0373

Any of that work that we have done from this point to this point has only cleaned up blemishes, it's still the integrity is there.0383

Now, this lady is not 25 anymore and we don't want to make her look 25 because if she's got a photo that she's showing to friends and family, she's actually 52 years old and if she looks like she's 20, that's just not going to work.0394

You want to take 5 to 10 years off, not 50 years, so the first thing that a lot of retouchers do, they'll take the Patch tool...zoom out just a little, and all you have to do is go ahead and make your selection around the area.0409

Remember the large area that you want to fix, and we're going to go ahead and use that source, and we'll just pull it right down into the clean skin down here...and release.0428

Before, and after, back it out, before and after.0442

We could even go a little bit further, but I see the transition of darkness right on this area--we'll just take this here and drop it down, and that will even give...I like it better just the way it was, that's fine.0448

And you can even do it on the sides right up here--just run right up the side...make your selection here, pull it down to again areas of similarity, I'm following right up, and look at that...before, after, clean those out right away.0467

Let's go on up into this dark area right here, and we'll just move over a little bit like that...look at that, absolutely amazing.0485

This one right here we can pull down, and you can even do it right up here with the inside of the eye--we'll just move it up a little bit, see that?0495

Now we'll take this area and move it just over a little, just gradually do a little at a time...just take tiny little pieces here, and improve it...there.0509

For all intents and purposes, we've fixed that eye.0525

We can come back in here--that's a little bit muddy on that side, we'll fix that as we move right along.0529

OK, so now you see this eye looks wonderful, this one doesn't.0536

I like a different way, I think this is a little too much--it almost looks like she's had plastic surgery, so what I do, is I use the Rubber Stamp tool, and here's a new technique for you.0542

We're going to take the Rubber Stamp tool at a lower opacity--remember it's cloning from one place to another, but we don't have to clone 100%, so if I take this skin down here and at 15 to 20%, gradually clone it in, it just gradually diminishes the age marks, watch.0556

Up this, we're going to make that--remember you can use the keyboard for numbers--2 would be 20%, there we have 20%, normal, aligned--remember I always want it to follow, not go from the same point, Option or Alt, and just gradually paint it down.0580

Let me show you one from there, to there in four strokes--notice how smoothly that worked?0599

Option or Alt here, just paint it down gently.0604

I'm leaving just a little showing...new source, paint right up along there, and now I'm going to do the upper eye right in here, just gradually paint that down...0608

And here it will work even better than the Patch tool because I'll take it from right about in here and just lightly--I might even go down to 10%, and just soften those lines.0628

Now, when you zoom out, notice this looks like it's had complete work on plastic surgery and here we see a few of the lines, let's go all the way back if I can--let's see how far it went back.0644

That's where we were, we've pulled it down to there--still a little evidence of age, but a lot better--let's see if we can clean this up a little over here.0659

We're at 10%, let's go to 20, take the brush size and just smooth that bottom edge out a little bit there...there's the finished product, so there's two different philosophies on this--remember we started her right there...0668

And now, we did two different ways--the Patch tool on this side, and just gradually painting at 20% with the Clone tool but I want to show you one thing.0684

Since we didn't do a lot, you have to be very careful when you're painting with the--you can see it a little bit, notice the granular structure in the pores, down in here?0697

Notice up here, it's a little smoother because at painting at 20% you tend to smooth and smear the pixels slightly, so you lose a little of the granular structure.0708

Doesn't look bad here, I didn't go too much--you have to be very careful with that.0722

Alright, let's do a little eye clean up...what we're going to do here, is we're still working on the same layer, we're going to use our Lasso tool and we're going to feather at two so we have a nice little, not a hard edge but a little bit of a blend, and I'm going to select the entire eye...0726

And I'm going to do it in sections so that I can do it accurately--there's the first part--Shift, remember to add, and I'll go ahead on around--I'm going to make a mistake deliberately so I can remind you of your selection lesson.0748

Option or Alt to remove the offending piece, got one eye, hold down my Shift key to add and we're keeping the selection on the other eye, and adding the second eye to it...go ahead and work your way right around the color and the white, OK?0763

Let's go ahead and Quick Mask and you can see that we have the eye selected and if we come up close, you can see that the edge has a little bit of smoothness to it so it's going to blend beautifully.0786

So, we're going to save that selection...and we're going to call it Complete Eyes...and click OK--we have an alpha channel.0798

Now I'm going to subtract the colored area out so we're going to hold down the Option or Alt and just remove the color...OK...and that takes care of that, and then we'll save that selection.0811

Eye Whites...OK, so now we have just the whites of the eyes, and you can see we have a little redness in there--we don't have too much other retouch but just a little redness, so what we're going to do--close up the History panel, I'll zoom out just once more, there we go--Command or Control+H to hide them.0831

To get the Layers panel back up, we're going to do an adjustment layer, non-destructive, for curves--oh excuse me, yes we'll start with curves.0853

Notice, there is the layer mask--Option or Alt click the mask--you can see there's the whites of the eyes, and we're going to pull up the curves and just open it up a little bit.0865

Now you don't want to make the eyes too white, or it looks phony--you notice the insides are whiter than the outside so we'll just open it up just a little bit, load the selection...Lasso key, Option or Alt and take out the brighter ones, and make another curves layer for the outsides, and open them up just a little bit...0876

Right there, so we've gone from (let's zoom it up) we've gone from there...dull, to there, not overly white, big key.0901

You can see the difference back here--there it was, you can hardly see the eyes, now they pop, big key; don't make them too white, if you do it's going to look really phony.0915

OK, one thing left, let's bring up our alpha channels--there's the eye whites, there's the complete eyes, OK?0925

Now if you don't want to work with the calculations just subtract the other one but we're just going to take the eyes minus the eye whites.0936

We're going to go to Image, Calculations, source one will be complete eyes, source two's eye whites, we're going to do the difference, and you can see right there, that's the colored area of the eyes.0942

Now we can load those, go back and we've got the colored areas, just like that, so the first thing we're going to do is we're going to do curves to open them up a little bit, there we go...snap them just a hair...0959

And then, we're going to do the same thing; Command or Control click the layer mask thumbnail, load the color, and we're going to go with color balance, and I know her eyes are green so we'll pump in just a little bit of green and a hair of cyan, and now we'll back it out...0976

And we went from there, to there with the eyes, so we've taken her eyes from here, to here very simply by selecting and using color balance and curves on the whites and the color.0999

Now one other thing I could do with the whites, I just forgot about that, I'll load them up.1014

Let's go to hue saturation--let's take the red out, we'll just de-saturate, and that will definitely do the difference--watch this on the eye...the red, and now we've cleaned the eyes out.1019

Now we've got the eyes just the way we want them, looking pretty good--she's got good lips, and let's see how the teeth are...teeth are looking pretty good on her, OK.1033

So there we've got eyes, we're not going to work on the hair with this girl, there's not too much problems with her hair.1044

Body contouring--a little nip and tuck, I think I did this before in the Liquify but we're going to go ahead and do this one here and a different one in another image.1053

First we're just going to take the Marquee tool and isolate her chest area...make it a little bit larger, there we go.1064

Go to Filter, make sure I'm on the right layer, duplicate the layer...duplicate the layer first, then make the selection, Filter, Liquify, and this is one of the nip and tuck methodologies...1074

It's thinking...come on...you can do this...there we go.1092

OK, so now we're going to take the Push tool, and we're going to make the brush size go down a little bit, and we're just going to body contour right here...take that in...just a little bit right in there, and pull down just a tiny bit over here.1104

And we're going to take the Bloat tool with a large one, and we're just going to pop her boobs up just a little bit just to add some direction--go back to the Push tool...and push it out just a little bit, click OK...and look down in the image--I'll do Command+Z.1129

Went from there to there, made a big difference.1153

Looks a little frumpy right there, just flat, and there we've got just a nice enhancement--just cleaned up the edges, nice bright eyes.1158

We went from (let's get the original layer) we went from the opener, and retouched a lot of skin...predominantly we got eyes, some of the skin, blemishes and...1166

I lost the body contouring but you saw what we did there, so there you have a lesson in basic skin retouch, and I say just basic because (where are we, come on Debbie)...1190

This was getting the skin to look fine--one of the other things, let me show you real quickly again, we didn't finish off the skin, Patch tool.1207

We can take the Patch tool on the neck lines and fix those very easily...bring them down, this Patch tool works and right across here we got some big areas...1217

Just drop them...and it cleans them up that quick...and there we go.1235

So we used the Spot Healing Brush and Patch tools on the skin, we also used the Rubber Stamp tool to, depends on how you want the eyes, if you want them to look like they've been absolutely no age factor you can do it with the Patch tool, or over here you can paint with a low percentage with your Clone tool, and leave some of the continuity to the original image.1249

So we can go from there...to there...pop the eyes, and so on.1277

In the next lesson we'll take this a little bit further, and show you some advanced skin retouching on people with Photoshop CS6.1284

See you in the next lesson.1293

Hi guys, Mike Brown here with you again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In the last lesson, we--in the last two lessons actually--we've been talking about the retouching tools and retouching but predominantly in the last lesson, we closed out dealing with retouching people, and I showed you how to work under eyes, clean up under the eyes using the Patch tools and the Spot Healing tool to clean out blemishes.0007

Both of these tools working on skin, also an alternative way; by using the Clone Stamp tool at a lower opacity to gradually take away blemishes.0033

In this lesson, we're going to expand a little more on retouching people because it's a very important thing--most people take pictures of people--I think that's probably more than 50% of photos that are taken in the world, so let's delve a little further into it.0045

In this lesson, I'm going to show you some advanced techniques for retouching skin, I'm going to deal more on fixing eyes, teeth and lips.0064

Another method which happens to be my way of retouching hair, there are a lot of ways to do this--I'll just show you my way of helping with hair, and we're going to do a little more body contouring like we did the last time just to fix up shapes and parts of an image.0071

OK, let's go back to Debbie again, and if you remember...say hi to Debbie, she's being a really nice gal and no pain involved in all of this plastic surgery.0089

We started with her hair, if you remember, and we fixed up her eyes; the color in her eyes, also the imperfections around here, we worked on taking out all of the little spots and such and we thinned down her neck somewhat, cleaned all that up.0104

We've got the neck clean now, we've got the eyes; off, on, nice clean eyes, she looks pretty good but we can go further with this, and I stress, Michael Brown's methodology here is to always maintain the integrity of the image.0121

She wanted to knock 10 years off, we're going to knock maybe 12, but we're not going to make her look 22 because it'd look just a little bit weird.0138

So OK, let's get started.0147

The first thing I want to deal with are the lips; we're going to come way up on the lips, let's take a close look, we're on this copy, this one is the same so we're going to work on the upper one so we can always go back to the one below it...0151

The reason these are up here, this is one that I have done everything to before, everything that we're doing right now is there, I'm starting from here and working my way upward and repeating it, so this for our purposes is the background, OK?0168

So let's go and point this out--I want you to look at the screen, and look at her lips, and I hope you can see this--I'm going to come up even a little bit more.0185

The lip line should be nice and smooth--should follow the tip of my cursor, but you notice there's excess either lipstick or just the lips are a little bit weird in the shape; they should be nice and contoured like that--there's excess.0194

And on this side we have the same thing and I do think it's actually her lips, are a little bit too broad in this area on the bottom side, so we're going to fix that, we're going to do two things.0209

First we'll start with the Rubber Stamp tool, smaller brush (left bracket key down) we're going to clone it about 30%, maybe 40% let's go, Option or Alt, and I'm not going to click right below where I want to do it--I'm going to click off to the side so I can--notice right in this area it's darker than it is down here.0222

So I don't want to clone from here and get a bright line, but we can always darken it, here we go.0244

Option, click, and we're going to paint gently over there--notice we just clean along that line, see how well that worked?0249

Just about three strokes, four strokes at 40%--I'm going to come up to the top, do it right here and move my way up a little bit...nice and smooth--looks good, Option or Alt again to resource--remember the resourcing?0256

I'm going to take a lighter color here just to blend it up in, just a little...there we go.0271

Now if we go back, and I turn that off, see how much we fixed?0278

Look in this area right here, zoom it up one more time so it's large enough on your screens right there, off, that's where we are, that's fixed, and non-fixed, so we cleaned up that side, see how much nicer that looks?0283

And now you can really see that the other side is down, so we're going to come back up, Clone tool, 40%, everything's looking good, Option, click, and we're just going to start to just gradually pull it as we paint down and away--there we go.0296

Take another source here, clean it...another one right there, blend it, zoom it out one, let's take a look, that's where we were--we got it cleaned in that area, take it off, but I still think (if you look at her lips) that this area right in here, to me is a little droopy.0316

So we're going to fix that right now, very easy.0340

Let's go to our Marquee tool, we're still on the same layer, and we're going to use that Liquify filter again.0343

I cannot stress however, when we use the Liquify filter, be very careful--don't do real drastic changes, it's for fine tuning because every time you push those pixels, you smear them, you are altering them, degrading the image slightly if you will, so be very, very careful with it.0352

Let's go Filter, Liquify, and also the reason that I select an area rather than the entire image and going to work on the area is that the computer could handle it, but if it's only this large an area it's much faster, and speed helps.0374

Let's zoom it up some, we're going to use that Push tool, brush size--left bracket down to a reasonable size--a little bit large--you always want to go to the large size...let's go right there and let's just gently push that up just a little, very carefully...0390

And I want to take the center of her lip and pull it down slightly, and then over here where it is a little far notice I'm just gently pushing that up...that looks pretty good--looks like we could do this side, just a hair more.0411

You notice I'm not moving a lot, because I don't want to kill the integrity of the pixels--one little spot right there, that looks pretty good, let's click OK, and do Command+Z--there's the lip, notice how nice and smooth it looks now?0429

Look, we went from there where it looked a little droopy, to there...one time more; went from there, to there--the lips look really, really good.0447

Let's de-select that, now one other thing I can do here--we'll do this as we move down the line.0457

Alright...oh, I want to do that again, I forgot to do one other part--Filter, Liquify filter, and I forgot to do the top where it looks a little thin; I'm going to push her lips upwards just a hair, plump them, a quick little Botox filler that doesn't hurt, and we'll be permanent as long as you're just working with this picture...0463

That looks pretty decent as far as I can see it, let's click OK, Command+Z, Command+Z, looks just fine--I see, I want to do a little more, I got it, I found what I made a mistake on.0491

Notice down here the lips are a little curved upwards, so what we'll do is we'll push the bottoms down a little bit right there where it folds up, then we'll go up to the top and plump it, a little up and a little down...that should do it.0506

Down, up, there we go...just a little gentle hit, OK, we got that.0528

Now, the teeth; the teeth she's got just slightly overlapping front teeth--I'd like to trim those back, I think I can do that with the Liquify filter--let's give it a try.0535

Take the Marquee tool again, Filter and Liquify, and let's see what happens if we just push them up...this may or may not work...oh, that worked great!0549

That helped some, but it's not complete.0571

What I'd like to do is take that shadowing away, so what we're going to do, is we're going to take our Clone tool again, at 20%, maybe even 15% (1 5 real quickly) and I'm going to take this color over here, and just--I'm going to even a lighter color.0574

Smaller brush, source it down here, and just--let's see if we can lighten that lip up there--ah, there it's coming, that's better.0598

And make a little larger brush, take 10%, I'm just going to knock down the highlight just a hair...see it's coming down just a little bit--soften it...there we go, and I'm going to go in with the Dodge tool which brightens things up, take a nice, small brush.0608

I'm going to just brighten that up so that we don't get the shadow from the overlapping tooth, mid-tones, let's go 15%, and let's see what happens when we open that up just a little bit...there we go...0628

I can even do this; let's take that Clone tool again, and let's move that highlight up just a little bit, source it in here, then paint the highlight right up into--there we go, see?0647

I tell you I think if I just take that highlight probably away--let's go 30%, and let's just knock out some of that highlight...take the Spot Healing Brush and a small one and clean up these little unsightly spots, just move it down just a hair, a little spot in the corner, a little spot in the corner...0662

Take those away, the spots on the lip...smooth that down...spot up on the upper side, just smooth out her lips just a hair, alright?0682

There we go, let's take a look at that.0695

There's where we were with the lips, there's where we are right now--one other thing I can do very quickly, we'll take the Lasso tool with two, let's go three, make it a little softer.0699

I'm just going to go around the lip...I'm doing this roughly--I'd be a little more accurate if I was doing this as a big job--I see something to her teeth on the outside--they're a little bit weird.0712

Shift because I missed the bottom edge of the lip, add a little bit, there we go.0728

We'll take a non-destructive curves layer...make them a little brighter--whoops, what happened here?0734

Let's go to the History panel...I made the Lasso--oh, I see what I did, accidentally made a mistake, so what we're going to do is first we'll do the curves again, now we have the lips.0743

Yes, snap the contrast a little bit, make them a little darker, that ups the color just slightly--there we go!0759

I like that.0767

OK, now let's take a look, we went from there on the lips...to right there, notice how much better--now they're a little bit flat, we'll fix that in a couple of minutes.0769

OK...that looks just a little bit bright, let's bring it down just a hair...oh, that's better...much better.0784

Notice, what it did is it--oh, I like her with the darker color, yes, it was just too bright, that looks much better.0797

OK, so now we've got the lips and teeth fixed, all with the Spot Healing tool, the Clone tool and we used the Liquify filter as well.0803

OK, now, what I want to do is another thing, again, body contouring--we're going to use that Liquify filter again.0819

Notice, we'll look at the facial structure on this lady; she got a little indentation here from age up on the chin where it's coming up a little bit and a little jowly, I like to smooth that down--I'm sure she looked a little different 10/15 years ago, so we're going to take that Marquee tool again.0829

Across we go right here, I want to make sure I'm on the correct layer, this is the one we're working on isn't it?0847

Yes, that's the lips.0854

Alright, so now we'll go back to our magical filter; Liquify, here we go.0856

The Push tool, make a larger brush and I want to smooth this line down a little bit, move it inward just a little.0862

Now you don't want to--again, this is not for a really heavy duty stuff, you don't want to do a lot because you smear it.0870

Take this reverse curve here, and push it out just a little bit...double small we'll fix that little spot right there, that looks pretty good.0880

We'll go and try to balance up the other side, so that we get the same amount, and come outward a little bit, how's that looking right there?0891

That looks pretty good, let's click OK, and now let's do Command+Z--watch in the side of the cheekbones--see it from there?0903

Same woman, just knock those jowls back a little bit, took some definite little mini facelift, if you will.0911

OK, so we've now gone from there, to there...lips looks good, the jawbone looks good, everything else looks good, now we're going to do the big trick.0920

We're going to take, and we're going to get rid of all of these imperfections--we'll tone them down--all the little age spots and other imperfections--oh I see one thing I want to do before we do that.0932

Clone tool, at about 20%, larger brush, notice with age the smile lines get sunken more just like the eyes do?0944

So what we're going to do is reduce those slightly, 20%, then we're going to paint the opacity gently.0954

I'm going to source above it through this area here and this area here, and just gradually knock them, watch this; Option or Alt, source, and then go down and just gently paint away.0961

We're going to paint just a little bit more in this area right--oh look at that, knocked it down really nicely.0973

Let me go backwards; we went from there...look right in that area, went from there to there, softened them down, just took a little age off.0979

Same thing on the other side; Option or Alt click, just gently, don't want to overdo it.0989

Now this area right down at the chin here--I might as well fix that right now, it's a little dark, so Option or Alt click, and a similar area--just come down and paint that a little bit.0995

You can do just a little more like doing that--there we go, fixed that one up--now this line over here, again, 20% on the Clone tool, Option or Alt click, and just a couple of hits, you don't have to hit it real hard and you don't want to take it all away.1006

Let's take these lines right here and soften them just a little...see?1024

Just gently, OK?1030

There we go, let's just take one more, right on this spot right--there we go, nice and smooth, that looks good.1033

So now...we've gone from there...look all in this lower area of the face, down to there, looking much better, off, on.1038

Now the final touch, here we go.1051

We're going to make a mask for a selection of just the skin.1054

I have taken the Quick Mask, I'll double click it, and I've modified it--instead of painting the masked area, we're going to paint the selection area in red.1060

Brush, get a large size of the brush, make sure we're here, and just paint all of the skin area (make sure I get it) and it can roll over into the hair a little bit.1070

I'm going to make the outline come down the neck, come down the neck over here.1082

Now, normally I would use the Pen tool or a good selection tool to cleanly get the edge of the blouse, but time constraints here, we're just going to do the best we can and short order...paint it up...and paint it around...1088

There we go, we'll fill that in...very quickly...up the brush size, we'll go ahead and paint it...OK.1111

We're going to now turn it back to a selection--Select, Save Selection, save it as an alpha channel, go to our alpha channels, Channels panel, take a look at it, and we see where we need to paint white, flip the background color, so that's white with the paintbrush, and fill in the rest of that so it's nice and white.1131

OK, we've got our selection, load it--Command or Control click, RGB, now we're going to be on the selection of her; copy, Command+V paste.1152

Layer came in right above--if you turn it off you see it's just the skin.1165

We're now going to Command or Control click the thumbnail, load that, go to the Filter menu, go to the Blur filter, Gaussian Blur, and the Gaussian Blur we're going to set it at about three, and you notice how much it's blurring things (let's zoom her up so you can see it) Command+H.1169

We're going to blur it just a hair more, there we go (we can even go more if I wanted to--that's way too much) do it about there, about 5.2.1188

Now it's all blurred and you go "why did I do that?"1199

Now what I'm going to do is take just that layer, and add a layer mask.1202

Go to Layer, layer mask, reveal all and there's your white mask.1208

Now what I can do is using my paintbrush on the mask thumbnail, in black, I can paint back in the areas that should be clear.1214

Drop it down--we're going to paint it about 80%, and we'll just start--and we'd do this more accurately obviously if I was doing it otherwise.1228

There's the eye is back, notice, got all the eye nice and clear, get the other eye in (make a smaller brush just for the corners) get the eyelashes in, got that...the eyelashes on that side.1236

We'll now take a smaller brush here and we'll do the eyebrows are back, eyebrows over here...do it at about 40% and pick up a little bit of the nose clarity, see that edging right there?1254

That's good...did I accidentally hit something there?1269

See this area, I didn't want that, I want to paint that white, I can see that it's clear and I didn't want it clear so we'll get that back to where it was, OK.1275

Flip it again, whoops...and now we're going to do the lips, 70%, smaller brush, bring those lips back...we worked really hard to make them look good, now we got the lips coming back nice and clean.1284

Alright, little bit smaller, 80%, let's go get the necklace because we know that that necklace is clear...get that cleared up, I'm doing this very quickly--you can take a little more time.1302

We'll come back up with the necklace...there we go...OK, and let's take a quick look at the mask.1315

Option or Alt, click the layer mask, I need to paint in black to clean up that one and fill it, the other ones look pretty good--Option or Alt click.1324

Now you go "what are you doing?"1334

We've got everything we need except the skin is way too blurry, so what we're going to do is reduce the opacity of this layer.1337

Go up to your opacity slider and just start pulling it back...let's see which is the fixed one--that's the one we want, right there, but we're going to take this--we're down to about 63%.1346

I'm going to pull it back until you see we're starting to see a little--we can probably go up 55%, there we go.1361

Maybe a little less, I don't like it to look phony, there we go--let's turn that layer off...come on up here, you see the skin with all the pores?1371

Notice how that knocks it down?1380

Just softens it enough that it still has the realism, but takes the age away, there we go.1382

So, what we have done in this lesson is; we have gone from...there...to there...by Liquify filter fixing the lips, and up here, and the one final thing I want to do if I can get this in in the time, is I'm going to darken her lips ever so slightly.1390

So what I'm going to do is go to this layer first, we're going to take the Burn tool, and knock it down to about 27%, smaller brush, and just tone that lower part of the lip down, just to add a little contouring--there we go, much better.1418

And there you go--we went from there...to there using the Spot Healing tools, the Dodge and Burn tool--actually we used the Clone tool, and the Liquify filter.1440

We're going to come back in the next lesson and finish up with a couple more tips on skin and retouching people.1455

I'll see you back at the next lesson.1463

Hi everyone, Mike Brown here again, welcome back to another retouching lesson in educator.com's Adobe Photoshop CS6 course.0000

This is the fourth of the retouching lessons.0010

In the first one you got all the basic tools and techniques and in the last two we've moved our way into retouching people with basic techniques of retouching with the tools.0013

We've been using all of the Spot Healing Brush and the Patch tool, we've been using of course the Clone tool, and you'll see how much that works the Clone tool at lesser opacity to paint things away, and in this lesson we're going to kind of wrap it up on people.0023

I have two more advanced techniques for retouching portraits that are pretty cool, just adds that little final touch that makes things pop.0040

One method for retouching hair--my personal method, and a little finishing touch just to wind up the image we've been working on most in the last two lessons.0049

Here's Debbie, we've been working on her and just to recap, here's where we started.0059

We've got lips that are a little bit wide at the bottom and a little bit buck teeth--we fixed that, we've taken the jawline which is a little jowly--we've cut that back, we've taken her eyes and we've taken out the wrinkles, we've popped the color in the eyes, fixed the teeth, softened the skin with our additional layer here just to knock it back a little.0065

Now you could knock this back more...you know, you could go all the way to there if you want which is kind of what you see in the fashion magazines--the women who have no pores in their skin.0090

I'm a believer, it's just the way I am in my business of photography I believe in the integrity of the photograph being maintained, and in that case I'm going to pull it back until I just see a little bit of the pores.0103

Still soft, off and on, just enough to knock it back.0119

OK, the problem I see that's left in the face, is that the lighting is very flat--you can actually see the light in the eyes, there's the catch light right there, and the light was above her, almost straight at, just a little high.0125

I want to contour the lower part of the face just to add a little dimension to it, and we're going to do this non-destructively (get back up here).0140

I'm going to add a layer at the top, and I'm going to fill that layer by using the Edit, Fill menu, and I'm going to choose 50% gray at 100%, and right now I'll leave the blend mode at normal.0149

Notice there's the 50% gray.0162

Remember the high pass sharpening method I taught you?0167

You fill a layer with 50% gray, go to the overlay mode, which when you start, doesn't do anything, and at that point, then you add--you go with the filter, other, high pass filter, and that allows you to increase the contrast on edges, and that's what makes things show on the gray.0170

Anything lighter than neutral gray is brighter, darker than neutral gray gets darker and of course that's contrast.0195

In this case, we're going to paint darkness not with a brush and paint, but we're going to do it with the Burn tool to burn the gray down darker and add contour to the face--watch how this works.0203

We're on that layer, we're on the overlay mode, we're going to go--and I'll demonstrate why--I'm going to go to the soft light mode, does the same thing but not as much.0218

OK, here we are, Burn tool...mid-tones, 20% exposure...bring it up to a decent size, and just gently paint--notice the cheek, how it's coming down?0230

There we go, add a little color up here, drop it down a little bit, knock down on the nose slightly and right there, and there we've got it!0247

Off...on, look at the dramatic difference in her facial structure--narrows it out, makes her look a little thinner, adds a little bit of color in the cheeks, just what we want, so now we've got her from here, to here--we've finished the face up, we've got nice contour in there--looks really good.0257

Let me show you that; if I go back to the normal blend mode, zoom it up, see all I did was just darken a little bit with the Burn tool--there's the nose, there's around the edges and there's up on the cheek and a little bit on the chin--we'll go back.0277

Let me show you--there's the soft light, if we went with overlay on this, see, the color gets too much because it snapped the contrast even more, and any of the other ones, it just gets even harsher.0294

So we're going to go, in this case, with soft light, gives a nice contour.0309

Now, to finish this image off, notice she looks great...there's where it is, there's where it is--got a little of the Liquify there, let's take and bring down the blouse--we're going to balance the image, we're just doing photography retouch now.0315

I've already made a channel for the chest part here, but I don't want to get the neck, so what I'm going to do is take this, I'm going to take my brush with black, and painting it maybe 80%, let's go 70%.0331

Increase the size...and we're going to look at RGB and I just want to kind of--right there, is where the darkness in the neck ends, so I'm going to go right there, just like that.0349

I'm going to back that out, I think my brush is too hard.0364

Go to completely soft, take a look at the RGB, I'm going to go right there, come down right there...0368

Go back up, come down just a little bit more down in here, and I think that's got it, there we go, so we're going to go ahead and load that up.0382

Take a look at the Quick Mask, that looks pretty good, so now we're going to make a curves adjustment layer, and just pull that down, just a little bit, there we come.0392

And if I snap the contrast, notice it even puts a little color into there.0403

I'm going to undo that, notice how that's all uniform in exposure now.0409

Now the blouse needs to come down, here's a selection I previously made for it, Command or Control click, another adjustment layer for curves, and just bring it down and snap it just a tiny bit, and that added dimension and shadowing as well.0414

So now we have taken this image from there, notice how flat the blouse is by the way and notice how now we've got a little curve in there when we also contoured her.0431

Her neck, which is kind of flat and pale, now has some nice color up through the neck that looks nice and clean, and we took her face, and we took it from there--pulled in the cheekbones, pulled out this area, fixed the lips, fixed the eyes, fixed all of the age parts, and there we go.0443

She's now down to about, I'd say...35 from 52, 17 years, she should be very happy.0466

OK, so there we've taken her from start to finish, now I want to show you the one trick I showed you was this one; non-destructive shadowing and lighting, so in other words if you screw this up you can just refill it with 50% gray and start all over again.0474

OK, here's another one that I worked--another young lady, and I want to show you this one.0493

Here is the before--I did the same thing, she's younger but I did the same thing--notice the eyes, little bags under the eyes, the eyes themselves, she's got contacts, the color's down, she's missing eyelashes--this is another trick that I did that I'm not going to go into detail on, just kind of explain it.0501

Fixed the blends, the lips are there, and we went from there...to there...from there...to there...eyes are good.0520

Look underneath the eyes, see what I did here?0533

Her eyes over here, she has no lashes.0537

What I did...let's see if I can pull these up...here are the right eye lashes, notice these lashes, and here's a demo.0541

Here's what the paintbrush...let me see if I can quickly do this, probably about, let's go with default and drop it down to about...two pixels, no three pixels, and I'm just going to paint.0551

I'm going to do it left handed...notice I keep trying, there's a nice shape, but you notice the ends, they're just uniform in length but you notice I don't have the settings for this right now, but see how it tapers.0569

You go to your brush controls, and under the shape dynamics, you use the fade control on length and distance--it just fades it away, and instead of having a uniform thickness, which eyelashes don't, you get a fade--let me turn on these other ones over here and I'll show you even better...0583

Turn these off...there, there's a perfect one right there, there's a perfect one right here, so I took them one at a time and just basically pasted them in...and that's how we did the lashes.0607

Now let's get rid of these right upper lashes and all the spares--oops, I already accidentally painted those so let's get them out of there, OK.0626

Open it, there we go, so that's what we did there.0635

And now I want to show you one more trick and we'll do it right on here.0637

Notice how flat this area looks?0642

I'm going to take my Lasso tool--I'll just do one eye, feather at two, and we're going to select the colored area...same way we've done with Debbie, and in this case I want to get my layers up, that's this layer right here, good, we're going to first do a curves to open it up just a little bit...there we go--a little bit more...0645

Then we're going to do the same selection--Command or Control click to load it, we're going to do color balance, add color, pull in some green, a little cyan, there we go.0674

Now we've kind of got it, let me up the exposure just a hair so we can really see what's happening here...a little bit brighter, there we go.0686

Now, most people if you look in the mirror, you'll see that there's kind of a dark ring around the outer part of the colored portion of your eye, just kind of a burned ring around there--let me show you the finished product...see that right there?0695

That's the way an eye usually looks on most people--very few people don't have this, so we're going to--this is the trick to pop the eye, notice how flat that looks?0714

And notice how dynamic that looks, and it actually looks contoured, so we're going to go over here, load the selection--Command or Control click, working on the background copy layer, the pixel layer, Command or Control+H to hide the crawling ants, here's that Burn tool again.0724

Mid-tones, 20%, make the brush a little lower, and we're just going to brush the edges...and add a little tone around the edge, and so what we did here is we started from there...and we ended right there.0745

Let's just go back to...there it is flat, there it is burned in, just with the selection--notice the huge difference that we've done on that edge and it really added a little contouring, so there you have two more advanced techniques for retouching portions.0767

A trick about darkening the surround of the color portion of the eye, and contouring the face with the non-destructive layer in the soft light mode using the Burn tool in both of those cases.0785

So we've now done...the...I'm going to do this in red, you know me...there's your two advanced techniques, why don't I do this at zero, 100%, what have I done wrong?0802

Why isn't it painting?0820

Too small?0822

Too small...oh, I must have changed my--this is interesting, I accidentally checked the shape dynamics, so I can't make my brush work right, shows you what happens.0825

Alright, we did the finishing touches on Debbie, and let me close off our lessons on retouching people with one final little tip and a methodology that I use for retouching hair.0839

We're going to use Triana...we'll zoom her out...which one did I do?0853

OK, you can see the difference here, here's where we started with her hair; it's a little loose in here--we have the flyaways, we can clean those up which I have done--notice how nice we cleaned that up, but notice I filled in the hair over most of the portion of that area.0859

Notice how sparse it looks, doesn't look very good here, so let's go ahead and do that on this side of the picture.0876

Alright, make sure I've got the right--let's get the brush layer out of here, we're on this layer.0884

First of all, we're going to try the Spot Healing Brush to clean up the hair...and let's see what happens.0890

Notice that it isn't working very well...we're getting all sorts of--it's reaching out to try to find something and it's reaching too far so here's a case where spotting is OK sometimes, but in this case we're not getting great results with the Spot Healing tool.0900

Got that standby all the time, we'll use the Clone tool at 100%, Option click, it doesn't matter where as long as we stay in the white area, and we can just very simply paint out, or clone out, all the excess hairs, and get it down to a nice non-flyaway situation.0920

So there we got that, let's just get it clean just a little bit better, I'm just doing this a bit just so you get the idea, and you can go on and on and down and do that, so there you go.0943

So now we got the flyaways done, now we've got the open space, what are we going to do with that?0956

OK, here's how we're going to deal with it; we get rid of my Layers panel.0961

Under the Hand tool is the Rotate View tool which allows you to rotate your image any way you want it, and it's not altering the pixels or degrading the image at all, it's just rotating it, and for me, as you can see I'm left handed so making strokes...0965

By the way, retouching hair this way...you've got to have a graphics tablet, there's no way you're going to be doing this one with a mouse or on the touchpad, but when you're painting (for me left handed) it's easiest to stroke in this direction--trying to go this way is backwards, it's for right handed people.0985

So I'm going to turn it so that the image is in the direction that I want, notice how it works for me.1003

Now I'm going to get my brush, and we're going to take the...first I'm going to take the Color Sampler tool, and I'm going to go over and pick a brown color that's pretty much what this hair is right here and I think it's right about there, so now we have a brown color selected that works with the hair.1010

Now I'll get my brush tool and reduce the size the about three pixels, and we're going to start by using about 50%, and see how that works just painting hair, so I'll just go ahead and paint, there we go, and it works pretty well.1030

You know that it's blending right in with the regular hair--same color, and I'm just painting strands, one at a time, filling in the empty areas as I go along, and now when we get to the outside you notice how they're a little fainter?1048

We'll drop it down to 30% and maybe drop it down to two pixels, and there you get these nice soft hairs coming in there.1063

You can even create (which we got rid of) flyaway hair--there's a strand flyaway, looks real doesn't it?1072

And I'm going to drop that up to three pixels, and run it up to 50% again, and there we're painting in some more of the darker hairs just to fill in the area better in the same direction that the real hair is going.1082

I've been doing this one for years, a lot of people tell me it's not the right way to do it, but look how well it works, it's filling it in right there, and you don't have to make really long ones because they're just little holes and it's blending the colors.1098

Let's go ahead and do just a little bit more so I can get enough in here, but you guys can see how well this works, but again, pen tablet is the way to go here (let's just finish this down in this area).1112

I can do a little bit more, but I think this will get the point across pretty well...OK.1128

Now, the one thing I want to show you (I'm going to zoom up here a little bit) maybe it's not that easy to see but the hairs are pretty sharp that I'm drawing, whereas the real hairs, notice, are a little blurry on the edges down here, so what I do, is I take my Blur tool, at about 20%, and I'll just do a couple of swipes across the area where I paint the hairs to soften it down.1135

And now you notice how beautifully everything matches, let's go back to our Rotate View, zoom out a little bit, and we'll do reset view, and come up...and we're going to go back to the History panel, we're going to go all the way back to there.1163

There's where it was, and there's where the hair got filled in--I could actually darken it down a little bit--we could burn it, let's try that, just for fun.1180

And let me make sure I'm on the right layer, and just...oh yes, look at that!1189

Darken it down, and there you've got filled in hair.1195

We went from there, right in this area, all the way to there, so there's my method for retouching hair--a lot of people don't like it, but it works for me if you're very careful, and now you guys have got pretty much all of the techniques that I know in the last three lesson on retouching people.1199

So I'll see you back in the next lesson.1226

Hi everybody, Mike Brown here again, welcome back to educator.com's Adobe Photoshop CS6 course.0000

We've been talking about layers, but at this point you've got a good background at making selections, corrections, also the retouching capabilities, and we're going to put that all together here, including what I spoke about in the last layers lesson about seeing digitally...0007

And we're going to create a complete composite from right up here starting visualizing it in my brain, to putting it down in a finished, singular image made of several different layers and different objects, OK.0026

So, the way I did this one--and I talked to you about seeing digitally...I'm trying to figure out exactly how to phrase this to you.0043

When you're looking at a vista, don't just get caught up in the star attraction, whatever it may be.0052

Look around, see everything that's there, and look at it from a photographic point of view how it's going to appear in your picture.0063

The biggest mistake I see; you go to some beautiful national park, how about Yosemite--most people have been to Yosemite or seen images of it--when you first come through the tunnel, it opens out and there's Half Dome in the distance and there's Bridal Veil Falls on the right and El Capitan (a huge cliff) on the left.0072

And you look at it all, and you pose your wife or your girlfriend or your boyfriend at the wall to take a picture of this and what you didn't notice is it was in the afternoon and the sun is behind them, and so you pop the picture and what you didn't notice is that that big pine tree that 30 years ago didn't show, was growing right up out of her head and so you get home and you look at the image.0091

She's a dark silhouette with a tree growing out of her head in this scene.0115

Nobody really looks--they just see what their mind wants to see, not what's actually there, so you need to be visualizing carefully.0119

I took my camera, and I just went and took a walk for two or three blocks, looking to see if I could find the two or three elements to make a composite, and here's what we came up with...0129

I was walking down and I walked around the corner, and up I came on this really nice looking wall with a lot of texture and feel to it and just some emotion--I like the way the mortar comes out of the bricks and it has curves, and the light's dramatic over it.0142

Right away that caught my eye, and even further in the grass, if you look, you'll see we've got all these little orange droppings from a tree, it's kind of cool, so I said "OK this is going to be a good element for my background, and I can strip whatever I need in there".0157

And what hit my mind immediately, because I'm looking at things carefully, the wall's beautiful but the background--you can see a little of it because I didn't even shoot it--it's just stuff, it wasn't of visual interest.0173

But I immediately said "you know, I've got a wall, if I can find something--a house, or a texture, or something that I can put behind that wall, that will work, and then maybe I can find some rocks or something to put on the lawn and that will complete my composition".0186

So I'm walking down the street less than a half a block further down, I come on another wall on the other side of the street, and here it is...and I'm going "wait a minute, there's an element of flowers that I could put on top of this wall", but you see the light here is from the right to the left, but the background light was from the left to the right.0205

But immediately I go "well that's easy, in Photoshop we just flip the background, or flip the entire image, whatever we want to do".0231

So let's do that right now--we'll take this image; Image, Rotation, Flip Canvas Horizontal, and now look; the light is from right to left, and you can see right off the bat that that might fit on top of the wall, bingo.0238

So I shot this again holding the camera at the same height with the same zoom, notice that they fit from a perspective stand point--you have to be very careful when you're shooting your elements; same lighting, same height, same zoom.0254

Then I was just looking for something else, couldn't find a thing, then two doors down from my house, on the lawn, here's a toy lawnmower, and it wasn't in the correct position but I just went "ah, there's the element we need", I just positioned it on the lawn and stood and shot it from the same--I got a little closer but I made sure that the angle was the same as the background shot.0269

You can see that little lawnmower will fit right down on that lawn area, so now we have our three elements, seeing digitally.0292

OK, first thing we need to do; we look at the background, we need to retouch the hole in the wall.0300

Got our Layers panel, the first thing we always do is duplicate the layer; Layer, Duplicate Layer, dropdown menu, Duplicate Layer, shortcut--Command on a Mac, Control on a PC plus the letter J, duplicate it--we're going to do it a second time so we can sharpen the image just a little bit.0308

As I zoom it up you can see it's a little bit soft and as we get over where the retouch is, the edging--it's a little soft out here, so what we're going to do, remember the High Pass Sharpening.0327

Blend modes, drop it down to overlay, it gets real contrasty, don't freak out.0339

Go to the Filter menu, down to Other, over and down to High Pass, and you adjust this so that just the edges work.0345

We're going to change that and go up right there on the rocks...there we go--you see the edges but you don't see the color--when you see the color, you can see right here, it's over-sharpening, you can see all this pixelization in there.0355

Round two, maybe even 1.7--see how it's just black and white edges?0367

Click OK, turn it off, turn it on, looks pretty good.0373

You want to blend those layers together, so one's highlighted, Command or Control on a PC, click to highlight both layers, little dropdown menu, Merge Layers merges the active highlighted layers, and there you go!0377

Turn it off and on, you can see down here probably in the grass, if we turn it off it's a little blurry, turn it on, it's sharpened up, OK.0395

We're good, so we're going to take the flowers, and we're going to bring those into the other image.0405

Now there's a couple of ways you could do this, I'm going to Window Arrange, Float All in Windows...we got a whole bunch of images here.0411

I could (I'm going to take this out of here, and this one--no, I'm going to save that one, I'll show it to you in a little bit, there was the final one, we'll just turn that off, one more and the background) you can very simply drag a layer from one image to another.0420

I think we can do this with the background--I haven't tried this one before--just drag it, and drop it, and there's the whole thing right in there, that's one way to do that.0440

The other way would be to take your Lasso tool for example, feather at zero, take the flowers, make a very loose selection around them like this, copy...and then go find that other one, and paste.0450

This one's a little bit better in this case because we got rid of some of the excess detail, but you also drag your (even the background layer) just drag and drop from one image to another, very cool, huh?0468

Alright, we'll close out the flowers--don't need them anymore, we're going to reconsolidate everything to tabs; Arrange, Consolidate to Tabs.0482

Now, we're going to take our Move tool for the layers, move this around--another thing we need to do--we need more top, so we're going to go...highlight the background layer--Image, Canvas Size--remember, this adds more canvas.0491

We're going to lock it at the bottom by making the little center piece down there so it can only go up, and we're going to make the height 12 inches, extend it in white, now we've got some place to play with it.0507

Take the Layer tool again, highlight the flowers, and move them, and we can see that right here, I need to rotate it down a little bit; Command or Control+T, that's Edit, Free Transform.0519

And we're going to put the cursor so you get the arrows and we're going to rotate it, just a little bit--just like that, move it up and down, that looks fairly close, we can always change it later.0535

We need to make it a little bit bigger; Shift key, grab a corner, make the flowers come out that side a little bit--make them come over here almost to the edge just like that...that looks pretty good, click OK and we'll take it.0548

Let's move it up a little...we'll deal with that in a minute.0563

Now, I'm going to turn that layer off, let's retouch that hole.0568

Highlight this layer, zoom it up...we're going to do our retouching now.0574

What we want to do is look at this and I see we need bricks, so we'll take our Clone tool, 100% opacity, brush size about like that, and I can see that right here I'd like to actually fill in a little mortar, so we'll pick this mortar, right here--Option or Alt click at the bottom of it, release--come right up here and fill it in.0580

Now we've filled in that little section.0604

We need a brick, and I like...I like this one right here, maybe this one down here--the angle looks about right.0606

Option or Alt click on the corner, which would be right there, and just paint her across...let's just go ahead and paint it completely and fill that in, come on up, fill in the top line, and just paint the entirety in there...OK.0615

Now we've mismatched this one, so we're going to go Option or Alt...let's pick the center, right...there.0635

Come back and paint that, we can just extend this--I'm trying to find a line--there we go.0650

Just extend it over--be careful you don't get any duplications, looks pretty good.0655

Alright, we need another brick up here, so let's take this one, Option or Alt click, take it right here, paint it up, over, and fill it in...looks pretty good, let's get that top edge, and now we need a little brick to fill in there--take a smaller brush size option, just pick a brick, any brick, and just paint it in...0660

And we're going to extend this down just a little bit, take the rock and add just a little bit to it, and there you go--I see one spot right there, and let's zoom it up and take a look.0687

It looks pretty good, I'd like to fix this little thing right here...there.0699

We have now fixed the brick--oh, I see something, remember we talked about repetition; look right here, look right here, that's a giveaway that it's Photoshopped, so I'm going to fix that by going right here.0704

Option...and we'll just clean that brick up, make that a little darker brick, now we've got a new one.0722

OK, looks perfect, now we've done our retouch work, pretty easy huh?0730

We started with that, and we retouched it up to make it look like a good wall.0735

Alright, let's get our flowers back--the first thing I need to do is get rid of the other piece of wall under the flowers.0740

Lasso tool, feather of one, and we're just going to kind of loosely go around the flowers...tracing them somewhat...so that we get flower...get up in here.0749

You can even go up a little bit because what we're going to do is we're going to end up...deleted the wrong thing--make sure you're on the right layer and delete, go down the flowers again and we're just kind of following them roughly.0764

Take these because I want that accurate, go back into the black, get rid of the wall...and we're going to go on up into here, come down a little bit, up and down, make sure I get this flower and this one, a little bit up.0778

You can do this rough, and I'll show you why because we're going to shade it all dark, and we can always fill it back in with other flower stuff if we don't like what we've got.0791

Go down and get this flower so it floats down there.0802

Tablet, this is the way to go, it gets it done--OK, there we go--oops, a little spot right there...and a little up right there...and there we got it.0807

OK, we've now outlined the flowers basically, let's move them and see how it looks--we'd like to be right about there on the wall...that looks pretty decent--we can even come up a little higher on these flowers on this end because if you notice we got lots of wall up there.0819

So let's take the flowers--Lasso tool, and we'll just come right up to these guys right up here and we'll let that one kind of droop down a little bit more, we'll come back up in.0839

We're creating a little dimension here...take that away--notice, it's going to be kind of coming down--I'll do the same thing up in here...just kind of abstractly adding a little depth to it so that we don't get just those straight edges all day and all night, up and down, click, and we'll even do the same thing right here...0850

Oh that's perfect, look at that!0874

Just, you know, putting notches in it so that it looks like it's real, not just a straight edge.0877

Take some more up here...down like that...I got a little too much there but that's OK, we're on the flower layer, we'll clone just a little more greenery right into that spot to fill it back up there, there we go.0883

Now it looks pretty decent, and you go "it still doesn't look right", absolutely.0901

Now we're going to do the trick--let's take our copy layer and copy it again--Command or Control+J to have a spare, and we're going to do this.0906

Take the Burn tool, and we're going to burn the rock layer to add shadow, we're going to burn about--let's go 30%, and mid-tones, and we'll just start painting underneath the flowers, but we're painting the rock...0914

Keep in mind that we're painting the rock layer, see that?0934

We're darkening the rock layer down so that the flowers look like we're creating shadowing so the flowers are hanging over the wall rather than--this one we need highlights so we'll shift to the highlights, and just darken down that upper edge of highlight there--oh yes, that looks great, oh look at that, oh wow, love it.0938

It's looking like the real McCoy--let's darken that up back in there just a little bit more, go back to the mid-tones, and we'll kick these rocks down, darken up some stuff underneath, back to highlights for this little section down here...oh yes, I'll darken that way down right in there, bring it across a little bit right under here.0961

I want to get black, get black, get black, there we go!0986

Just play with it...mid-tones down on the actual edge of the wall for a little depth and a little more under there, and let me turn that off and you can see that...there's where we actually did darkening on the other layer, but look at the flowers, looks like they belong there.0990

Let's crop this, bring it down and get the rest of that out of there, bring it in just a hair, we're good...and we come out...no we can't, click Enter, and now we've got our upper--actually we can take a little more out of that--let's bring it down just a hair further...there.1011

And now it looks like the flowers are really on top of the wall, so we took that wall, and added the flowers onto it pretty easily.1033

We have one more element to go, stick with me.1044

Let's get that lawnmower...there's the lawnmower.1047

Now I can see right away that the grass is a little more yellow here, so what I'm going to do is take the...actually, we'll just take the Quick Mask, and we're going to paint a selection, not a mask, I've highlighted selection, so we're going to paint in red, and it will be a selection.1050

We're just going to select the grass--oops, I got to have the Quick Mask on, that black was there, there we go, I want to do it at 100%, not 50%, and there it comes right down the edge...I could actually go right on up and take that bright area there and probably do that as well.1069

OK, so we'll fill this in really quick...the images for this composite are online at educator.com--I suggest that you download them, check this particular lesson out a couple of times, and do the composite, and you'll be able to see, it will really help you just to follow through and do this.1091

OK, this layer; curves, let's just bring it down a hair...snap the contrast slightly...and let's see how that looks with the lawnmower--dark green, oh that's pretty good--a little greeny here so we're going to do it on the pixels this time because I want to match it up.1113

We're going to do color balance, and throw just a little yellow into that grass, there it is, right there, and we'll go back to the background, pretty much close match.1134

OK, lawnmower, Lasso tool, one pixel, loose selection--don't get the shadow because you don't want to have to recreate it.1146

Now we're going to fix this in a moment--I'll show you, it's real simple--Command+C to copy, back to our major one.1157

We're here at Command or Control+V to paste it in, we need to transform it to make it smaller; Command or Control+T, Shift for the aspect ratio, and bring the lawnmower down to a proper size, probably about like that would do.1164

I want to rotate it just a hair, and I'll fit it right in the grass right there.1184

OK, let's zoom it up...here's where the details come into play.1189

See the edges, the grass is a little different.1194

We did match up the color pretty good, now here's a good trick; take the Rubber Stamp tool, 100%, we are actually going to clone from this layer of grass, up to this layer and that will remove this surround--watch how this works.1196

We'll start right here at the bottom layer, Option or Alt source right on the little corner of that orange flower so we have a reference point.1219

Release, it's right there.1229

Highlight the lawnmower layer and go back and start your cloning, so you're cloning right over it, you're cloning from one layer up, watch what happens.1231

It's slightly off, but look at that, see what we can do--we'll get that brush a little bigger.1240

Now when you paint, if you will, you're cloning from this layer, down here, up to the lawnmower layer.1245

And it's basically cloning the exact bottom to top and just follow along, don't get the shadow under the lawnmower, but you notice now we can just paint in almost up to the edge of the lawnmower's wheels, and it matches up, how's that for clever?1254

Instead of having to select the exact lawnmower and then go back and make a shadow, we just clone from the bottom up because it's grass removing grass, and come down here down the edge (I'm doing this as quickly as I can, I don't want to take all of your time) and we'll go right there.1276

Now, on the back end here, I don't want to hit the shadow because we already have a shadow working in there, and there you have it--I'm going to do about a 20%, and just paint a little to soften that edge where the shadow is, and just a little inside...and right along that edge right there...there we go.1298

See how that matches up?1321

Now, one final little touch, this is so cool.1323

Watch this--we are painting now at 100%, I'm going to go to that bottom layer, Command or Control click on this orange piece right here on the corner, highlight the lawnmower layer--now we're cloning from the bottom, and put that little orange piece inside the lawnmower so that everything has a better feel.1326

Let's put one more little one in--let's put...how about this little one in the corner, from the bottom, Option or Alt click on it up to the lawnmower layer, and we'll put it right in there.1351

Just lighten up the grass a little bit, and there we go.1366

There you have from start to finish.1370

We took (let's see, there's where we started) we took that, fixed it by retouching the wall, added the flowers, toned it to get our shadowing to match the flowers in, added the lawnmower, and just a little bit of adjustment on the grass to give our composite a perfect feel.1374

And you notice, the lighting, the perspective, everything meshes into a singular looking photograph.1400

So we have now talked about seeing digitally, finding the primary images and matching the other photographic pieces up to it, and we used layers and adjustment layers, exposure and color, selections, channels, we didn't use masks.1408

And selections we did, transformations, sharpening, retouching and toning with the Burn tool, a complete composite from visualizing it in your brain, through the camera, into the computer, into a finished...absolutely real looking composite.1423

All in Photoshop CS6.1443

Hi everybody, Mike Brown here again with you, welcome back to educator.com's Adobe Photoshop CS6 course.0000

We've been talking about everything you need to do to enhance, improve, modify, distort, play with your photographs, now we're going to talk about another feature of Photoshop that goes beyond photography, and that is using text in Photoshop.0007

I think I've got a--actually adjust the layer here...there we go...in fact what you can just see on your screen that I did, this is a document--a layered document using text, and I just had to move it to balance my composition out, so that's another feature of Photoshop.0025

Photoshop is equally as powerful for the world of graphics as it is for the world of pure photography, and the combination there of making layouts for various and sundry ads, promotions, posters, all sorts of stuff.0043

For example...here is a page of a book--I wrote a textbook on Photoshop CS3, 4, 5 and I'm now modifying it for CS6 and here is a page that I created from scratch, a page of my textbook--the whole textbook was created in Photoshop and as you can see, there's multiple layers on a page.0061

We have text, obviously we also have shapes, we have document picture layers, we have vector layers, all sorts of stuff but predominantly here there's a lot of text, so this was all utilized, not just photography here, this is a graphic design page, all done in Photoshop.0085

So text is a very powerful tool, and another one of the Adobe Creative Suite programs called InDesign which is the layout creation program for graphic designers and art directors, where you bring various objects, graphics, photographs, and you create layouts in there with type.0110

The type feature in InDesign is identical to the type feature in Photoshop, so what you're going to learn in this lesson about text applies precisely to the text features in InDesign.0132

So in this lesson, we're going to talk about fonts, which are the actual pieces of text themselves, the different looks to the fonts, the styles of fonts, so on and so forth, creating linear text, creating paragraph text, and also a little bit about graphic design--I'll show you how you work with guides and grids.0147

Alright, let's get started.0170

Alright, let me close out my Layers panel, and let's just fit this right into the screen.0172

Here we have the two panels that are associated with the Text tool--now the Type tool is down in your Toolbox right below the Pen tool under the big T, and the shortcut is the letter T.0178

There are four sub-tools; the Horizontal Type tool which makes just what it says, horizontal type, Vertical Type makes vertical type.0192

The Horizontal Type Mask and Vertical Type Mask tool--I've never used them, they're there, but we're just going to talk about predominantly Horizontal Type--I'm going to just show you what Vertical Type looks like, and you see that the icon was sideways, and we'll call this as Vertical Type...0201

And it's a layer, just like everything, and you see it just came in vertically, OK, we'll delete that.0222

Now let's go back and set this at our traditional horizontal type.0226

These are your two panels; the Character panel and the Paragraph panel.0230

Under the Window menu, Character or Paragraphs.0235

Now, I've already pre-put these in my dock; there is the Character panel, there is the Paragraph panel, they're duplicated right up here so that I can give you indicators as to what's what.0240

I would suggest that you pause this video momentarily and take a screenshot of this document so that you can keep this for reference, or just come back and watch the video again.0252

Alright, I'm going to open up the Character panel, I'm going to detach it and put it right here inside this document, get a different screen view, now we can get started.0265

OK...so we're talking first about linear type.0277

The way you make a line or multiple lines of type in Photoshop is open a document, and very simply (let me open up the Layers panel so you can see this) I actually had already had this in here, and I'm going to recreate it.0282

We have a--doesn't matter what layer is highlighted, a new layer comes in right above it so when I click with the icon (the little corner) you see a flashing cursor that indicates that it's live, you also see a new layer with T for text, and these are samples of lines of--and I'm going to make a mistake in...0301

Created in Photoshop.0330

Now when you get to the end of typing, and you want to commit your type--that is set it down and normally when you make an adjustment you just hit Enter or Return, in this case, if you know what a typewriter was in the old days, when you get to the end of a line and you hit the return, the carriage would move back to the next line.0335

So if I hit Return, notice my cursor is now over here and I could continue typing...to set type in place when you're done--that's something you have to remember because you're so used to hitting the Return--I do it all the time, and you go "oh my gosh, I blew it".0359

You go up here to either cancel it or commit it, that's the arrow, and that would be committed.0378

Now, let's say we wanted to make this into two lines of type--oh, by the way, here's the Move tool, it is a layer, and we'll move it over, and there is the entirety--and I made a mistake, but I'd like to make this into two lines and it looks like I'd like to separate it right after the word 'of', so I'll reactivate my Type tool.0384

And I'll just click by the T, delete to get it back here--now if I hit Return, notice, I have a second line of type, and I will hit the commit by the checkmark this time, Move tool, and move it back over.0409

Now, this is great, I screwed up and I made typos.0426

Now, you can always go to Edit, Check Spelling, and it's going to say...in created, and I would do that, change that...and it doesn't like it because it isn't correct.0430

OK, that's why it was doing that.0451

Alright, so what I'm going to do to correct this is highlight the Type tool, insert my cursor and delete, and it was samples of lines of type, proper spelling, created should have a small C, sample should have a small S (a lower case S).0454

Now to commit, either checkmark or Command on a Mac, Control on a PC and Return, and it's committed, OK?0474

That's how you create a basic line or multiple lines of type.0485

Now, let's talk about what you're creating.0490

This is the Character panel, and it's right over here active (I'm going to take that away) and what we have now is you can see the name of the font, the style of the font on the right side here, we have several options--here is light for this font.0494

There's a light, there's regular, oblique is italicized, or bold, or bold oblique--these are the five choices for this particular font.0511

Let's go back to the font themselves.0526

We have, on the dropdown menu, an enormous number of fonts--I've added a lot to my basics on here but you start out with quite a number of fonts that come with your computer, and a traditional one is Myriad Pro...0529

We'll just throw Myriad Pro on it, and you notice it changed its look, different font altogether, and under Myriad Pro you notice we have quite a choice of the font styles.0543

Now, if you're not sure what font you want, it's very simple; highlight it and just use your arrow keys to go up alphabetically or down alphabetically and you will see the various fonts (that's weird, never seen that before) and we just go until we find something that we like...0557

Let's find something nice and clean...there we go, something that looks pretty traditional like a news print, and this is Minion Pro, and here are the various (let's go with semi bold) I like that.0581

OK, so we've now chosen Minion Pro, and the style for that font is semi bold, that's very easy to see how we do that, OK.0596

Now, the size for the font is right below the name of the font; in this case...it's 16 point--if we want to go--these are presets, let's go up to 18 point.0606

OK, you can also scrubby to go up or down, I don't find that very precise with type, and you really need to be precise--you're just changing things in minute increments, and it's very hard to do this so we'll just go and select and type it in here--you could click Enter.0620

We've got 17 points--that's the size of the letters, next to that we have what's called Leading, and the reason it's called 'Leading', not 'Leeding', is in the early days of printing way back in the dark ages, they used lead letters, metal letters that they would set in a box and then they would spin that thing and thin down and press the letters with ink on the letters against paper...0637

And the way they spread the spacing between the lines of type, like this in between these two, was to put strips of lead to separate the letters, and so this became called Leading, and we change that (it's on auto right now) there's a dropdown menu to give you presets--that's a little too close, 14, 18 is OK.0663

I'd like to drop down just a hair so I'll highlight it and go 17, click Enter, and it's now the way I want it--you have to be careful when you're doing the Leading because watch your lower case letters with the high finishes versus the capitals.0687

And look here, for example the H (let's zoom up so you can see it) the H in Photoshop is actually higher than the Caps so you want to be careful so your letters look balanced in the spread of the lines.0705

OK, that's Leading.0719

Tracking is, instead of space between line, it's space between letters, so if we increase that which was at zero, we can actually squeeze them further by going minus, notice?0721

Or, we can spread them apart by going plus, in this case I go about a minus 5...and again, if you wanted more you could go like minus 8, and there we have that, so that's what the Tracking is.0735

Leading is between the lines, Tracking is space between letters.0750

Kerning, is a term that--and you can see that they're using the V and the A here, let me create another line of type here in capitals; V, A, M, W, and I'm going to commit it, and I'm also going to change it to a standard font...Helvetica, that works pretty good.0755

Let's zoom it up...and let me add a couple of letters; O, P, Y, then an H, and commit it.0779

Now you notice, these are the odd letters, and we can see right now that the Kerning is set at what's called Metrics--it's an algorithm that uses metric mathematics to determine spacing.0792

There's also Optical, which uses a different algorithm, and the third one is none at all, so let's take the Kerning and turn it off, and you notice the letters spread apart somewhat, and I want you to look, the space between the N and the H, the O and the P, and look over here at the V and the A.0805

You will see that it looks odd (I'll zoom it out one) it just doesn't look balanced...and in this case, let's take the M out of there and leave it with the W and the A, and you can see the same thing there--they're kind of overlapping each other.0827

Let's throw a J in here...and that'll even do it better.0845

Now you have these odd looking spaces, that's because there's no Kerning--the objective here is to take the odd shaped letters, and make them come closer or further apart so that visually your line of text looks proper--it doesn't affect a lot of letters, just the odd ones, now watch what happens.0852

I'm going to go for Metric, watch the V and the A specifically here...notice, it moved them back together and if you look across the span, the y and the J look a little bit spread, the V and the A looks better and the N and the H still good--let's go for Optical...and that even pushed them closer together and you notice now it looks like they're absolutely even.0872

And let's change the letter spacing to zero, and everything looks optically correct here, let's go back to zero and you'll see what I'm saying.0897

That's what Kerning does, let's just go ahead and delete that entire layer.0907

The purpose of Kerning is to take the odd letter and correct them--let's see if it does anything with this line of type right here (let's make sure we're on that) and we'll set the Kerning at Optical, and we'll go to zero.0912

Didn't make a lot of difference, look at the Ts and the Hs though, let's try Metric, and let's try Optical...didn't do much there, with this particular font it didn't change it a lot, but that's what Kerning's all about.0929

Now you have height and width letter distortion--let's go to a traditional, clean font; Helvetica again, and I just want Helvetica plain.0945

OK, this is 100% and 100%, let's spread them apart just a little more so we can see it (let's go like 25, there we go) so now we're going to take and change the 100% height to 130, click Enter.0958

Notice it stretched the letters upwards, and we can do the same thing with the width of the letters--let's go 130% there.0975

It didn't change the space between them, it just actually spread the letters apart, so you have options for controlling the look of your type.0984

In addition to doing it that way, you can also adjust your color (let's make this some deep blue) now we have blue type.0992

This one I don't use and I'm not sure precisely what it's doing, ah, I know what it is, it's changing the actual baseline of your type, so in other words your baseline's here, it's going to move the whole thing up or down--it's just positioning the paragraph.1001

In other words, if you get it wrong you can do it that way, but personally, easiest way is just to use your--oops...is to use the Move tool, and I got the wrong...layer.1019

Here we go, use the Move tool and you can move it, so you have options there.1037

Color there, OK, then this final line underneath here...you notice, what it's doing is changing the size of the type artificially--this is not by changing the font, this is just mathematics within Photoshop.1041

You can artificially make it bold, artificially make it italic, add underline or strike through, these are the options.1059

Now, this grayed out line--some type fonts have the option to change things such as, I don't use it, but let's type in one half, and commit it, and let's go find a different font where this lights up--there it was.1067

Now, this one half is traditional, if this one makes it look the way you would like to see it in a mathematics formula, and it does a couple of other things that I haven't used too much, so that shows you pretty much what the Character panel does and how to set (let's go back to the linear type, there we go) and how to create lines of type in Photoshop.1086

So now let's deal with paragraphs of type, OK.1115

Let's go back...and open up--I'm going to put the Characters panel away, and open up the Paragraph panel, peel it off, and I also want to get a...let's change our arrangement to float all in windows, make this a little smaller, move this one which is a paragraph over, put this away, and we'll leave a picture there, OK.1119

Now, the Paragraph panel, pretty simple; we have a paragraph of type that I've created already up here, and let me set everything to zero...that should be at complete zero and why is it not?1147

Something has been set...oh, there it is, sorry...OK.1166

Come on, let's get the zeros in here, OK, there's a traditional paragraph of type with no changes whatsoever.1178

What you can see (let's zoom it up, bring it in so you can see it) and as you see, there it is within a textbox--let me show you how to make a textbox.1184

To create a paragraph, all you have to do, get your Type tool, click and drag and you have a paragraph box.1199

Now this textbox can be changed; grab a corner and you can change the size at any time, and depending upon your alignment, in this case you notice the three alignments are left, center--look where the cursor is flashing (let's make a larger...point...let's get this up to 22 points and click again, OK, there we go).1207

What did I do wrong?1232

Textbox, click, now your cursor is left, justified or aligned left, align center--there's your flashing cursor, so if you start typing, notice how it spreads the line until it gets to the next line--starts in the center.1234

In the case of right hand justification or alignment, there it is over there, so those are your three options of alignments.1250

You understand how you set up your textbox (let's close that out)...and there's a previous one that I've already set, and if you notice when I click within it with the Text tool, there's the textbox.1259

now I can change the shape of this by coming up and over here.1276

Notice, now we have...commit it, and there we've changed the paragraph, but once again with left alignment, when I typed it, every time I made a paragraph I just return and start, but you really don't see much adjustment, so the adjustments are simple.1281

You have left align, center align, right align, very simple.1297

You also have left justify which means the left and right edges are straight, and it moves them over until it hits that edge, and then goes back and the shorter lines end up shorter lines.1303

You also have the option to hyphenate letters--in this case it didn't do anything, let's make this a little bit narrower like that, and then we'll bring it down just a little...I think that's it right there...1318

Set it in place, and what happens if we hyphenate--now you can see that the box was such that without the hyphenating, it gave you the full letters, but if you want to hyphenate you can get it even a little more condensed, we'll leave it un'.1334

Center justified, once again, straight edges, adjust, it makes everything work from the center; right, same thing there, and this justifies everything and if that looks familiar, this is the way news print is done.1351

You notice you have finite columns, left and right, and every line goes from left to right--notice, what it does is it spreads the words to fit it.1367

Now, if we click hyphenate here, it still spreads the words but allows it to hyphenate--I prefer non-hyphenated if possible if it looks good, we'll just go left justified.1376

Now, the other controls here are very simple...this indents the entire left margin--we happen to be left justified, so we really just kind of moved it all that direction.1388

Indent left margin is really good because what you're doing is indenting the first line of type, and now you've separated the paragraphs so they show really well.1403

OK, and add space before...it added space before the next paragraph, so it actually separated your paragraphs for you, you can scrubby them back, and that looks nice, and then if we also indented the first line, look how nice that looks now.1416

Hyphenate obviously adds space after...it's now going below instead of before the paragraph, so we really don't need both of those, and this one here is indent the right margin which would move it that way, so there's how you make your adjustments on your paragraphs.1438

Alright, now...I'm just going to put that away, put the paragraph one back, now I'm going to show you how to put type into a photograph.1458

We have a paragraph of type here, there are our two...layers in here, and the type layer doesn't have to be highlighted, and it could be more layers in this thing as well, just grab the layer, drag it and drop it, and it will size itself according to the resolution of the image that you drop it in.1473

If you want to resize it (let's just move it over) let's say it's a little small, you don't have to change the physical type face sizing, you can go to the Edit menu and go to Transform, because you can transform the type just like you could before with an image or a particular layer.1496

Free Transform, hold your Shift key, and just drag it, and there you go, or you can actually drag it this way, and you're distorting the type slightly...let's bring it back down to there, and now we commit it, and you change the size of the paragraph block.1519

OK, and there you have--and you can adjust that and of course you can always change your colors now, anything that you want--actually let's change it to the color of these panels right here, and there you have it, and so now you have a paragraph of type inside of a photograph.1541

Alright, let's go back and consolidate all to tabs and go back and look at our text title, and we have now taken a good look at fonts (let's add a layer up on top, we've got it).1562

We've looked at fonts and how they work and how you adjust them, we've looked at how you set linear text, how you work with paragraph text, and now I want to talk a little bit about guides and grids.1577

We can do it right on this--actually, let's go with this page right here...when I set this up, it was actually (let me turn off that layer and let me crop this back to roughly this) this was the way I originally had it, and I deliberately made a mistake.1592

If you'll notice, that the alignment of the Character panel, the Paragraph Panel is slightly off.1617

I did that just for this particular exercise here today, and how do you align it?1625

Let's go get our layers out, and we're going to go--OK, there's the layer, I could use the Move tool and I could move it over visually like that, that's probably pretty close, and make sure the height's good on everything--that looks fairly close.1630

But to do it with true precision, especially if you're doing graphic design...you want to use guides and grids.1648

Now, if you remember in the Preferences, I had you set the gridline every .25 inches rather than one with four sub-divisions and we put colors on these.1659

Here's your grids; View, Rulers, Command+R, show grid, there are no guides yet so we'll just show the grid.1671

Notice the shortcut is Command on a Mac, Control on a PC plus the apostrophe, turns them on, and remember each one of these squares is a quarter inch with four separations, the default was one, two, three, four inches--it's just too course.1682

So if I want to align this layer, notice where this one is--you see I'm still a little bit off on that layer; got the layer, move and I'm just going to align it so it comes over right there and I'll check the right side of it, and just right about there and now I very easily align that accurately to match the other one.1701

I can check the positioning, for example, of this particular line of type by taking a quick look at the grid.1723

One, two, three big ones and three lines, one, two, three big ones and one line so that's slightly off too, so I'll highlight that one with my Move tool, and I'm going to go 1.5, one, two, three and 2.5--one, two, three...that's still not right.1733

Now I'll show you how we'll fix that one.1755

We're going to go the other route...remember the shortcut; Command on a Mac, Control on a PC and apostrophe, off and on, or View, Show, grid gone.1757

We're going to turn on the rulers--Command or Control+R.1769

Now a...what we want to do here is we want guides--I want to see we're dead center in this image--all you have to do to generate a guide is to go over into the rulers, notice it changes to an arrow.1773

Click and drag, and you see it's pulling a guide--now watch what happens--I'm pulling gently...notice it hesitates right there, it wants to stop.1786

That's dead center, if I do the same thing here, pulling downward...there.1797

It wanted to stop, that's dead center horizontal and vertical, so I can see right now that it appears I'm a little left, but that's hard to say with the drop shadow, that's alright.1806

In terms of this line of type, watch what happens...it should...there it is...make it stop right there, and so you have to do this very gently, and it grabbed it.1818

Let's go View, Show, grid, and now take a look--we're exactly three; one, two, three, it missed...so it's not working well on the grab there, but three plus two, three plus two, there we are, we've centered that.1834

See, it's three plus two, one, two, three squares plus two and it's dead center there.1852

Bottom here's a little low but we're OK, notice how I was able to align all the arrows and all of the other stuff.1857

Grids and guides, now to turn off the rulers--Command or Control+R...your guides are still there--to turn them off the shortcut is Command or Control, semi-colon.1864

And for the grid, Command or Control apostrophe, or View, Show...grids and guides or rulers, there's how you create--let's just turn them back on so you can see them all.1877

That's how you do that, so let's go back and wrap it up, and now we've talked about guides and grids.1892

A little bit about graphic design; fonts, linear text, paragraph text, guides and grids in Photoshop CS6.1900

Hi everyone, Mike Brown here, welcome back to educator.com's Adobe Photoshop CS6 course.0000

In the last lesson I showed you the basics of using type, setting up linear type, paragraphs, how to pick your font size and adjust your type and so on and so forth in a pretty traditional fashion, so let's play in this lesson.0006

I'm going to show you a couple of cool ways to manipulate type, we're going to talk about how to warp type, create clipping pas, and I'm going to play with some type effects, just to show you some things we can do that are fun with type, so let's get started.0021

Here is a photograph I took of a place called Bad Water in Death Valley--by the way this is the lowest point on the continental United States, it's 280 feet below sea level.0038

I've created a type layer just in advance, this is simply Myriad Pro, and bold italic, we're going to...let's do bold italic, come on, bold italic...thank you.0051

And we're going to enhance that slightly, so now we have our type, the first thing I want to show you is how we can manipulate type.0073

We went across the Options bar last time, we talked about everything in the Character panel which is duplicated of course across here, with the exception of warping type, and here is a way to warp text.0084

Now, in this case with all of these options, you are actually warping the vector type.0097

I'm going to show you another way to manipulate type, but we have to decide exactly which font size and everything we want because we're going to have to shift it from vector to a regular raster pixeled image, but right now, let's take a look at the styles available to us, to warp type in Photoshop under the type layer.0106

So here we have several styles, you can arch (move that down a little bit...move the whole layer down) and you have your three sliders for bend, horizontal or vertical distortion--in this case, we can bring the arch down, we can horizontally distort it--notice how one end goes down and the other end comes up.0131

We can also distort vertically by pushing it kind of in a 3D fashion like it's going away from us, and bring that bend down a little bit, play with that.0155

You have arches where this is an actual arch...run this back to zero so you can see the difference...and we have all sorts of options--there's a flag wave...let's see what this fish eye does--oh yes, it's just like a fish eye lens, see that?0166

Yes...and squeeze squishes it together, all of these options are available to play with, we'll just cancel out of there for the moment.0188

So you have those which means you can apply any one of those to the text layer, and it will remain vector and then you can do everything else you want with it.0198

In this case, we're going to do something different--another way to warp type.0206

I'm going to duplicate the layer; Command or Control+J, of course the dropdown menu, duplicate layer or Layer, duplicate layer here, turn off the type layer, go to the Layer menu, go down to rasterize type.0211

Now, the layer is a fixed rastered image--it's no longer--you can see the transparency in the layer, it's no longer a type layer, as opposed to this one down here which is a type layer, this is rasterized.0228

So what we're going to do with here, is we'll select it, Command or Control click the thumbnail, then we'll go to the Edit menu, we could go to Free Transform--the easiest way is (they're all under here) but let's go the normal way--Command or Control+T...Command on a Mac...0244

Right click on a PC, Control click on a Mac, you get the dropdown menu--we're going to go to warp.0266

Now you see we have the--oops, get it back...we have the warp box; what we're going to do is we're going to play with the type, and we're going to take and stretch this one down a little bit...and we're going to stretch it up here and stretch it out here.0273

Now we're just going to play with this, see what we come up with...stretch a little bit that way, pull it down and round, let's see what happens when we do this, oh that's kind of cool.0296

Yes, I can deal with that, we'll commit that, and turn off the selection and now we have distorted our type.0316

So what we're going to do now, is I think I want to skew it once more, Control on a Mac, right click on a PC, I just want to give this a little angularity...there we go.0325

Alright, now we got some type...let's see how that fits, that's pretty decent, you get the idea, so now we've distorted a rastered layer of type, so let's see what we can do with this now.0340

I've got another image here, and this is a Death Valley image, I've selected an area, I'm going to copy it, go back to this image, and (let's get it on that) and we're just going to paste it--Command or Control+V...oops, there it is, why did--there it is.0354

Move it, now it's a little smaller than the other layer, so Command or Control+T for transform, and I'm just going to (doesn't really matter if we distort it a little bit) I'm going to stretch it out some...move it down a little like that so we have plenty of room for it, move it up to cover the image.0374

Now, you're going "what are you doing?"0393

I'm going to click OK.0394

Now, check this out, what we're going to do is we're going to select the type; Command on a Mac, Control on a PC, click the thumbnail, there's our selection.0396

We're going to go in between the layer with this yellow picture and the type layer, hold down our Option on a Mac, Alt on a PC and watch your cursor, when it gets between you get this dropdown arrow with a square.0407

What that means, it's going to clip or attach this rectangular layer to that layer below, and you'll see what happens, watch.0423

Option or Alt click...and look...what that did, is it attached it directly to the type layer, and we can actually move this, watch.0432

See if we can shift it around, I kind of like how that line goes through the middle, and so let's load this selection and let's do a little bit of curves adjustment, darken it down a little bit, snap the contrast...that looks kind of nice.0448

And let's do a little hue saturation to pop it just a little bit more, we're kind of going--ah, there you go.0466

OK, so now we've attached something to the type but it still doesn't have any pop to it, so now we're going to do layer effects to the type.0473

Highlight our type, rastered layer, we're going to go...in this case they're actually layer effects because we rasterized it but they'll do the same thing on type all by itself--we'll talk about that in the next lesson.0487

Let's go Bevel and then Boss, zoom this thing up a couple of times, and here we go, let's play.0502

We're going to do, let's see, outer Bevel, inner Bevel, let's inner Bevel, let's up the depth, it's coming you can see, let's change the size, let's make it like that just a little bit...and soften it just a hair, that looks OK.0509

That's making it look a little better don't you think?0529

So now, what else can we add?0532

Let's click on a--double click the effects and we'll open the panel back up again, let's do a little texturing, wow!0536

What was the pattern that I put in there?0546

Oh my, look at that, I just added the texture, and I want the depth...about in the middle...oh, we just want a little bit to add with it, it's linking it with a layer.0550

If we scale it up a little bit, there we go, now I'm going to turn that off and on...and we've gone from flat to that and you notice we've now, the picture still shows through but look what we've done.0569

We've added this texture to it--is that cool or what?0584

So that's kind of nice, I think we can up that just a little bit, let's make that a little bit...more...obvious, there, that's better, so now that we see there's this kind of stone look to it, that's really kind of cool, so now let's take another effect.0588

Let's go ahead for a drop shadow...and we're going to adjust the lighting, try to see, you can see the shadow over here, the light is coming from over the mountains as we're looking at the image back over your left shoulder probably at about...10 o'clock.0609

Now, you can adjust the light by changing the angle right here, watch this, we'll just go back to 135 to 140, and now you can see it's coming in from that same side.0630

We'll take the blend mode at normal, and...I think I would like to drop the opacity back some...we're doing the shadow, so we got the shadow out, softened it, that looks nice, let's get it out a little bit further, spread it just a little more, drop the opacity back and we've got a decent looking drop shadow.0641

And we can turn that off or on with the eye, we've taken that, gone to there, that looks pretty good, let's try one more, let's see if we can come up with a pattern overlay and throw that on there--yowee zowee...0671

Just a little on top--what have we got under here?0687

Here's all we've got showing for our patterns, but we can add more...let's go with some nature patterns, we'll append it...those came in, that's kind of cool, let's add one more section, how about erodible textures--I have no idea what that is...0690

And let's see what we've got now...as we switch through...the various textures here...just keep that opacity up so we can see it, pebbles...0713

There we go, I like that one a lot, let's drop it back just a little bit, there we go.0730

Now we have a nice, rough Death Valley, look, I don't think that the drop shadow should be a softer shadow--there we go...and there we've created--that color is just not what I want, so let's go with the hue saturation and change the hue and the lightness...and the saturation--let's just make it go crazy.0734

Let's do one more thing, we're going to play, and I'm going to...let's see, let's stroke the outside...and make it six, there we go, we've got a stroke going on it, and let's see what we've done.0761

So now we've taken our type, and we have distorted it by turning it into a regular layer, and we've stroked it, put a Bevel in and Boss, a pattern overlay and a drop shadow in it, played around with it, clipped another image to it, so that we got it to make the type only show up.0780

And we've made an interesting little piece of type, just starting with regular text.0806

Alright, let's see what we've got here, we went through warping, clipping and type effects, so there was just some semi-interesting things that you can do to play with your type by warping it, clipping another image to the type, and adding a whole bunch of type effects.0813

All in Photoshop CS6.0834

Hi everybody, welcome back to educator.com's Adobe Photoshop CS6 course.0000

Mike Brown here with you again.0005

We've been talking about text in the last couple of lessons, we've talked about linear, paragraph text, in the last lesson I showed you how to warp it, clip an object to it, make all sorts of texture and 3D kind of modifications to the text.0007

We're going to take a look in this lesson, type on a path and chrome type.0024

Chrome type is just working like crazy with a piece of type and seeing what happens, so let's get started.0030

Here's a photo I took several years back, I was on assignment shooting for the navy, and this is the Miramar Naval Air Station top gun squadron in San Diego, California--that same squadron you saw on the movie Top Gun with Tom Cruise, so we're going to put a title on this picture...0038

But instead of warping the text, we're going to put it on a pre-determined path, so we'll just follow the path.0055

You make a path with you Pen tool, so we'll highlight the Pen tool, and let's make a path...click and drag, click and drag, and click and drag and I've got us a nice path.0063

I'm going to move that point down a little bit, Command or Control, let's move this point here a little bit more, and move this one down just a hair...up in the corner, there.0076

Now, you notice that the path isn't completed.0092

What we're going to do is go to the Window to the Pas panel, and you see the work path is highlighted, we're going to click outside it and then re-click and now we've got the path.0095

Didn't have to close it off.0106

Now we'll go to the Text tool, zoom it up so you can see this (I'm going to change the screen mode) as you move your text cursor, up to and it counters the path--notice it changes, see the way the path line, and it's still the icon.0108

You click anywhere on the path, and we'll start right here.0123

We've chosen Cosmos, let's shift that to Helvetica for starters, let's drop it down to about 40 points, and we're going to go ahead and type; Top Gun Squadron...Miramar Naval Air Station...San Diego, California.0128

And we'll enter it this time with a checkmark, and there we have it.0156

Now, we're going to open up our Characters panel...close the paragraph up, don't need that, and move that up here a little bit (let's move the picture over just a hair so we can see it).0160

I think we can make this larger--let's go to 48 point and see what happens...now you notice that it got larger but we'd lost the California, but I want to show you something else--let's go back to our path--this is the Top Gun type path.0174

Notice the insertion point's over here and the path starts down here, so if we shift the whole thing over, we can pull this back in, the part that's off the end.0190

We're going to use, not the direct selection tool but the path selection tool--the black arrow right below the text icon in the Toolbox.0201

As you come up and hit the path, you see the icon changes from an arrow to a type icon, click, and two things.0211

If you are above the path, the type's on this side, if you go below the path you can flip it and put it on the other side so you can have type inside or outside.0221

We'll go back up and as you move notice, it moves the insertion point, and we're back right to the beginning, and now we can stretch the type just a little bit--let's jack it up to 50 points, and there we go--we got it pretty good.0232

Now what we're going to do...is we're going to take that layer, and move it a little bit with the arrow keys to center it...that looks pretty good.0247

Now if the wave is too much, we can also alter that; now we'll go down to our direct selection tool--this is just like the Pen tool--this is a path, click and drag across the path--we got black, black and black, we want to move just this point.0259

So Command on a Mac, Control on a PC, click and drag, we want...not the direct selection tool, my mistake.0275

The Pen tool, I keep messing this up myself.0284

Command or Control, gives you the white arrow, click outside the type, click and drag--now we've got that point, once you get right at the point, now you can shift the point, and notice how the path, once you let go, the type snaps to the path's shape that you've changed.0288

OK, now we'll go back and de-highlight it and there we have that, so now we've got the type in place, let's just add one little effect to the type; to put a drop shadow in it...we'll drop a drop shadow on...size a little bit...distance out...0307

Eight seems about nice, come on spread, move it out just a little further--there we go...OK, that looks pretty good, and let's go ahead and stroke that text.0335

We'll stroke it two pixels, click OK, get outside of that again and there you have it; type on a path and how to modify it--remember this is the Pen tool, so you're going to use the Pen tool to create the path, you also will use the Pen tool, Command or Control as the arrow to...0349

Once you highlight, and highlight the type path, not the work path, you can now click and drag across that, get the individual points, and move them around to readjust the shape of the type and also with the path selection tool, allows you to have it top or bottom, and also to change the insertion point position on the type.0373

OK, there's type on a path.0401

OK, so now, let's go look at chrome type...it actually looks pretty nice, doesn't it?0405

I like that, the red really snaps and it looks kind of cool, sorry just enjoying my work there for a moment.0412

Alright, here we have an untitled document...and we're going to make chrome type--let me make a new document--I want to change the sizing.0418

Command on a Mac, Control on a PC plus the letter N makes new document, we're going to make it 7 inches wide, 3 inches high and we're going to make this 400 DPI so it's got lots of resolution, change the screen mode so I can move it around.0429

We don't need the Pas panel anymore.0447

OK, we do need text, so I'm going to go with Helvetica...50 point to start with, too small, let's make it like 100 point...there we go, that's going to be huge.0450

Caps, C H R O M E chrome...V for the move tool...C H R O M E that was good wasn't it?0466

Type tool, let's correct that, make it E, commit it, and I'm going to change that from Helvetica regular to Helvetica just plain bold Helvetica and I think the reason it's italic--we had the artificial italic on in the Character panel, turn that off, and I want to drop it down to maybe 110% just a little, that looks pretty good.0479

and I'll move it over and let's center it in the...document, and I'm going make the background of the document a very light gray...just so it's not glaringly white because the type itself will have some white.0504

Now, this is the foreground color so Option delete or Alt delete on a PC will fill the background, so let's make this type color black...that's odd...oh, the type layer, sorry.0524

Black type, done, OK.0547

Now, we have a type layer--we could play with it, make it 3D, what I'm going to do--this is not, that is Helvetica, that's fine, OK.0550

What I'm going to do here, is I'm going to duplicate that layer; Command or Control+J or duplicate on the dropdown menu, or duplicate over here--now we have a duplicate, we'll turn off the original, and I'm going to have to turn this layer--this time instead of playing with it as a vector type layer, we're going to rasterize it like we did the last time.0561

Layer, Rasterize Type...OK, and what I'm going to do is select the rastered layer; Command or Control click the thumbnail, and I'm going to make a gradient, and I'm going to make the gradient--remember how to do the gradient changes?0587

This is a color stop, I'm going to click that color stop and we're going to make that jet black, and on the right hand mend we're going to make that one just a little gray...OK.0609

Click Ok, and now we're going to do the opacity at 100%...Command or Control+H to hide the crawling ants, Shift key to make sure it's a straight, vertical line, and I'm going to drag the gradient...on the chrome type...there we go.0623

Now we have a gradient, alright.0643

We're ready to go, what I want to do, is I want to Bevel in and Boss, make a 3D effect on the type, so we're going to change the depth a little bit, up the size until the type looks nice...soften it just a little bit to round it off back into--that looks pretty good right there.0646

OK, now our type effects are set--now you notice the type effects will not stay with it once we start to do some other things to the actual type and move it around, so we need to flatten it into this rastered layer, rather than have it an attached effect.0668

The way to do that, is below the layer, highlight the layer below it, create a new blank layer...there it is, Command or Control highlight both of them, now we can merge layers, and it will retain the 3D effect on that rastered layer.0689

Now we've got it the way we want it, OK.0713

What we're going to do, is we're going to make...let's load the selection; Command or Control click, we're going to make a curves adjustment layer.0715

Every time I do this it comes out different so it'll be interesting to see what happens this time.0727

Now here's the Curves panel, I'm going to take the shadows about in the middle and move it all the way up...and we're going to pull that same distance on the other side and pull it all the way down for a reverse curve and look what happened.0732

Right here, it looks like pretty much brushed aluminum, but the harsher it gets, the more it looks like chrome, look at that...and if I pull this back and over...I get it more or less...a true metallic chrome look, how about that, huh?0747

But we're not done yet...let's close off--oops, close off the Character panel and get the Properties panel over here, so now there's a basic chrome type, alright?0769

We've gone from our original text to a chrome, regular layer--that's the rastered layer--and by putting the curves adjustment layer on it, we have altered it so that it looks like chrome.0782

We can take this even a step further, it's just beginning--you can play with this as far as you want to go.0800

Let's duplicate this adjustment layer and see what happens; Command or Control+J.0805

Now we have--oops, Command or Control+J, and look what happened now, it went absolutely berserk, let's see what happens if we pull the opacity back--wow, look at that...oh, that's kind of cool.0812

Off and on...it added some more dimension to the chrome, so that was basic clean chrome type.0824

We've added another dimension to it, let's take it a step further and add some color to it.0832

We're going to make a hue saturation layer, and we're going to colorize the type; click the colorize button--oops, my mistake...trash the layer, Command or Control, load the selection for the word chrome, and then make the adjustment layer so it's not the whole thing.0837

I make mistakes too!0859

Colorize--now it colorizes the chrome--let's up the saturation, and let's play with the hue...and...right there, that looks pretty good, wow, look at that.0862

More saturation, what happens?0876

Less saturation, right there, kind of a bluish, chrome type, so we started...by making the word chrome, just in a type layer.0878

Rasterize the type layer, and added in a Boss to it, Bevel in and Boss, and then we flattened that Bevel in and Boss adjustment out of there by putting a layer below the type and combining the two with merge layers...0889

Added a curves layer, and remember the curves layer has a reverse curve--rather drastic (can even adjust that a little more)...play with it just a hair...that still looks pretty--oh, there you go, just a little bit more right there.0910

Then we duplicated that layer but now it's going to be slightly different and it adds another effect to it--we could even drop that back probably...we're only at 42% because the higher the percentage, the more the change, so you can play with that.0929

Then we put hue saturation on top of that with the colorize, changed the saturation and the hue, and came up with colored chrome type.0945

So there you have...a couple of more ways to play with type--what we did here this time, we did type on a path...0957

In which we took and created a curved path, created type on top of it, moved it around, changed the path.0971

We also...did chrome type, in which from scratch we created a chrome type effect.0979

Another couple of things you can do with text, in Photoshop CS6.0987

Hi, Michael Brown back again, with another lesson for you in educator.com's Adobe Photoshop CS6 course.0000

This is the grinder basic lesson in setting your Photoshop CS6 Preferences.0008

Don't touch that dial.0014

You've got to do it, you've only got to do it once so let's grind on through it.0016

Alright, if you're on a Mac, under the Photoshop dropdown menu, go to Preferences, and General--if you're on a PC go to the Edit menu, all the way to the bottom you'll find your Preferences, and let's go to General.0021

Alright, we'll start at the top and work our way down.0037

Default is the Adobe colour picker, it's a beauty, leave it. 0041

HUD, that's heads up display, colour picker, which is used for tools and setting your foreground/background colours, it defaults at the huge strip small, leave it there, it's fine.0045

Image interpolation--this is new in Photoshop CS6 for those of you who work in previous versions.0061

We used to have bicubic smoother and sharper, the other three are not as good.0068

Bicubic smoother is usually used when you're enlarging an image, which means you're opening up space between pixels, better to smooth the edges, or sharper when you're reducing and throwing away pixels to sharpen it back up.0074

You use to have to pick A or B, but now bicubic automatic will automatically sense whether you are enlarging, or reducing and pick the appropriate one for that.0087

Now you also have the option...I personally like bicubic sharper all the time, I'm going to set it there but for those of you that are learning this and may not have a preference, bicubic automatic as the default works just fine.0099

Alright, let's get down this list of options--these are the ones that are by default checked: auto update open documents, that's only if you're working in a network business where multiple people have access to your file and are not on your computer, that way if someone else works on it, it auto updates it.0115

If you don't need that, don't check it--I prefer not to anyway.0137

Beep undone, if you want to hear the beep all day, be my guest.0141

Dynamic colour slider, that's fine--export clipboard allows you to export the clipboard with something you copied from Photoshop and then pasting into another document in another piece of software, a good idea to leave that up there.0145

Use the Shift key for the tool switch, yes, and let me show you what that is...that means if I have a tool that has sub-tools and in this case the shortcut for this tool is J, and I hold my Shift key down and hit the letter J notice in the Toolbar, the highlighted tool is actually changing as I click and hold the Shift key down, that's what that preference allows you to do, a very cool idea.0161

A nice shortcut.0191

So that was use Shift key for tool switch.0193

Resize image during place...if you are copying from one image to another and you're bringing in a higher resolution, larger picture into the smaller one, obviously it's going to be bigger than the small picture.0195

By checking this, the computer will resize the image down.0210

It's OK in general circumstances but me personally, I like precise control, I would rather have the larger image come in large and I'll size it down.0215

But this is not a bad idea, go ahead and leave it, and if you find that you would prefer to do it yourself you can always uncheck that.0224

Animated zoom, I don't like this feature--I'll demonstrate it to you.0232

The animated zoom, what it allows you to do is just simply click or left click on a Mac and just hold and it zooms, and when I let go it keeps on zooming!0237


And if I'm doing it in the reverse it kept on zooming.0258

It doesn't allow absolute precision stops, so personally, I don't like that, I'm going to uncheck that.0261

Zoom resizes windows, a very good idea, if your windows are floating, and you have that--notice as it gets smaller the window itself sizes down and comes back and stays at the proper size.0271

Otherwise the image will enlarge or get smaller within a specific window size, so I suggest going ahead and leaving that one checked (I'm coming back to it).0288

Zoom with scroll wheel...if you've got a scroll wheel, check that box--it's really cool, you can scroll it using the scroll wheel.0302

Zoom click, point to centre--good idea to check this one.0309

In the old days, if you clicked on an area, it would zoom kind of toward that area, but with Photoshop CS6, when you click on a spot to zoom up an image, it will actually centre that spot in the window when it zooms, good idea.0313

Flick panning, I like flick panning, I'll show you what that is...that's flick panning and it allows you to let it slide to pan--it's kind of good otherwise you've got to click click click--this way you can kind of throw it across.0333

It's cool.0347

Alright, very round brush hardness based on a...this is an adjustment shortcut that normally allows you to change your opacity, if this is unchecked you do the movement, it's opacity, you check it and its hardness, better idea you just leave it alone.0349

Place or drag raster images as smart objects...uncheck this one. 0366

Unless you work with smart objects, just let it come in as a standard raster image, you can always change a new layer or a new pasted image into a smart object at a later time if you want to.0372

So I just suggest for now, uncheck that one.0387

Snag vector tools to pixel grid, fine, that takes care of the General, let's go to the Interface.0390

We've already dealt with Appearance, but if you skipped my last lesson which you shouldn't do, Appearance allows you to adjust the appearance of the Interface or adjust the appearance of the three screen modes.0397

We already dealt with that option.0414

Everything here is just fine, I'm not even going to go through them, expect if you like the tabbed format, it defaults to opening documents as tabs as I showed you across here.0416

If you uncheck that it will open them up as floating windows, that's your call--just remember it's right here.0430

Enable floating window, floating document window docking means you (I'm just going to have that) if I have two windows that are floating, I can actually dock them separately to themselves away from the main docking area.0438

That's what that one was all about.0456

It's OK, everything else on there, just fine.0459

Click next and we'll go to File Handling...by default, always saving an image preview, really really good idea, gives you a little thumbnail.0465

Append file extension, always, that's good, and it's going to use lower case, that's the standard on most programs, so that will keep your .psd like you see up here on this image, all those are psds, it will keep it in that lower case and will append it as you go along.0472

Alright, saving to original folder--great idea.0493

Really great idea, you don't want to get lost by, unless you need to, saving a file someone A, so in other words you don't want to go Command+S just to save it, it will automatically save it back into that original folder.0496

Saving in the background, this is really cool, this is something that's new to Photoshop CS6--in past versions if you went to save an image, you could not continue to work until the computer finished saving that image.0512

Now, with CS6, once you start to save you can just go ahead and work, and it will save while you're working behind you--this is great for really big files, good idea.0528

Automatically save recovery information every ten minutes, wow, what a feature!0538

All these years, if the computer crashes, or Photoshop crashes or you get a power outage and you lose everything, and you worked for three days on an image, you lost it.0544

Now, Photoshop will automatically save the state of your image and you can adjust it all the way back to five minutes and up as long as an hour, ten minutes is default, good thing, so if it crashes and you reopen, the worst you could lose is five or ten minutes worth of work on that image.0556

Really cool feature, I wish they could've had it twenty years ago.0576

Alright, down the File Compatibility...I prefer Adobe Camera Raw for supported wall files--absolutely...ask before saving layered tif files?0580

A lot of tif files save as a flattened image, I like to be reminded you can let that go if you want.0590

Maximise psd and psb file compatibility...just go ahead and put always, I'll tell you what that is, what that's doing is allowing Photoshop to save the version so it can be opened in previous versions of Photoshop.0598

You never know when someone's going to end up with a file of yours that's got a CS3 or something like that and they're going to want to work on it and they can't open it, so I just prefer to say "do it", it increases the file size slightly but no big deal, so just do it.0617

Alright, let's take a look at our Camera Raw Preferences button now...what we've got here by default, save image in a side card file...I talked about that in the last lesson, Camera Raw makes non-destructive edits and saves those algorithms as a separate file, that resides in the same folder and your original image, and all you have to do, if you want to get back to zero, is you just trash that file and the original file is never untouched--that's the way to do it, and apply sharpening to preview image--always.0633

In other words, if you had ten images opened in Camera Raw and you were synchronizing them so whatever action you were applying to the basic image applied to all of the others, it would then...if you did this all images, it would sharpen every image, just the images you're working on so leave it at preview images.0670

Default image settings...they're fine--Camera Raw cache is fine, png heading is fine, jpeg and tif handling...you want to have all supported jpegs--I'm not sure if your default is at open with settings, but all supported jpegs and all supported tifs.0695

This is important as far as I'm concerned, I love the workflow of Bridge, Camera Raw, then into Photoshop.0717

This way, all jpegs, tifs and raw files will automatically open in Camera Raw.0725

OK, that takes care of those--let's quickly go back, we're going to File Handling, we got that, we're going on to Performance (let me get back here) I'm going to click OK for just a moment...and we have indeed done General, the Interface, Camera Raw, we're going on to Performance.0732

Alright, memory usage...default is at about 70% is being used for Photoshop.0759

You could jack this up to about 90% if it's the only piece of software you've got opened, and it will speed things up ever so slightly...if you've got a bunch of software open you might just want to knock it down so they all don't slow down, but over all the years I have just left it at the default 70% and I can't tell if it's speeded up or slowed down at all--it just seems to work fine whether you have programs open or not.0768

I do suggest, personally, to have as few pieces of software open when you're working in Photoshop as you possibly can, obviously will speed up how Photoshop works.0793

I had an assistant work for me one time that had ten pieces of software open all the time and Photoshop was working like a slug, it took me a long time to get him to close some of those.0807

Anyway, history and cache...history states defaults at twenty--the computer will save every move you make by default of the twenty, if you've got three or four gigs or RAM at least, you can go up to somewhere between forty and fifty and never notice a slow down--of course the more you have, the more memory it uses because it has to remember everything.0816

I like it somewhere between forty and fifty, pretty good--cache levels fine, so on and so forth.0839

Use graphics processor...this allows you to access all sorts of functionality in tools such as some of the filters, a whole bunch of...actually it says down here, zoom methods and flick panning, previews, lighting effects, the blur gallery which is brand new in Photoshop, Puppet Warp, drop shutters for cameras--all these things, if you've got a decent graphics processor, leave it checked.0855

OK, let's go on to the next one here...cursors...default setting--normal brush tip, that means that you'll see a circle for a brush (let me check out of here) and you see the little circle?0875

That's what it is to talk about that particular brush right there, and what that circle is, is a 50% point, that's where if it was absolutely a hard edge, that's where the edge would be--if it's a soft brush that has a gradual spread to it, it's right in the middle.0889

You can do a full size which isn't really accurate, the normal brush tip you can do precise which is a crosshair, but you can always do the precise crosshair with a normal or the full sized brush tip simply by holding down your Caps Lock key, and standard is nothing but the icons.0908

So I kind of like it at the normal brush tip.0926

Other cursors standard is fine for me, I identify with the icons--it's always the tip, or you can have a precise cursor, whichever way you like, brush preview size read, that's fine.0928

Let's go to transparency and gamut...this is the transparency of a layer, the checkerboard pattern indicates there is nothing there, and it's grain white--that's traditional, leave it that way.0941

Gamut warning at gray...I would prefer not to--what that's telling you is that a color that you're utilizing is beyond the accessibility of the color space that you're in, in other words it can't be reproduced, and I'd like to be really warned, so I usually set mine at some disgusting bright yellow.0955

I'll make it this kind of obtuse, greenish yellow, and that way that attracts my attention and I realize that in that area the colors are not within the color space and it can be corrected, so if you want to change that go ahead, just click on the box, do the slider to whatever color you want and then move it up to the max point, click OK.0976

Alright, units and rulers...unless you're a graphic designer and want to change them, they are just fine.0996

Print resolution standard at 300 pixels per inch is good, screen resolution 72, perfect, the rest of it's just fine.1004

Let's go to guides, grids and slicers...guides are fine both ways, slicers are fine, a grid--I use it all the time in graphics, and it defaults at gray--I can't see a gray grid, so I suggest very strongly click on this and set that sucker up there in the corner at bright red (let me show you what that is) that's this, that's a grid.1011

And right now, you'll notice that the grid defaulted at a grid line every one inch...not very fine...I suggest that you take that, change the gridline every .25 inches every quarter of an inch, with a four in between so now we have a nice, fine grid that enables you to precisely arrange whatever you want.1043

That takes care of the guides, grids and slicers--let's go on to plugins, if you have any Photoshop plugins, you can check this folder and choose it so that it knows where they are, otherwise leave it as is.1070

For type, everything is fine, 3D...leave that in its basic default form, click next--we're back to the beginning, and now let's click OK (and let me make sure we ran through it) we did the cursors, we did transparency and gamut, units and rulers, guides and slicers, plugins and type and now, you have your Photoshop preferences all set up and ready to go.1083

That takes care of the lesson on Preferences, I'll see you back at the next lesson.1101

Hi everybody, welcome back to educator.com's Adobe Photoshop CS6 course.0000

Mike Brown here with you again.0005

In this lesson, I'm going to show you a couple of cool tricks and show you how to use that seeing digitally that I have talked about to take an average image and, not only make it look a lot better, but do something very, very cool with it.0008

We're going to create a photo frame effect, but first we're going to prepare the image, and we're going to use a gradient overlay, and I'm going to talk a little bit about blend modes again, and then we're going to merge our effects--I'm going to show you how to do it and why we do it, and then we're going to create the 3D frame for the photo effect, OK?0023

Let's get started.0045

So here's a shot that I took when I was heading up the coast scouting for some backgrounds for my automotive work...and this is one of those situations where you've got a really nice place here--this is a really nice scene, but the light is very, very flat, it's right straight behind us, it's like noon...0046

The sunset obviously would be to the left and if it could hang around for another 3/4/5 hours, the light would get really good, but we were on a schedule, we had places to go and we had to make it in a specific amount of time, so I had to take it just as it was and so here is the shot.0066

So we're going to take this and see what we can do...do some minor/major improvement without having to work too hard, show you a couple of new tricks to do it, and then we're going to finish this off by mounting our image, and putting in a recessed frame.0083

Alright, let's get with it.0100

OK, we're going to change the screen view with the letter F so I can move my image over, I'm going to get the Layers panel up and move it out.0102

We've got a single background layer so what's the first thing we do?0110

You got it; duplicate that background.0114

The Layer dropdown menu, or the little dropdown menu in the panel, or what is the shortcut?0117

Command on a Mac, Control on a PC, the letter J, now we've got our working layer.0123

So, based on what we've talked about before in terms of seeing digitally, let's look at the image and see--obviously, we can't do a heck of a lot--we could with the light but hey, we're just going to play with it real quick here.0129

First thing I notice is the sky is OK, but it could use some pop...the beach is kind of nice, but it's very flat; we could stand a little contrast in it and certainly some color enhancement, and this rock face over here seems to be a little dark--I'd like to open that up.0142

Other than that, not going to mess with it too much.0161

Now, we could make a selection for the sky, go in with adjustment layers, pop those, do that, we've done that before.0164

Do the same thing with the sand, obviously that's no problem--I'm just going to show you a different way to play with this, just for fun.0173

Alright, we're going to go to the Effects dropdown menu, that could be also under Layer, Layer Styles, there's gradient overlay there, there's all those styles, but they're right down here under the Effects, we're going to do a gradient overlay...and it comes in black and white, and you go "wow, what are you doing with this?"0181

Well we're going to take and we're going to blend it with the image, and it comes in initially as a black and white gradient which we can change.0202

Now, the blend modes--remember, let me just move this up so we can look at them all...there are really one, two, three, four groups that you're ever going to use in blends.0210

The first one, all of them, and it's real easy to figure out what they do--if you forget, the first one tells you; they darken things.0224

If I go to darken here, anything that is darker than neutral gray gets darker, anything that's lighter gets lighter and so therefore the sky got a little lighter, because--it didn't do much to the sky because that's white, everything down here got darker...0232

And not neutral gray, darker than the overlaying image.0250

If we go to the lighten group, what do you think it does?0254

It lightens so it's going to take that sky, because it's white, and it's going to lighten it--didn't do much to the sand, but if we go down to the third group, the overlay through hard mix, these are all contrast blends.0257

The three that you'll most often use; overlay is the middle one, soft light is the least, hard light is the most--these three, and these do the same thing but more harshly, so we'll try overlay, and look what happened.0271

We got lighter gray, darker here.0290

I think this is where we want to go, the mid-tones are fine, and you're going "what are you talking about?"0294

Well, remember how we deal with gradients?0300

This is black and this is white, we're going to change that--click on that, we have our gradient editor.0302

We're going to take the color stops--remember those are on the bottom, right now it's black--when we have our eye dropper we're just going to select a color off of the sand, and now it looks like the sand.0307

Let's go a little darker...there we go, a nice--darkened the sand already, and we're going to take the color stop for the sky, and pull color from the sky.0319

Now we have a gradient that goes from sand to sky, and it's OK, but I think we could add more color.0330

Let's hit the color stop for the sand--notice we've got color, let's move it up and make it a little richer--look at that, with that blend mode in there of overlay, the sand looks pretty good, not bad at all.0339

The sky, we can stand to pop that so let's go to the color stop on the sky, hit the color there, and do the same thing--let's darken the blue a little bit and richen it up, and there we go--sky's all richened up.0353

So we got the sand right and the sky right but the in between area is kind of screwed up.0366

Now, there are several ways to fix that--you could modify the gradient to only go between here and here, but we're going to make this easy; we're just going to go ahead and take OK, let's try a couple of other blend modes.0373

Let's try hard light to see what happens, I don't like that, it kind of flattened that out...soft light...not bad but not quite enough so overlay has the pop that we wanted.0383

Alright, we'll click OK, and now you see we have an effect attached to our layer.0395

Turn it off, turn it on, you can see the sand and the sky are distinctly improved, but the central area is not, so we're going to put a layer mask on here to mask out the central area; Layer, layer mask, reveal all, there's our white mask, nothing happened.0402

Remember, we're just going to paint on the mask with a brush, we've got a brush, and we're going to be painting on the mask...there we go...let's get the brush size up just a little bit.0420

Normal mode, 100% opacity, painting in black, now we're going to be painting all of the mid-tone area--not mid-tone area but the land mass and the ocean, there's nothing on there.0435

Remember the trick that I told you in one of the lessons; to make your layer masks become a translucent overlay so you can see what you're doing while you're doing it, hit the backslash key next to your bracket keys.0446

I hit it, nothing just happened...I hit it again, except you can see that the eyes (look over here in the Layers panel where my cursor is) the eyes gray out.0461

We've got black as the foreground, red, now we paint and low and behold, there it is, so what we're going to do is just trace around the outside of the bluff...and we'll do it roughly, don't worry about it.0474

Remember, everything is quick and efficient--the idea to make this work well and do it easily and quickly--we'll go right (I'm going to hold the Shift key down and go right) straight across the horizon, come over here and we're going to go right down and the only way to really do this stuff well is with this Wacom tablet--I've talked about it before...0490

There's another way I can do that; if I click at this end of the ocean, hold the Shift key and click down here, watch, it just snaps a straight line right between the two, and I can just modify the edge a little bit so we've got that, actually we've got it outlined already.0514

So now if I hit the backslash key it goes away, Option on a Mac, Alt on a PC and now click your layer mask, and there it is, there's our outline, let's just make the brush a little bigger and just fill it in...very, very easy--we got the outer edge, now we just fill in the mask...and this is going to really be nice.0533

I like this little technique...that backslash key is really the key so that you can actually see with the overlay what's going on while you're painting on the layer mask.0557

I went over a little bit, no problem, just go ahead; Option or Alt, click it again, and backslash key and we can see where mistakes were made--hit your X or the little arrows and we're going to have white as the foreground, take this, and I'm going to go click, Shift click and get a straight line that runs--Shift, click, Shift click, got that cleaned up.0574

Just go lightly around the edges, I got up into the sky a little bit, backslash key and there it is!0597

We're going to turn the layer mask off or on, your Shift key and click the mask; off, on, off and on--you see up in the land mass and down in the water...I see one spot that we need to do.0604

Right in here's a little dark, we need to paint that in black, so we're on the mask, have the brush, just paint over that and see how that lightened that water back up?0620

Watch; Command+Z, and now we've got it looking pretty decent.0629

What I think I would like to do is pull up this dark rock area, so I'm going to add a curves adjustment layer, close up the curves, don't need to do anything yet, and what I want to do is just paint the rock--I want the rock area to be the active area in the mask, but watch this.0635

It's easier to paint over what you want to work with, so I'm going to take the black foreground, hit my backslash key and go ahead and paint the area (oops, I got the wrong one, I got white, black) paint the area that I want to have as a selection--you're going "what are you doing, you're doing this wrong?"0655

I'm doing it backwards, watch what happens; so I'll paint the dark rock, any of the dark rock that I'd like to lighten up a little bit, let's just go on up into here...0677

I like to be able to see it rather than do the other part of it if you will, and then get it back to there, that looks pretty good--we can even pick up a little bit down in that area, alright that looks pretty good.0689

Backslash key, and notice the mask--Option or Alt click, there it is--oops, I've got just a little fix-up to do right there.0702

Now, Option or Alt click the mask again, I want the reverse, we can do this two ways to reverse that mask; double click the mask, there's your Masks panel, and there's the invert, and notice the mask turned black--or, you don't even really need to do that; just highlight the mask--there's the frame, go Command on a Mac, Control on a PC and the letter I; Command or Control+I, and it inverts the mask.0711

Now let's pull up our curves layer, and let's just open up the dark rock, there you go...just like that.0739

OK, and let's turn it on and off and see what we did; off, on, looks fairly decent--let's just put an overall curves layer to snap this whole thing on top; curves, and put a point in the middle and snap it just a tiny bit, just to gem that color up...there we go.0749

And so in very short order, using a gradient overlay, painting a couple of masks and a couple of curve layers, we went from there...to there, looks a lot better, now we got a decent image.0772

OK, now, I'm going to show you a trick here...I'm trying to figure out exactly how I want to explain this to you.0786

The first thing I want you to do, I'll do it and then we'll explain why.0795

Highlight the layer that has all of the effects on it, we're going to duplicate that layer; Command or Control+J, or of course Layer, duplicate, you can do the same thing.0798

Turn it off, and the reason I'm doing that is I want to retain the effects and the layer just in case you look at this photo and you go "I'd really like to modify it", because what I'm going to do with the original layer here, is we're going to merge the effects into the layer just to consolidate it--basically flatten the effects into the layer, and I'll show you at the end why we're doing that.0808

And the way we have to do that, is to merge that layer with a layer below it, so we're