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Photoshop Elements 11 is the #1 selling consumer photo editing program available and targeted at photography enthusiasts. Adobe Certified Photoshop Instructor Michael Brown will guide you through the Elements version which focuses on powerful yet easy to use options whose results still rival the professional Photoshop version. This course covers everything - beginning with an Overview and going through Importing Files, Image Sharpening, Exposure and Color Correction, Retouching, and Creating a Photo Book. 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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Hi, everybody--welcome to Educator.com's Basic and Intermediate Adobe Photoshop Elements course!0000

I'm Michael Brown, and I'm going to be your instructor in this course.0007

In this in-depth Elements training course, I am going to be teaching you all the tools and features that Photoshop Elements has; but, most importantly, I'm going to be teaching you the techniques of how to apply those tools and features to dramatically and flawlessly enhance your photographic images and create eye-catching graphics designs.0010

Another cool thing about Elements: it has a wide variety of other cool stuff within it--some things that you can do with a singles click; others where you have templates that you fill in and massage and kick out some really cool graphics.0034

A wonderful course--this training course applies primarily to Photoshop Elements 11, which is the interface that you are looking at right here--the latest version.0049

We will be working totally in this interface.0060

If you have Elements version 10, this course is equally good for you; there have been some changes in the interface, but the tools, techniques, and features are absolutely identical--the only difference in those are a couple of features that were added in version 11 that have been picked up from Photoshop CS6.0063

Both will work; primarily, we are working in Elements 11.0084

In this lesson, we're going to talk about how to learn Photoshop Elements, and I'm going to show you a start-to-finish demo in how to take an image from the camera and change it from good to great, very easily and smoothly, right here in Photoshop Elements, to show you how this program works.0089

Now, Elements: it's not a difficult-to-understand program; it is simply a pretty large program with lots of stuff in it.0107

The key to learning Photoshop Elements is simplicity--breaking this program down into easy-to-understand basic pieces.0116

In addition to that, I'm going to be showing you how to integrate those pieces together to make a quick, efficient, flawless, and smooth workflow, so everything you do goes easily and the results are great.0126

That is what this course is all about.0140

I'm going to start by talking for a moment about the big question that people have: Photoshop Elements or Photoshop?0143

Without question, Photoshop is the "bomb," the "big dog"; it has everything you would ever want for image enhancement, for graphics, and for art.0150

However, Photoshop Elements can do almost anything that Photoshop can for enhancing and retouching images.0160

Ninety-five percent of Photoshop is right here in Photoshop Elements.0170

Your exposure and color corrections--same tools; creating and modifying selections--there is only one tool that Photoshop has that is different from this, and it creates vector selections--other than that, we have the same thing.0175

Elements has a selection tool that Photoshop doesn't have that allows you to easily create selections, too.0191

So, it's an even balance: retouching--same tools, same methods; combining images to create composites and panoramas--over here on the layers panel--we have adjustment layers pretty much similar to Photoshop.0198

Photoshop does have a little more precision tools and some slight expanded variations in some of the features, but predominantly, everything that Photoshop has, Photoshop Elements has, and you can do anything that Photoshop can do right here in Elements.0214

Elements also has several features that Photoshop doesn't have at all.0234

You can create a whole range of photo effects with one button, instantly; Photoshop doesn't have that.0238

You can do sepia tones, lomo effect, an in-vogue photo effect, line art, vignettes, the orton effect, another in-vogue effect, pop art, and more, simply with one click, right here.0246

Elements has it; Photoshop doesn't.0260

You can create greeting cards, photo books, collages, calendars, and more with Elements--right in it; the templates are there, very simple; it generates some really cool stuff; Photoshop doesn't have that, either.0263

Share your images through direct uploads to a whole host of online media sites: Facebook, Twitter, Vimeo, SmugMug, and more, right from within this program.0276

Elements is very user-friendly in its layout, with a newly designed interface: notice, right here on the left, just for example: this is your toolbox--they are now grouped into the tools that you use for the various categories: viewing, selecting, enhancing, drawing, and modifying--as opposed to just listing them.0290

It's easier to access and understand where you need to go.0308

The whole idea in Elements is to make things simple--a wonderful program!0311

Elements 11 has also incorporated some great new features from Photoshop CS6.0318

When CS6 came out, some of the features were incorporated right here into Elements, so that you have almost everything that Photoshop has.0323

Again, Photoshop is the professional version; it has expanded and more precision tools and features; but Elements is absolutely amazing.0332

Photoshop Elements is a fantastic program for image enhancement and graphic design for beginning and intermediate use.0343

Once you are fluent with Elements, if you ever decide you need the additional features or more precise controls of Photoshop, the interface, the tools, and the methods are almost identical, so that the transition would be perfectly seamless.0352

This is a great program; I cannot overemphasize that.0368

Now, Photoshop Elements is actually three separate programs in one.0373

We have the Organizer, which is for editing, sorting, and rating your images.0377

You bring them into the program from outside sources, from folders or from the camera.0382

Organizer is accessible right here, by clicking on this button, and it will open the program--it just takes a couple of seconds--and there it is!--there is...we're going to go back to Organizer again; I kicked a button.0388

Japanese Garden--here we have images; there are albums, folders, sorting, rating, finding your best pictures--you do it right in here very easily.0404

I'll show you when we do the sample.0413

Back to Editor: Camera Raw is another program contained within Elements for use only with raw files; if you're shooting jpeg, or shoot tiff, they will come directly into Editor; but if you shoot raw, they will open up in Camera Raw.0415

I will show you that in a minute; let me just double-check--I want to see something here...yes, we have raw files.0431

Images come in here, the raw files, and you can make preliminary, non-destructive image adjustments to raw files.0439

It doesn't alter any pixels; it allows you to give it a nice head start; they're saved as mathematical algorithms; they do not affect the pixels, so there is no degradation of an image whatsoever, and if you ever want to go back and change those settings, you can do so.0447

The third part, the third program, is the Editor, where you do your primary creative work.0465

That is right here; so, all together, you have these three, and they integrate to provide a quick, efficient, and flawless, smooth workflow.0470

All that you will need to do almost anything you want to any image can be broken down into four simple categories.0482

What I want to do here for you is to make Photoshop Elements simple.0492

The four categories are corrections--and these are primarily exposure and color--very simple tools, very simple to do; corrections are simple to learn.0496

Selections--this is the most important category and feature within either Photoshop or Elements.0510

Selections allow you to isolate areas for specific adjustments.0517

Adjustments and retouch can be done, overall, very easily; once you learn the tools and the functions, away you go.0522

If you want to isolate areas and bring up something, or isolate a specific area for change, you have to select it, and it isn't just the selection itself--it's the edging, and how well the adjustment that you make blends in, so that you have absolutely no evidence that you worked on that image.0528

This is very important, and I really stress teaching this; you will be learning a lot about selections; you will become very fluent.0547

Selections apply to corrections, because, if you want to correct a specific area, you have to select it.0557

Retouching--retouching tools are simple; the techniques need to be learned; I'm going to be teaching you all of the various techniques for retouching.0564

And again, if you want to retouch a specific area and protect another part of the image, you're going to need to make a selection; so all three of these go together.0572

The fourth category is manipulation: sizing images, distorting parts of an image, combining parts--all of this is physical manipulation.0581

All together, these four categories are everything you need to know about Photoshop Elements and working on a photographic image.0593

OK--let's work on an image; I'm going to show you how this program works!0603

Let's go to Organizer: here I have an album I made from a folder that I imported; all of these images were a Japanese garden here in Los Angeles.0608

I'm just going to scroll down and pick...where was the image I was looking for before...I think it may be...let's go album order...this one right here.0618

Let's take a look at it; there is the image that I want to work on, so all I have to do is to bring it back down; I'm going to rate this 5-star, so I can remember that.0637

There it is; it's highlighted; now we're going to open it up in Photoshop Elements--I click the Editor button, and the image, since it's a raw file, opens up in Camera Raw.0648

Here you have Camera Raw: you have all of these sliders; you have a sharpening and noise reduction panel and some camera controls.0662

We're going start off; we have washed-out highlights, so we pull highlights down; look at that--just with that slider alone, the sky has become just the way we want it.0670

We open up the shadows a little bit...not maybe that much...now, watch the image pop when I...this is kind of sharpening--look at the difference right there!0681

There is where it was, and there is where it is--just snap that image, and it looks great.0692

I think I'm going to pop the saturation just a little bit; and there: all of these preliminary adjustments will stay with the image in mathematical representation.0698

We're ready to go!0710

Let's open the image right here in Elements.0711

I look at the image, and the first thing I see that I want to work on is--I would like to remove this tower; so, this is a little retouch.0714

We're going to take a retouching tool called the clone tool, and what I'm going to do is just source and paint, and we'll just clone away this obstruction in the image; it's just as easy as that.0723

As I told you, these tools are fairly simple--it's the way you apply them.0750

Now, I'm going in a hurry here; I would probably--in fact, I will just go ahead and show you: see the edge here? I'm going to take a selection tool, and I'm going to apply it right here.0755

I've now made a selection, which you will see are these crawling ants; and what that has done--everything inside that is active; everything outside it is not.0777

So, when I go back to use my clone tool, watch: I won't be affecting the edge of the building, notice?0787

Everything I do now--even though I come down--it protected it.0796

That is the value of a selection, right there; so, in short order, we removed the offending obstruction; I see one more that can be removed--we might as well go ahead and do that, really quickly.0800

I'm going to take out this white pole; now we have the tool--we will just paint it out.0812

You have to do a little cloning from different spots so that it becomes flawless.0822

There we go; I could probably take one more out, right here.0833

There--in almost no time at all, we have removed the physical evidence around there; that looks pretty good.0837

Now, I look at this image, and I think, "It's a little bright on the building and a little dark in the foreground."0846

So, let's make another selection: I'm going to take a selection tool--this is the selection brush; this tool doesn't even appear in Photoshop; it has a different kind of a version.0853

Right here, what we're going to do is, we're just going to paint on the building.0867

There we go: it has a very soft edge on this brush, so that if I go over a little bit, it isn't going to be a problem, because it will blend--remember?--I told you that the whole idea is to blend things.0880

There I have that, pretty much, and we are going to make a selection out of it, and invert it, and I'm going to save it: always save a selection.0898

I'm going to call it Roof, and click OK, and now we're going to deselect it for a moment, copy my background layer, and reload that selection.0908

There it is--the Roof selection--and I'm going to make an adjustment of exposure.0925

Watch what happens as I snap the contrast and bring the roof down a little bit: notice, we get a lot more detail--it looks pretty good.0931

You can turn the adjustment off; there it was bright; now, it came down, and it looks pretty good.0942

Take this...and we take a look: that is where it was; that is where it is.0947

All right, now the only thing I would like to do is bring up the water; so, once again, I'm going to use this brush, and I'm going to take that down.0952

I want to make a mask...bring this up...and this is very quick; I'm just going to paint over the dark areas that I would like to open up, very quickly.0963

You can see what you are doing, because it puts this overlay on it that you can actually see what is happening and correct; if I make a mistake, like that, all I have to do is paint it away.0979

So, you paint and paint away, and that is it; there we have that; now we're going to go to the selection, invert it so we have that, and now I'm going to make an adjustment of exposure again for just that area.0990

It will be isolated--see up in the little thumbnail?--so now, I want to open it up, so see how we brighten it?--just that right there will brighten it up, snap the contrast just a little bit...and we went from there to there, and everything is bright.1006

Now, the only thing left to do on this image, as far as I can see, is overall saturation, so we're going to make one more adjustment, and this one is going to be for hue saturation; we're going to simply bump the color saturation up, and I will turn that off and on.1022

I'm going to very quickly show you: here is where the image was when we brought it in, and we adjusted this from the original image--it was pretty washed out--and now we have taken it from there to there in very simple steps with a color change, a couple of exposure changes--remember, we talked about corrections--a little bit of retouch, and selections, all right here in Photoshop Elements.1042

Very quickly, very easily, very smoothly--that is how this program works.1077

What I would like to do now is close this lesson; a very important axiom applies, not only here with Photoshop Elements, but in anything you do: If you don't use it, you will lose it.1082

In this case, you study the lessons; practice, practice, practice; don't just do a lesson once and forget about it and come back later, because you won't remember what you have done, and you will have wasted your time.1103

Study the lessons; go over them again if you need to; practice; the files I will work on with you are with each lesson so that you can do that; and continue to use it.1115

Come and join me in a fascinating journey of learning that will dramatically expand your artistic vision and creativity forever with Photoshop Elements 11.1127

Thanks for watching; I will see you in the next lesson!1139

Hi, everybody--Mike Brown back with you again; welcome back to Educator.com's Adobe Photoshop Element Beginning and Intermediate course!0000

In this lesson, we're going to take a good look at the Toolbar, which is probably one of the most important aspects of your workspace, and you will be using tools of all kinds to do all of the work--not all of the work, but a great deal of the work--on your images.0007

We're going to investigate it; I'm going to show you some of the primary tools, how they work; not all of the tools; and I'm going to show you the Tool Options Bin and some very important tool shortcuts for very frequently-used tools that will save you an enormous amount of time.0025

Time is everything, because the more time you have, and the easier it is to work, the more work you can get done, and the more creative the work that you can do.0045

Let's get started in this lesson!0054

First, I would like to pull up the image I have here; this is the Photoshop Elements 10 workspace, and if you happen to be working in Elements 10, I wanted to compare the Toolboxes (the Toolbar--I call it a Toolbox; some people call it a Toolbar--I may switch back and forth).0057

Notice, in 11, the Toolbar or the Toolbox is on the left side of the workspace, and it's a 2-up presentation, and the tools have categories: the View category, the Select category, the Enhance category, Draw, Modify, and Color.0080

There are no new tools in 11 versus Elements 10; they are identically the same; it's only the organization in the Toolbar that is different.0100

Over here, in Elements (I'm going to highlight the same tool) 10, you see this specific tool that I have highlighted right here; it's the Rubber Stamp tool, or the Clone tool.0112

The little white dot indicates, in the submenu in 10--you click and hold on the Toolbar, and you get the fly-out menu; in 11, every time you hit a tool, the Options Bin opens up, and there are your subtools, along with your options in the Bin--a lot easier to find them and switch back and forth--that's what they did...organized it.0130

That is that part of it; I'm going to move up, and for that tool, the options always appeared right above the workspace.0152

They have moved the tool options down into the Tool Bin, as well as the fly-out menus--consolidated them.0162

As you can see, the Toolbar in its single fashion--they have consolidated the tools into usable categories; that is the only difference between 10 and 11.0170

So, everything I talk about here in 11, those of you with 10--no problem; they're just in a little different position, OK?0180

Let's get back to that title.0190

In fact, what I'm going to do is pull up this particular file right here; these are all of the tools in the Toolbox, by name and what they do.0193

The tools that I don't go over in this lesson--you can find them right here.0206

Here, also, is the Toolbox with the name of the tool and the single-key shortcut to activate that tool.0211

For example, look over in the Toolbar right now; the highlighted tool is the Clone tool, which I can tell you is the letter S; and if we go over here to the Clone tool/Rubber Stamp pattern tool, there is the letter S.0219

If I want to highlight the zoom tool, the shortcut is the letter Z, and there is the zoom tool.0233

If I wanted to highlight this tool, the Lasso tool, the shortcut is L; for the brushes, it's B; for the Text tool, it's the letter T; for the Crop tool, it's the letter C.0239

You notice how easy it was for me to do that; you're shifting back and forth, from tool to tool, by knowing the letter on the keyboard, which saves you a lot of time.0251

If I'm working on an image, right over here, with this particular tool, and I need to go to the Zoom tool, and I go over here, and I come back, and I zoom it--I need to zoom up, so I go change it...and I zoom up a couple of times...and now I go back to that tool...every time I did that was a couple of seconds.0261

Knowing the single-key shortcuts for each of the tools, or most of them, will save you an enormous amount of time, and it allows you to focus on what you are doing, rather than having to go and look away and come back.0283

You stay with it; stay in the tools; just very simply hit the shortcuts.0297

Now, this particular file, as well as the tool definitions file, as well as this file here that has some important tools and shortcuts (which I will be showing you)--all of this is available in a downloadable PDF, in the Quick Notes, right under the broadcast window for this lesson.0303

Let's get started with the Toolbar!0325

Up at the top, under the View category, is the Zoom and the Hand tool; the traditional method (hit the Zoom tool; it has the plus sign; you click, it goes up; if you hit the minus button, it goes down) takes too much time; if it's in the plus, hit the Option (or the Alt key, if you're on a PC) and watch the icon: it's a minus; it goes from plus to minus, just using the Option or Alt.0330

There is a shortcut, right there--much better; we're going to deal with zoom tool shortcuts right now: in any tool--you don't ever have to go to the zoom tool at all!0355

We're in the Rubber Stamp tool right now; if I want to zoom up, Command on a Mac/Control on a PC, and the plus sign, zooms up; Command on a Mac/Control on a PC, and the minus sign, zooms down.0366

If I want to fit it to the window: Command on a Mac/Control on a PC, and the number 0, fits it right to the window.0381

There it is: Zoom tool hint #2, right there!0389

The "Click up and down using Option" is Zoom tool #1.0394

Zoom tool shortcut #3: (I'm going to do Command or Control, 0, to fit) In any tool, at any time, if I want to zoom up to just this little section, where the flower is open, hold down Command on a Mac/Control on a PC, and the spacebar: watch the tool--it changes to the Zoom tool; click and drag across the area that you want to see, and it zooms right up to that area.0400

I'll do it with another tool: I'm in the Brush tool, where we're painting around; I want to paint and look right on this area, here; Command or Control and the spacebar; click and drag across that area; and we zoomed right up to it.0429

These are very, very important (I'm going to zoom that out of there).0445

That takes care of the Zoom tool and all of the shortcuts to help you make that Zoom tool work a lot easier; you will never have to click this at all.0451

The next tool over is the Hand tool (we'll go to the tools); the Hand tool moves an entire image.0461

What that means is, if I am fitting the window (I want you to be aware of this), if I'm fitting just exactly in the window (that's Command or Control, 0), the Hand tool doesn't do anything.0470

If it's zoomed smaller than the document window (let's go down one--Command or Control, minus), it still doesn't do anything.0488

Smaller or equal to the document window: you can't move the entire image around.0497

However, if you are magnified at any magnification beyond fitting the window, the Hand tool moves the entire image.0505

So, if you wanted to work on this corner (let's just go to the flower)--if I want to work down here, I'll just magnify it one time; I hit the Hand tool; and I move it over.0517

Now, another shortcut for this tool--very important--you use the Zoom tool and the Hand tool all the time; if I'm zoomed up and want to move around and work on this thing, I'm using the Hand tool.0529

Again, we're in another tool: to get to the Hand tool, simply hold down your spacebar; watch the tool; it's now the Hand tool.0541

I'm back--I'm on this tool; I'm going to go to the Brushes tool; hit the spacebar--I can move my entire image.0551

The Zoom tool and the Hand tool can be accessed very simply: Command+, Command- for the Zoom tool; spacebar for the Hand tool, at any time and with any tool: very important; it will save you a ton of time.0557

Now, let's go with a couple more very important tools: the Move tool--second line down on the left.0573

The shortcut, by the way, for the Zoom tool is the letter Z; for the Hand tool, it's the letter H; for the Move tool, it's the letter V.0581

I was on the Brushes tool (letter B); if I want to move a layer, notice over here on the right, in the panels, I have several layers; this layer is the logo layer--let's say I wanted to move that logo down a little bit in this image.0589

All I have to do is hit the letter V (shortcut for the Move tool); it's highlighted; I close the Options box; we're on a highlighted layer; I move the tool inside of the bounding box, and notice, I have the arrow; click, and--oops!--I got the wrong layer!0609

Click and drag, and it moves the active layer wherever you want it to.0627

I could put it down at the bottom now, and I could take the title, activate that layer, and click and drag and move that layer up.0632

That is the difference between the Hand tool, which moves the whole image, and the Move tool, which move individual layers.0641

Very important--those three tools you're going to use a lot (I'm just backing it up until we get back to where we were).0651

Selection tools: Marquee, Lasso, and the quick-selection Magic Wand and Selection Brush tools--these make selections, and I will just very quickly show you what a selection is.0659

These are all consolidated under the Select menu.0674

The Freehand tool--I just draw a Freehand selection, and if I (well, actually, I need to go--let me change to a real flower) wanted to darken up an area, I just take the Freehand tool.0678

I'm just going to do this really roughly and play with it for a moment.0695

I have made a selection, which allows me to lighten or darken isolated areas--notice, inside it changed; outside it didn't; selections are so vital.0698

Selection tools are here.0712

Enhancement tools are your retouch tools: for example, if I wanted to remove this little dark blotch here on the flower, I can do it two ways.0714

Here are the healing tools: I can use one or the other--I change my brush size, and with a healing tool, all I have to do is paint over, and magically, it disappeared; it's back.0726

With the Rubber Stamp tool, I clone it away; I'll take a different section, and I'll paint over and clone that area away and fix it.0742

That is what those tools do--actually retouching the image.0754

The Sponge tool desaturates parts of an image: notice, as I paint over, it's taking away the color from that section: Command/Control+z, Command/Control+y, and you can see what that is.0758

These are the retouch tools.0772

Drawing tools: I think you have figured out what they do already: they draw!0774

That is the Brush tool; the Eraser tool--what it will do is erase back to transparency; there are other tools that are available in there.0779

The Gradient tool I use a lot: it makes gradients--pretty simple.0791

The other tools in there: the Text tool--you will use that a lot; it allows you to create text.0796

We get down to the modified tools, which allow you to modify an image.0804

In this case, we're going to go with the Crop tool: the shortcut for the Crop tool is the letter C; notice, I have the Crop tool; I crop and change my image into a cropped version.0809

Other tools in here--those are the basic tools within the Toolbar.0823

So, to recap this particular lesson, I'm going to go back to the categories.0828

We took the Zoom tool and the Hand tool and the Move tool--the three most important tools that you use most of the time: Hand tool, Move tool (let me just, very quickly, actually draw it--we're going to make a couple of notes here)...0836

We worked the Hand tool, which moves the entire image; the Move tool moves layers; and there are three shortcuts for the Zoom tool.0851

The Selection brush, which I'm not going to go over right now, and the brushes--there is one more shortcut I want to give you for brushes.0861

For any tool that has a brush--and notice that, as I increase the size of the brush, which I could do right here, the circle got larger; but I don't need to go to the options to change the size of any brush; the right bracket key on your keyboard increases the brush size, and the left bracket key decreases the brush size.0869

Now, this page, as well as the tool definition page, as well as the tools with their single-key shortcuts, will be in a PDF in the Quick Notes for this particular lesson, and probably in a couple more lessons--it's very important that you download these.0895

I cannot stress enough to learn the single-key shortcuts; as you begin to work, make sure that you try to use the shortcuts--it will save you an enormous amount of time, and life is easy.0914

We've gone over the Toolbar, the Tool Options, and some very important tool shortcuts in this lesson; I will see you back in the next lesson!0928

Hi, everyone--Michael Brown back with you; welcome back to Educator.com's Adobe Photoshop Elements Beginning and Intermediate course!0000

In the last couple of lessons, we have been doing a tour of the Elements Editor workspace; we're in the Expert mode, with the Toolbar, the document space, menu bar, Options bar, Taskbar, and panels.0008

In the last couple of lessons, we toured the Toolbar and all of the tools, and we dealt with shortcuts--one- and two-key shortcuts--which save a lot of time, and in the last lesson on shortcuts, you saw a physical example of how much time you can save, just in a short time period working on an image, by using shortcuts, versus going back and forth and opening and closing to access your tools.0021

At the beginning, obviously, you're going to be doing a lot of going back and forth, just because you have to familiarize yourself with where things are.0049

But, if you incorporate those shortcuts, as you move forward, you will be amazed at how easy it will be, and how flawless and also time-saving all of that will be.0058

We went over the Toolbox; in this lesson, we're going to deal with the menu bar and all of the dropdown menus that look rather daunting, but basically, they are pretty easy; and I am going to show you the features, in these menus, that you're going to be using--not every feature.0070

The menu bar and the Options bar--not the Tool Options bar, down here, that has the options for the individual tools--but the Options bar that is right above the Toolbox and the document window and below the menu bar, with the five buttons: Open, Quick, Guided, Expert (which we are in), and Create.0086

Let's get started with the menu and just run right down the list.0107

In a Macintosh only, you will see Adobe Photoshop Elements Editor dropdown, and the only two things you're going to deal with here: this is where the Preferences are on a Mac, and this is where you quit Photoshop Elements, but you should be using the two-key shortcut, shown here, Command/Control+Q.0111

The File menu--what do you think it has to do with?--sure, files--the things you do to a full file.0128

You create a new one, you open an existing one, and (this is a cool feature) "Open recently edited file" keeps track of the latest ten files that you have opened that are either open or closed.0136

This is the last ten, and you will notice that we have (let's go to the Photo Bin) 1, 2, 3, 4, 5 open, and yet, you see ten listed in the dropdown list; it's kind of cool--it saves you a little time--again, we're talking about time-saving, in that you don't necessarily have to go hunt for a current file that you may have just closed.0152

Below that, you can duplicate an existing file, and then...basically, open and duplicate, closing and saving, and printing--that is what we're dealing with.0177

Close one file; close them all; save the file over itself; save as; and save for Web; we'll go into more detail on these as we go on.0188

Save for Web is a very cool feature; it allows you to reduce a file even more in its size--I mean the resolution size--than you would a traditional jpeg, so that it opens rapidly on the Web, yet still looks good, but can't be copied--a very cool feature.0197

Also, there is your Print, and there is another 2-key shortcut: Command/Control+P; also Command/Control+S for Save; and Command/Control+O for Open.0218

Open, close, save, print: things you do to a file.0229

The Edit menu has to do... (let me load a selection of an actual, physical element--the logo of Educator right here) under the Edit menu, you have Undo and Redo (Command/Control+Z, Command/Control+Y), but they are also right down here in the Taskbar, and you know these shortcuts; you're going to use them, so you really don't need that.0235

Revert: I'll tell you what it is, but I don't really think you need to use it.0257

What it will do is take any file and revert it to the original file that you opened when you opened it; in other words, if you worked on a file for a long period of time, and have done a whole lot of moves on it, but you want to go all the way back to the beginning, just use Edit, Revert.0262

But, there is a better way: under the Window dropdown menu, which is the panels, if we go to the History panel (we'll open it up), notice all the things I've done to this particular file; I can go all the way back--do the same thing and go back to the beginning--by simply clicking on that thumbnail.0278

Then, I can also go back down, and I can click where we are or anywhere in between, but with the Revert, you go to the beginning, or you do the Undo and go to the end.0301

I prefer the History for greater control.0313

All right, back to that Edit menu.0316

Cut, Copy, Paste, Paste into, and Delete: the things you do to objects--either an entire file or a selected object.0319

You can also--we have a selection that is active; you can fill it with a color or a pattern or a texture.0328

You can also stroke it--that is the outline which you see, the little crawling ants--we will deal with that in selections--stroke the outline of the selection with color or a pattern.0336

You can make custom brushes and patterns under the Edit menu, and you can deal with your color settings (which, remember, are either from light and color--either sRGB, which is the smaller color space, or Adobe RGB, the larger color space; for output to printing, you would want to be using the RGB; for working on files only going on monitors, you would work in sRGB).0348

So, the Edit menu gives you cuts, copies, pastes, deletes, fills, strokes, new brushes, and color settings--things that you would do to your file.0377

The Image menu is--in my four categories that you saw in the last lesson (where we talked about shortcuts, selections, corrections, retouch, and manipulation), the manipulation tools are under the Image menu.0388

You're going to rotate an image; you're going to crop an image; you're going to transform an image. 0406

By the way, Command/Control+T will transform this layer, right here, of the logo; you grab and distort; you can, with a Control, or right-click on a PC, go askew, which means we can slide it like this, or we can go outside and rotate the image.0411

Let's go back and change and do another one for Free Rotate; and you can rotate; there are all sorts of things that you can do, physically transforming an image.0436

The manipulation tools: Image, Rotate, Transform, Crop, Recompose (allows you to squish an image in a funny, cool way--that's all I'm going to say about it--it's really cool--I'll talk to you), Resizing your image, Image Size and Canvas Size, right here, and changing your color modes from RGB to grayscale to bitmap, 8 bits per channel--there you are.0445

...and, Convert to the other profiles; right now, we're in RGB; I could convert back to sRGB.0470

Basically, they're manipulation tools under the Image menu.0476

Enhance menu: this is where exposure, color, and sharpening are--all of the things that you're going to work on in an image that are not physical pixel manipulations--just the color casts and all that...0481

Enhance Auto; Exposure, Color, and Sharpening are here, as well as your lighting controls; remember, there is Command/Control+L for levels; the most popular one--Color, Hue, and Saturation-- is Command/Control U.0494

Color Casts, Replace Color...all of the things with color...Black and White and Sharpening, as well as creating panoramas, are under here as well, and a couple of other ones that we will talk about.0507

Enhancement to your image is under the Enhance menu.0520

Everything to do with layers, which is what we will deal with in the panels (notice, these are all layers--it's a very, very important feature in Photoshop Elements, in the Expert Mode)--everything to do with layers is under the Layer menu.0524

Selections, which we were talking about (that is what the crawling ants are, and it's the most important technique in Photoshop Elements)--there is everything with selections, right under there.0536

Filters--your filter gallery, and all of the things you can do with filtration, are right here in the gallery--all of the filters.0548

The View menu gives you your shortcuts for the Zoom tool, which we already know; they call it Command=; I call it Command+; it's the same key, + and =; Command-, Command0 (or actual pixels is Command1, but I just use these three).0556

Selection: active or not, showing or not showing the outside line of the selection...the most important thing this is good for, under the View menu (because you're not going to use these; you already know the shortcuts) is rulers, grid, and guides.0574

The hiding selection is useful, but we will talk about that in selections.0591

Rulers, grids, and guides have to do with graphics.0596

Here is a type layer: we're going to show the rulers.0599

First of all, there are your rulers; they show the dimensions of your image, and if you move the cursor, you will notice, right above my cursor point, up there in the 0 to 1, you see a little slider moving?--it's showing you exactly what it is; if you had the info panel open, you could see exactly what number it is.0605

You can also pull guides from here.0626

If you go up into the rulers (it changes to an arrow), and click and drag (and you see the click and drag thing), you can position a guide.0629

We have one too many guides right there, so I'm going to take one of them and get rid of it (all you do is pull it away).0637

Guides allow you to align layers and type in a document.0644

To make them view and go away--notice they're checked right now; they're gone; they come back; they're gone.0649

Rulers, as well--we'll just make the rulers go away.0659

The grid is that red grid that we set up in the preferences, and there you see it--again, this is for graphics; very simple.0661

The Window menu contains all of the panels that are over here, either in the moor or the Layers, Effects, Graphics, and Favorites; all of them are also listed under here.0670

If you wanted History, you can get it this way.0681

If you wanted to get the Info panel, like we were just talking about, there is the Info; let's go back, for fun, into the rulers, and now, as I move laterally across (horizontally), look right here in the inches dimensions.0684

Notice, it is showing me the exact spot that I am at--x and y coordinates.0701

We can get rid of the rulers, and we can also get rid of the info; it's checked; and we got rid of it.0707

That is what that is.0714

The Help menu allows you to access Photoshop Help; if you have questions that you can't answer at a much later time, after you have left Educator--or that I can't answer for you--you can go to the Help menu and try to find it there.0716

A quick recap: File is everything you do with a file, basically--opening, closing, saving, and printing.0730

Edit has Cut, Copy, Paste, Fill, and the color settings.0736

The Image menu has your manipulation tools: Rotate, Transform, Crop, Recompose, and Resize.0742

Enhance has Exposure, Color, and Sharpening.0748

Everything with layers is under the Layers.0751

Selections have everything there under Select.0753

Filters are here; Graphics, View, Guides, Rulers, and Grids, and your panels--everything is in the menu bar.0756

Let's take a quick look, now, at the Options bar--not the Tool Options, but the bar that runs above the Toolbox and document window, and below the menu bar.0765

The Open dropdown (which I don't really find highly useful) shows you all of the open files that you have at the moment, plus any that you have opened and closed (only up to one or two extras) since it has been opened.0777

You can get more of them from Open, Recently Edited; you can get ten here; you only get the open ones, plus one or two, here.0794

Besides, if you want an open file, there it is--"I want this picture" or "I want this..." (you know exactly what it is); that is a lot easier; I'm not sure what the good value of that is.0802

In the center: Quick, Guided, and Expert; let's take a quick look at PSE10; over here, you see Edit, Create, and Share--and, under the Edit tab, Full, Quick, and Guided.0814

Full is the Expert mode; there are the Quick and Guided, under the Edit tab; they have moved those to the center.0829

The Create button has been moved up to the right corner, and the Share button is now in the Organizer.0836

Let's take a really quick look at the Quick Edit.0844

Let's open up an image right here...let's get this one...lots of layers and stuff.0849

Quick Edit...actually, let me open up a different one: let's do the flower, because I don't want to deal with a whole bunch of layers in there.0855

You have view modes; notice, it opened up in Before or After; the default is After only, or Before, or vertical--if you have a vertical image or a horizontal.0865

In this case, we're just going to do side-by-side.0875

You have a limited number of tools; this is one minor selection tool, a type tool, a retouch tool, a cropping tool, your Zoom tool, and a Hand tool--the basic tools that you would use.0879

This one, here, is whitening teeth, and this one here is redeye--simple stuff; and here you have exposure levels (these are your exposure controls), color controls, and Sharpening--the basics, very basics.0892

If you wanted to take an image and do a really quick job to it, we can do Smart Fix, and just automatically...let's see...it's kind of intuitive; I'm just going from panel to panel to see what I like.0907

Or, I can just do the slider and have it do the whole thing, and I do Auto, or that way, and it says, "This is better than that," and it actually looks a little snappier--so you are done; you have completely fixed it, automatically.0921

I'll do Command+Z and get out of there.0937

Or, you can do it on a manual basis--with the sliders or intuitive roll-over-it-and-find-one-that-looks-good-to-you--it might be better than the one you had.0941

You also have more auto controls; we'll go over this in a little more detail, but it gives you the idea.0952

This is literally what it says: it's quick edit.0958

The Guided Edit is even more cool, as far as I'm concerned.0963

You have an image, and what you have here is the ability to do all of these things--exposure, cropping, color, levels, the exposure here, recompose, color casts, straighten, rotate--everything--a wider variety than the Quick.0968

But, there are walk-you-through instructions.0987

For example, if you wanted to remove a color cast, it tells you what to do and gives you the tools to do it.0990

Let's pick another one...Enhance Colors; click the Auto; it tells you what to do, very simply.1001

For all of these options, I find it even better than the Quick Edit, because you still have the control, but what is really nice about Guided Edit is that it has these photo effects--a whole bunch of them.1010

Let's say that you wanted to do something that's very much in vogue today--the lomo camera effect.1021

Let's go to lomo; click the button, and it converts it; click a button again, and you apply a vignette, and you have done it!1027

It's just that quick.1036

Also, we can do high key; once again, we'll do color, and--oh!--that was...this is a high key photo, unquestionably!--wrong photo to use for it.1038

But, it gives you the idea.1053

Line drawing; we'll pencil sketch and cook for a minute, and there is a penciling; adjust the opacity by continuing to click it, and do a levels adjustment on it, and you have kind of a pencil sketch.1054

All these things you can do; plus, a picture stack, pop art, and reflection--fun playthings; so, this is kind of a fun one to play with, and it tells you what to do as you go along.1071

Then, of course, the Expert mode, which is what we have been dealing with, and the Create button to create photo books, greeting cards, calendars, collages, CD jackets...all of these have templates that allow you to bring in images and create text, and create and print out final, cool products.1082

That sums up, pretty much, the Options bar.1101

There is a quick tour of all of the dropdown menus that you are going to be using extensively, as well as the Options bar, and primarily here, we're going to be working with Quick, Guided, or Expert, and most of our instruction will be dealing with Expert, which gives you more precision control that either of the other two.1106

But, for quick fixes or fun edits, Quick and Guided work really well.1124

In the next lesson, we're going to be dealing more with this workspace and the panels, and I will see you back in the next lesson!1129

Hi, everyone--Michael Brown back with you; welcome back to Educator.com's Adobe Photoshop Elements Beginning and Intermediate course!0000

In the last couple of lessons, we have been talking about the Editor, workspace, Toolbar, the menu bar, the Options bar, and all of the various functions--and we will be talking about more of them in the next couple of lessons--that you need to do all of your work.0008

But, as we have been moving along, you hear me talking about the value of shortcuts.0024

In this lesson, I'm going to take the time to go over the value of using shortcuts--both 1- and 2-key shortcuts--and the real importance of learning them, and I'm going to show you a specific example, using this image, where I'm going to retouch it twice.0029

I'm going to do it once without using shortcuts, and I'm going to do the same, exact thing a second time, using shortcuts, and you will be able to see exactly how much time we can save using shortcuts.0048

That will really show you the value of them, all right?0061

Let's get started; I want to talk about the basic categories and essential shortcuts.0064

I have broken Photoshop Elements down into four simple categories that really sum up everything you are going to use for your work, with the exception of layers and a couple of other things; but most of the work is right here.0072

In this chart, the red dots indicate a tool, adjustment, or panel that has a 1- or 2-key shortcut for it.0087

The four categories--the most important one is selections; selections are isolating areas so that you can do something to that area or protect another area from having something done to it.0098

These are all of the tools, right here, that you use to do the selections; the red dot indicates that that tool can be accessed by using a shortcut--every single one, with the exception of one.0111

Under the corrections (corrections are exposure, color, and sharpening), the primary exposure control is your levels panel; it can be accessed by using a shortcut.0126

The primary color control panel is hue saturation, and it, too, can be accessed by using a shortcut.0141

Your retouching category is where you are actually removing blemishes from, not necessarily people, but from the images, or imperfections, and cloning things in and creating stuff with tools that manipulate the pixels.0149

The two tools that you use are the Rubber Stamp tool and the Healing Brush, both of which have shortcuts.0164

The manipulation category is where you are cropping, rotating, sizing an image, altering or manipulating, and distorting sections of an image.0173

The primary controls for that are the Transform tools and the Crop tool, and once again, they also have shortcuts.0182

So, you can see that the most commonly-used tools and panels and menus have either 1-key or 2-key shortcuts to access them.0191

In other words, it takes less time--not using them, but getting to them.0203

Of course--we went over this earlier--the Hand tool, the Move tool, and the Zoom tool with their shortcuts; the Selection brush we talked about up here--and the Brushes.0209

Again, almost all of these red-dotted features are your principal features that you use all the time, and they can all be accessed by using a 1- or 2- key shortcut.0222

Each one, and each time you access one, saves you time, and the more time you save, the more time you have to work and improve the images that you are working on, or graphics.0236

All right, let's take a look back, again, at the single-key shortcuts for the Toolbar.0248

What I have done here on the chart is put a blue circle around the tools that you most frequently use; if you notice, it's about half of the letters that are associated.0256

So, if you learn these 14 tools, you have almost everything that you will be needing for a 1-key shortcut.0267

Here are your 2-key shortcuts; and it shouldn't be intimidating, because on a PC, it's the Control key plus a letter; on a Mac, it's the Command key plus a letter; so, all you have to do is associate the letter with a function, and it's Command or Control plus the letter--very simple.0275

What I have done on this chart is highlighted in red the most frequently-used shortcuts, so if you remember those, once again, you will have all of the shortcuts, 1- and 2-key.0295

And I want to show you: you know that they are all on the Toolbar; we went over the menu bar in the last lesson; but I want to show you, very quickly: under the File menu, there are 1, 2, 3, 4 shortcuts that are two keys, right there.0307

Under the Edit menu, there are 1, 2, 3, 4, 5--under the Edit menu; under the Image, under Transform (that is the popularly-used tool, right there); under the Enhance menu, there is one right there; and I think that there is another one--there is another one there; there is 2; there is 3, right there; under the Layers menu (let's see, Adjustment Layers...there is another one...oh, there it is, Command+E or Control+E, Control+G) there are 2 there.0324

The Selection menu has two of them; the Filter menu has one; the View menu has 1, 2, 3 right there, and even the arrangement for windows has a shortcut.0355

These are things that you use all of the time, so it's very, very valuable to learn them.0369

Now, you have heard me talk, and you say, "Show me!"; OK, I'm going to show you.0373

Here is an image right here; I'm going to discard these two layers, and I'm going to create two more layers.0381

What I want to do is take this image, and we're going to retouch it; we're going to (and I'll show you exactly what we're going to use) use the Zoom tool and the Hand tool to zoom up and move in and get this isolated.0388

I'm going to take the lasso tool and make a selection around this so that we don't retouch into the building; it protects the edge.0401

I'm going to be using this tool to do the retouch; then, we're going to deselect it and bring it back down to size.0410

I'm going to do that twice: once without shortcuts (and we're going to time it) and once with shortcuts, and we're going to time that, and we're going to compare the two and show you how much time you can actually save!0417

Let's get to it; I have about 15 seconds here; I'm going to set the tools properly; we have that one; I want this one on that; the Brush down to 0; I want this one right there, and the Brush is 0; I'm going to be in the Brushes; here we go; 2-1...0429

We're going to do this one without shortcuts.0444

Zoom tool--zooming up to 200%; the Hand tool to move it down so I get it in position; I'm going to take the Selection tool, the lasso, and use this one here to put a quick selection and protect the building from the retouch work.0448

I'm going to get the retouch tool and increase the brush size to a usable size, right here; and then, I'm going to retouch out the tower and the antennas.0465

I'll do this very quickly, and then I'm going to deselect, and then I'm going to go back to the Zoom tool and fit the screen0485

We started at one minute, and it took 49 seconds to do that entire job.0492

What we're going to do...I'm going to call this Without Shortcuts so we can have that; I'm going to make a text layer, and I'm going to say, "Without Shortcuts was" what--45 or 46 seconds?--"46 seconds."0498

I'm going to apply that, and I'm going to take these two layers (wait, make sure that is the right one--yes), and we're going to combine those, so that is in there, and now it says, "Without shortcuts, 46 seconds."0526

OK, move that down; move the other one up; I'm going to call this "With Shortcuts," and we're getting close.0541

I want to reset my tools; there, this one down here, Zoom tool over there...all right; 6 seconds; we're ready to go; 4-3-2-1, Go!0550

This is all shortcuts; Hand tool brings it down; all I have to do now is take the lasso tool, and I'm going to make that selection again and get my healing brush and get that out of here, and just make the brush size come up, and do the retouch work.0564

Deselect it, and bring it back down; and we are at 33 seconds.0594

So, that took 33 seconds with shortcuts; "With Shortcuts, 33 seconds" to do exactly the same thing.0600

We're going to combine those two, and there they are.0615

So, with the shortcuts, it was 33 seconds; without the shortcuts, it was 46 seconds; you can see right there, we saved approximately 33%; one-third of the time that it took to do it is extra time.0620

Out of 46 seconds, we gained 15; that extra 15 seconds piles up; that was 15 seconds in less than a minute!0638

So, if you imagine working on your image for an hour or two--you may not save that much on each move, but it's going to pile up and give you lots and lots of time.0648

What that proved is that, in the end, you can save a lot of time by using 1- or 2-key shortcuts.0658

Now, these three charts will be available underneath this lesson, in the Quick Notes, as a PDF, and it will also be in almost every lesson in this course, because I feel that they are so valuable.0672

Once again, you can see: without shortcuts, it took 46 seconds, and with the shortcuts, it took 33 seconds; so, we saved 33% of the time; that is extra time to work.0689

This proves to you the value and the time that you're going to save in using 1- or 2-key shortcuts.0705

Learn them as we go along, and I will see you back in the next lesson!0712

Hi, everyone--Michael Brown back with you; welcome back to Educator.com's Adobe Photoshop Elements Beginning and Intermediate course!0000

In this lesson, we're going to discuss image sharpening--a very important feature.0007

We have exposure, color, and sharpening; this is the sharpness and how crisp your image looks.0012

We're going to talk about what it is, why you need it, and how to apply it.0020

I'm going to try to simplify it, but it's a little complicated.0025

Let's get started!0028

The first question: What is sharpening?0030

Sharpening is increasing the contrast between lighter and darker pixels, which increases edge definition.0033

Darker gets darker; lighter gets lighter; you see the contrast.0042

Let me show you an example of that: we're going to zoom up this image here (I just want to double-check where we are), and (let me do that...rename, rename, rename) OK.0046

Here is an image I took of a landscape--we're going to zoom it way up and look at the pixels.0063

The area that I want to look at is right in here: you see that the tree looks rather soft; you can't see much detail in there--it's just a little blurry, or it appears to be, at this magnification.0070

Let's go even higher: we're at 600%; let's go to 700%.0083

You can begin to see pixels, but they are not very distinct.0087

So, what we're going to do first is apply Auto Sharpen (under the Enhance menu, Auto Sharpen); this is a fixed amount of sharpening; that is it; you do it or you don't.0092

You put it in, and immediately (zoom it up one time)...I'm going to do an Undo; that is where we were; and that is where we are.0104

You can begin to see detail popping out of the image.0113

We're going to apply it a second time: now, you see...I'm going to undo it twice...there is where we started; there is the first time, and the second time; and look at the increase in edge sharpness.0118

You can see it, really, right in here; and if we zoom back out, we look at our image now (we'll do it just one more time...there we are); let's go out twice, and you can see it looks a little soft; look in the trees over there.0134

We put it back in twice, and that should be (oops, I went too far)...there it is, and there it isn't.0149

It is; and it isn't; and you can see that a lot of detail has come in as we applied the sharpening, due to the fact of the contrast of the pixels.0160

That is Auto Sharpen.0175

Now, you say, "OK, you put it in twice; when should I use it, and how much should I sharpen?"0177

A couple of things that you want to do, if you're being precise (if you're just taking a generalized image, and you're working in Quick or Guided Editor, put a little bit of Sharpening in until the image looks a little crisp, and let it go at that): if you're working in Expert Editor, as we are right here, and we're doing really high-quality work, you want to be very careful how you do this.0187

The first thing is that you want to look at your image to see if it's noisy.0208

Let's say, for example, that you took a picture at night or late afternoon, in a dark area, and you upped the ISO rating on the camera very high; you're going to get a very noisy image.0212

Since sharpening increases the contrast between lighter and darker pixels, if there is noise in your image when you sharpen it, the noise is going to show more.0224

So, the first thing you want to do (and you can do this in the Camera Raw, or you can do it right here) is noise reduction, if you have any noise.0236

You go to the Filter menu (let's go to this image here): Filter, Noise, Reduce Noise, and you're going to have to play with it; the more...I'm going to do this a lot just to show you--I'm going to put a lot of reduction in, and no detail, and look what happened--the image got far worse than when it started!0247

That is because, as you reduce the noise, you also soften the existing pixels; so what you have to do is play with the sliders, and usually somewhere in this range will do it.0271

You maintain the details; you watch your image as you play with the sliders, to keep as much detail as you can.0285

In this case, we don't need it on this image--there was no noise.0293

You take the noise out; that gets rid of excess pixels, so do that first.0296

Then, sharpen your image when you first open it--take the image, such as I did here (and I have duplicated...these are all the same original layer; now we have the Auto Sharpen that has been added, but it's the original layer); duplicate it one time, because you sharpen on that layer, and you still have the original below it.0303

Turn this one off; go down to that one; and go back.0327

Sharpen first; that way, if you do any retouching, you will not smear the original soft pixels.0330

What I'm talking about is this (let's move it back up): notice the softness of the unsharpened image, versus the sharpened--look, this was the Auto-Sharpened; see the pixels?--They're crisper.0337

So, if we do retouch work, it's not going to smear them as much as if we tried to do on an unsharpened image.0353

Therefore, sharpen an image first: that way, if you do any retouching, it will not smear the soft pixels and cause degradation to the image quality--because we want to maintain the quality from start to finish.0362

Remember: Garbage in, garbage out.0374

Then comes the third key: do not over-sharpen; you can always add more later.0376

Too much sharpening will add noise and cause light halos along the edges.0383

Let's go back and take a look at this Auto Sharpen layer.0388

Remember, we applied it twice; and we're going to come up another notch, and we're going to hit it again with Auto Sharpen--a third time.0395

You can begin to see that the pixels are looking what I call "harsh," because you can see the pixels, and they are getting really vibrant, almost too vibrant.0408

You can see it right here, and what we are picking up (I hope you can see this) is two things (I keep zooming to find a spot): we're beginning to get this kind of blue edge between the sky and the darkness: that is called haloing.0422

I'm going to apply it another time, and now you can really see how harsh the pixels are looking; even when we get down here, it's kind of too bright, and "brittle" is the word that I think; the detail is overdone, and you can see that blue edge running around there.0435

We're going to go to the History panel: notice, we have added it four times; we'll come back two; go back to zero; one, two, three is getting a little harsh, and I'm also beginning to notice that I'm picking up noise in the sky.0454

We're going to balance it out (this is why you play with it): we're going to hit the Auto sharpness just twice, and that is as far as we're going to go.0471

That goes back to what I was talking about: don't over-sharpen it; just get enough; you don't want to degrade the image--don't want to get it too harsh, and don't want to get the halos.0480

You can always come back at the end and add a little more sharpening if you think it's too soft, but always sharpen at the beginning so that you don't degrade.0492

All right, so that gives you a basic idea of what to do: just follow (I'm just going to go ahead and turn that layer off) this advice in the opening here.0500

Now, we're going to take a look at (let's go ahead and delete all of that--oops, wrong thing got deleted--we'll delete that) the sharpening methods.0511

We're back, and we have the Auto Sharpen; you have already seen that, and it works OK--not too bad.0524

There is a little bit of noise in the sky, but it did a decent job with two hits.0531

Now, we're going to look at the Adjust Sharpen, under the Enhance menu: Adjust Sharpness.0535

This is pretty good, but it takes more time, and I don't think you want to waste time.0545

Here we have an unsharpened image sitting right in front of us, and we have two sliders (let's go right down to 0 here): we have the amount slider--that is the amount of sharpening--now you have an adjustment; you can do more or less, whereas the Auto Sharpen was just a fixed amount.0552

Then, we have the radius, and the radius is the distance, from a specific pixel out, that the effect applies.0571

In other words, right now, there is no effect at all--if I slap in a lot of sharpening, you don't see any change, because there is no distance at all.0582

As I increase the radius to about 1 and release, you will begin to see how much sharpening is already in, and you notice, over in the original picture, that it is almost over-sharpened, because we have haloing, and I'm beginning to see noise in the sky.0592

I hope you can see that--let me come up one more time--twice more, and move it over a little bit--see the blue edge, and see a little noise in the sky?0614

I'll turn off the preview; it takes a minute to calculate; and there, you have the original; and we'll show you what it looks like when it's sharpened--it's calculating for a while, and it will kick in.0624

And you see noise, so we have too much; so let's bring that down to about 80 and let it recalculate.0635

It should get it right here in a moment; we'll turn it off for the preview and get back to our original no-sharpening; it's still thinking; and we'll turn it back on.0646

This is not too bad; we have a little bit of haloing; take the radius and the amount down, even a little further; down to 70--now it looks pretty good; we'll go ahead and say OK.0662

You play around with it, and you come up with this; so now, let's compare the two.0677

We'll turn on the Auto Sharpen; we got a little more sharpening there than we did in the adjustment; we could have played with that a little bit more, but it still looks pretty good.0682

But, that took more time, obviously--the Auto Sharpen was easier.0692

Let's now take a look at Unsharp Mask.0696

Unsharp Mask is fairly similar--it has the two sliders and a threshold.0700

The threshold is the difference in intensity between adjacent pixels; with no threshold at all, every single pixel will be affected in your image; as you move it up, the lesser contrasts will begin to be unaffected.0705

We're going to leave that alone; I always do; we're going to put in a radius of approximately one and a half, and we'll match up that 83 that we did with the Adjust Sharpening.0727

This time, we'll click OK.0741

Again, it's a similar type; we'll turn on the other one, and turn off; it's almost the same; I like Unsharp Mask--it's a little bit quicker; the calculations work faster.0743

It's my favorite at the moment: Auto Sharpen is pretty good; look at the difference between the two--not too much; Adjust Sharpening took a little too long.0754

Unsharp Mask and Auto Sharpen work pretty well and pretty quickly.0763

But, I'm going to show you my favorite method, and that is called the High Pass Filter method.0767

What you do is this: you duplicate your layer twice; the second layer, you make in overlay blend mode (and we'll turn this off), and what you see is that it makes the image look very contrast-y.0776

Anything brighter than neutral gray gets really bright; anything darker gets really dark.0795

It basically increased the contrast, but it blocks up the shadows and blocks up the highlights.0799

We're going to go to the Filter menu, Other, High Pass.0804

The High Pass filter just looks for edges; basically, it's neutral gray, which means, if you have the layer with the overlay in contrasting mode, on neutral gray, there is nothing brighter and nothing darker, so nothing happens.0810

That is why you see the image looking the same in the window.0825

If we up the radius, it just looks for edges, so as we pull it up, you begin to see the tree.0830

We'll go right over here and begin to see the trees; if you go too far, you begin to see color, and you see all of that blue haloing, so you want to come down until you see the trees, somewhere between 2 and 5, and not a lot of haloing.0838

What I want to show you is that, in the open areas, it's still gray.0853

In the blend mode, there will be no effect at all in the open areas; it will only affect what you see.0858

Let's just go ahead and drop that down to about 2, click OK, and there is the High Pass sharpening.0868

Now, there is nothing in the sky; if I turn on the Auto Sharpen and zoom up, I don't know if you can see it on your screen, but I can see some noise, and there is no noise from the High Pass.0876

We'll zoom it out and compare the sharpness; we're a little bit sharper with the Auto Sharpen, but we can increase the sharpening of the High Pass filter by doubling the amount, simply by duplicating the layer (Command+J).0889

It doubled the sharpening; now, you see how sharp things are, with very little change in the sky, and look: much sharper, but no harshness (what did I just do?...) in the pixels.0907

Notice how nicely that did--and put nothing in the sky; look at the difference--it's even better than the Auto Sharpen.0925

There you have it, and the final thing that you want to do: you have these two layers that look gray; you want to do Command on a Mac/Control on a PC, click...0933

Oh, and by the way, if the second layer is too much...let's go ahead and have a third layer--Command+J...now it's too much; I can back down the opacity of that layer to maybe 20%, and now we'll look, and look at the amount of sharpening--it's wonderful--and still no effect on the sky.0941

So, we did one time, we did it twice, we did it two times plus 20%; you have infinite adjustment by adjusting the opacity of the layer or duplicating.0961

So, we do Command on a Mac/Control on a PC, highlight all three, plus the layer below, and do Merge Layers, and we'll call that High Pass.0971

And now...we didn't really like the Adjust Sharpening that much--it took too much time; we'll dump that one.0985

It's either Auto Sharpen (you can see that the High Pass does a better job already) or it's Unsharp Mask, and again, the High Pass filter is much better.0992

Look at the difference between this image and the original image--phenomenal!--and look up here in the grass...watch this: there, the grass is sharpened up, and it's less in the Auto Sharpen or the Unsharp Mask, but not bad.1005

There are your three primary methods that I consider for sharpening, and I will give them my ratings: The Auto Sharpening I would call a 1 1/2; the Adjust Sharpening takes too much time, and doesn't do any better; Unsharp Mask with a 2; and the High Pass filter--I would give it a 3.1027

So, if you want to do it quickly, use Auto Sharpening; if you want to do it a little bit better, do Unsharp Mask; but if you really want to do a great job, follow the High Pass filter method.1054

I will put up another little video following this, just demonstrating the High Pass filter on a subject for you.1065

That is the discussion of image sharpening: what, why, and how--what it is, when and how much to sharpen.1073

Follow the instructions here, and all four sharpening methods--three of them are under the Enhance menu (Auto Sharpen, Unsharp Mask, and Adjust Sharpness); the fourth one is the High Pass filter.1081

I will see you back in the next lesson!1094

Hi, everyone--Michael Brown back with you; welcome back to Educator.com's Adobe Photoshop Elements Beginning and Intermediate course!0000

In the past few lessons, we have been taking a very close look at the Editor workspace.0007

We have looked at the Toolbox and all of the individual tools and options--the Options Bin.0011

We have looked at the menu bar and all of the dropdown menus; we've looked at the Options bar with all of the buttons across the top.0017

The remaining two items are the Taskbar across the bottom and the Panel Bin at the right.0024

The Panel Bin is extremely powerful, equally as powerful as, if not more so than, the tools or the menus.0030

All of your work is going to be done with the Toolbox, the various items under dropdown menus, and working in layers--layers just add so much power to the functionality of Photoshop Elements.0038

Just for example, the Title box right here: I can take the logo and just move an individual layer and reassign--let's say I wanted to move it down here, and I wanted to move the title up to the top, and then put this in below it instead, and just redesign the whole thing.0053

I can undo both of those...that is one of the things that you can do with layers.0073

You can turn layers on and off: I have a blank layer at the top, where I'm going to be drawing stuff, and we can always turn it off and turn it on; we can also delete the items off of it--enormous functionality in layers.0079

But, I get ahead of myself--sorry about that.0093

In this lesson, we're going to take a look at the Taskbar, the Photo Bin, and the Panel Bin.0096

That will wrap up everything in the workspace, so we can get on with images.0102

Let's get started with the Taskbar and the Photo Bin at the same time (actually, let me get those squiggles off; they look a little unsightly), and we'll just go ahead and start over.0107

The Taskbar and the Photo Bin: down across the bottom of the workspace, you see a series of buttons; this is called the Taskbar.0120

In earlier versions of Photoshop Elements (this is Elements 10 workspace), there is a Photo Bin; it's called the Project Bin; there is no Taskbar.0129

Now, let's go ahead and go back to the Title, and let's start from the left and work our way across.0141

The Photo Bin: if you click the button, up pops the Photo Bin (it was called the Project Bin in Photoshop Elements 10).0147

You see it right down there; it's open (now, it's called the Photo Bin); and all of your open files are running right here; if there are more open files that are shown than can fit in this line, it will make a second or third row with an adjustment bar on the right.0159

There you have it: you have the option to close it with the downward-facing arrow at the far right of the bin, and you can always open and close simply by hitting the Photo Bin button.0184

You also have a little list menu that has a "Show Grid" check mark; when I uncheck it, you will notice (it's hard to see, maybe, on your screen), between the thumbnails: there are no lines or separations; if you check the Show Grid, you get the little lines that separate them into individuals--I kind of like that option.0197

At the upper left of the Photo Bin, right now, it says "Show Open Files" and the arrow--a dropdown menu--this is very cool.0216

Here are all of your albums in the Organizer: for example, if I want to see my Red Flowers album, there they are, and here is the scrollbar to see all of the images in the Red Flowers album.0225

We'll go back to Open Files, and you can open directly; so it kind of lets you access the most frequently-used photos that you made into albums, that are in Organizer, without even having to leave the Editor--very cool.0239

That takes care of the Photo Bin.0254

The next one would be the Tool Options Bin, and you have seen that one already in conjunction with the Toolbox.0257

You open it and close it, and every time you hit a tool, the options change.0264

In the earlier Photoshop Elements, the options were right here, right above the document workspace and above the Toolbar, and (I have to be honest with you) I'm not really happy with this little button; it looks cool; they consolidated the tools into various categories--that is a nice idea to make it simpler; but, every time I hit a tool, the bin pops open, and I have lost some of my workspace, and I have to close it to get back to the document workspace again.0269

Open, close--and every time I hit a tool, it does the same thing again; it takes a little bit of extra time, and it just basically irritates me; I don't know about you.0300

Anyway--not a big deal, but it's there; you can go to the dropdown menu, and you notice "Autoshow Tool Options" is checked; if I uncheck it, when I go from tool to tool, the Options Bin no longer opens.0310

But now, if I want to change something, I have to manually open it, do the change, and manually close it; I end up doing the same thing, anyway, so you might as well just leave that thing checked and put up with the fact that it's going to pop up and pop down.0331

I think they could have done better--they should have left them across the top, as far as I'm concerned; no big deal.0345

The Undo and Redo buttons are over here, as well, but I have already taught you your shortcuts; they're Command/Control+Z to undo, and Command/Control (I hear you!)+Y to redo--absolutely; they are under the Edit menu, in case you forget.0351

They are also here, if you want to use them manually.0368

Then comes another little one that I scratch my head--"Why did Adobe do this?"--we have a Rotate button to the left; that is kind of cool.0372

But, it would be nice to have a Rotate button to the right...well, it's here, but you have to go find it under this little Arrow menu, and go back to the right, and then, if you click again, it goes away.0381

With all of this extra space sitting right here--you put an Undo and a Redo--why didn't you put a Rotate Left and a Rotate Right instead of having to play this little game here and go chase it--not very intelligent.0392

Then, there is a Layout button that gives you all of these options for viewing all of the items that you have here in different situations; here is your Float All in Windows; but it doesn't have them; we go back to the default, and it puts them back into the tabs.0405

That is kind of cool, because I do use Float All in Windows and go back and forth between these two; let's say I wanted to take a layer and move it to another file, or see two other files, and then I wanted to go back; it's just as easy to go back to the default this way; that works.0422

And then, we have your Organizer button.0444

So, it's pretty cool; they could have done better with the Tool Options and the Rotate button, but you're going to use some of these, anyway.0446

OK, that takes care of the Taskbar and the Photo Bin; all of these buttons on the right are in the Taskbar, but they are under my titling of panels--they all have to do with the Panels Bin.0452

In the workspace for Elements 10 and earlier, these are all of your panels; all of your panels, by the way, are always accessible under the Window menu; there they are--all of them; any highlighted and visible panel (such as, you see, "Layers" here) is check marked; if I want to see my History panel, I just go ahead, and there it pops up from the More button, where there are more panels.0468

Let's start at the left: the layers are open; you can actually close them, if you want; I don't suggest that, because I use them all of the time.0493

I'm in and out and working in the Toolbox and the panels, right and left, all the time, and I use the shortcuts for pretty much everything that is up here.0504

Sometimes, I have to go up there; but I want the panels right where I can see them.0515

All right: the next one is the Effects panel, and I'm going to pop open this image, right here, and we're going to hit the Effects panel.0519

Under the Effects panel, there is a great deal of filters--not every filter that you have; you have more filters under the Filter menu itself--but these are frequently-used ones that you use a lot, and they are really easy to use.0529

It's just a one-button click to apply it.0545

Let's go find...I don't know what this is; it's a custom filter, whatever it is; we'll hit it; it didn't do much--and undo it; let's try this one; oh, I see why it's not doing it to the image; we're on a different layer!--we're on the background layer.0547

Over to the Effects; now we can hit it!--and you notice that it changed it.0563

So, you have all of these filters that you can apply, just simply by clicking, and you can apply them more each time (wow, that's kind of cool!) you click it.0568

They are there, under the filters, and there is a whole host of them right here.0578

Styles, underneath the Effects--these are your commonly-used styles: for example, the Layers menu--you see the image of the car is floating above the background; I could put a drop shadow on it by just clicking on Drop Shadow.0584

There it is; but that is not all.0602

If you go to the right, you see the gear; I click the gear, and I can adjust the lighting direction; I can adjust the size; I can make all sorts of adjustments to the effect that I just put in.0604

Notice, I have increased the size and dimension of the drop shadow; so that is what that is for.0619

Under the Filter menu, by the way, they are also still there; let's just play with that bas relief again, and click that, and it's back to the same one.0628

OK, it's only giving you the same one for the styles; I didn't realize that one myself.0637

Styles is the gear; filters--even though the gear is still there, it will be just adding a style to that.0643

Then you have the Effects menu, which are one-button for all sorts of stuff--we have faded photos, frames, monotones, colors, old photo, vintage photo...0650

Let's try Vintage Photo; that has to be somewhere, and you also can just hover over.0661

Here is an old photo; let's double-click; and that came up kind of cool, didn't it?--that's really nice!--wow, look at that--I like it!0668

And we'll just undo (Command/Control+Z); so you have all of these effects, styles, and filters, along with the gears that will give you the style settings.0676

For the drop shadows: glows, bevels, strokes, and drop shadows and lighting angle...0689

All right, that takes care of the Effects panel.0694

The Graphics panel has a gazillion (I'm going to show--I think they are all there; Show All Graphics) things that you can apply graphically; there are actually more than that--oh, OK--I want to Show All--and there is everything!0698

These are--when you are making graphic designs or scrapbooking, there are textures and backgrounds and colors and patterns and items--little embellishments that you can add to your things.0718

There are also type embellishments; there are frameworks...all sorts of stuff; photo corners; basically, this is kind of for scrapbooking kind of stuff.0733

When we get down here, these are also embellishments that you use in standard graphic design, as well, but most of it is for the kind of scrapbooking and cool stuff--a lot of cool stuff in there, though!0742

That is your Graphics panel.0754

The Favorites panel: if you have favorites that you use a lot--filters, in other words--you can drag them off into this panel, and it will add it as a favorite.0756

Let's try one; I'm going to go ahead and take the (let's see...style...effect...where was the old one?) and drag it down and see if I can do this--drop it on the Favorites--no, it's not going to do it.0764

There is another way to do that; I'll talk about that when we get to this panel in detail.0782

OK, so you have your Layers panel, Effects panel, Graphics, and Favorites; and by the way, if you click them a second time, they will always close.0786

All right, that takes care of the four basic ones; under the More button, we have more panels: Info, Navigation, History, Color Swatches, Histogram, and Actions.0795

To make any of these panels (you can move them around wherever you want) longer, pull; shorter--it will go all the way up to where the list is.0807

All right, to make them close, either hit the X or simply hit the More button again; and again, all of the panels are under here.0818

Now, I'm going to show you the last thing here--how to customize and arrange the panels the way you would like them for your work.0827

Me--I love the Layers panel; I use that all the time; but under the More, if you look at the little dropdown arrow to the right, here are the panels that are in the More button.0836

When we click it up, there are 1, 2, 3, 4, 5, 6; and we'll close it, and they're also right there; Custom Workspace will take all of the buttons except the More button and put them in a tab line across the top (just like in Photoshop Elements 10).0849

I use layers; I use effects; I don't use the graphics very often, so I'm just going to close it up by pulling it out and grabbing the tab; I'll close it up with the X, and that takes care of that.0865

The Favorites--I don't use that very often, either--I can also close it by going to the Window menu and hitting it.0878

Now that is closed; I have Layers and Effects together; I'm going to open up the More.0884

I use the Info panel; I'm going to grab it by its tab and drag it out; I also use the History panel, and I don't use the rest of them, so I will take the History panel (first, I'm going to close these by--oops, I didn't want it to go there--stop; close it; close up the rest of them), and I have the History and Info.0890

Now, I could put them in a group with the Layers and Effects by simply grabbing it by its title bar, above the very top bar, and dragging it into the window until you see--if I go and put, until I see a line to the left; see the blue line on the left?--it will put it to the left.0911

That really doesn't work, so we'll take it away.0930

I want to put it in line with the others: I move inside, move up, and you see a blue bounding box all the way around the Panel Bin (anyway, there it is; I hope you can see it); I let go, and now it's tabbed up with the other panels--Layers, History, and Effects are together.0933

But, I can do something else here: I can take my Info panel, and I can pull it down to the very bottom until I see a line down there.0951

You see the blue line?--I release, and now it's below the other ones.0960

I think I'll take the Effects and move that down with the Info; there is the bounding box for the second part, and now I have a different setup.0964

There they are, all ready to go.0976

I can also hit the More, and the rest of them come out; this custom workspace will stay until I decide to take it away by going back to the basic workspace.0980

It won't go back and (let me see if Command+Z would put it back--it won't--it only works on the image)--I would have to re-create that.0992

But, that is how you arrange it for a custom workspace.0998

So, we have taken a look at the Taskbar, at the Photo Bin, at the Panels Bin, basic and custom workspaces, and arranging and sizing panels.1003

That takes care of all of the items inside the Editor workspace.1014

Starting with the next lesson, we're going to get down to working on images in Photoshop Elements Editor.1019

I will see you back in the next lesson!1025

Hi, everybody--Mike Brown back again; welcome back to Educator.com's Adobe Photoshop Elements Beginning and Intermediate course!0000

We have dealt with bridges to get the images ready to work on; we have looked at the entire workspace (in detail) of the Expert mode; we have talked about sharpening; now, it's time to get working on images!0006

In this lesson, we're going to do easy image enhancement with the Quick Edit mode and the Guided Edit mode.0018

Three modes are up here: we're in the Expert mode right now; let's take a look at Quick Edit.0026

Open up the Photo Bin; we'll pick this picture to work on; and we have options for view: Before, After, Before and After, Horizontal, or Vertical.0031

I like it this way--horizontally.0041

A limited Toolbox: Zoom tool, Hand tool, a selection tool (which we will use in a moment), Redeye to fix red eye in flash shots, Teeth whitener (just brush it over and it takes the yellow away, just like your toothpaste); Text if you want to add text; Spot Healing, and Cropping: basics.0045

On this side, we have sharpening, color, two color controls, two exposure controls, and smart overall fix that does everything.0063

Remember, sharpening first; exposure second, because exposure affects color: you will notice, with a stop sign at noon, it's very bright red; as the day goes on, and it gets darker, the color changes; that is because the exposure is going down.0074

So, you want to make exposure changes first, because, if you do the color first, then change the exposure, the color will change, and you'll have to do it again.0088

Exposure first, color second (of course, sharpening first, exposure second, color third).0097

Let's take a look at sharpening; and this is the way everything is in Quick mode--you have a slider; you also have...the curved arrow is the starting point; the blue bounding box is the level of whatever you're selecting when you click on it.0102

The white is just hovering, and you notice that the slider moves--so, if I move the slider back to here, that is just putting a little bit in.0118

I know that this image doesn't need sharpening, so we're just going to go ahead and leave it at 0, and we will start with exposure.0126

What I'm going to do is take the levels--we'll start with the shadows, and we'll just hover; and you notice, it's opening up the shadows a little bit or a little bit more...I kind of like that--I'll take the mid-tones.0134

Let's go back to those shadows and make sure it was there; that is where I wanted it; mid-tones--you want to bring the mid-tones down a little bit--there we go.0150

The highlights--we're just fine on the highlights; so you can see, before and after, it's more vibrant; so we'll just go ahead and take that.0162

I'm going to go hit the exposure right now and just darken it, just...maybe pop it...there we go; a little more exposure...right there.0170

Take that; click; we have it; and you can always revert by doing this back to the very beginning, as they are adding up, step by step.0181

Now, we're going to go to the color balance, and instead of saturation, which is just going to overkill everything (we'll just do that at 0), we're going to go to Vibrance, and just up the vibrance a little bit--that looks pretty good.0190

We did--no sharpening necessary--we did exposure, color--and there it is; we have gone from there to there that quickly!0206

Let me show you one more image--a very quick job on it; we're going to take this flower image, and I want to select everything in the image except the flower.0214

We're going to take our Quick Selection tool, get the brush size up a little bit, and select around; don't touch the flower; we're going around the background.0224

Notice how easily and quickly that tool is selecting; it got the entire flower, just about; we'll come up and add a little bit, take the brush size down, and add this little piece in.0236

There we have that; we'll go to the Refine Edge dialogue box; it should (let me see why it's not)...that's all right; we'll leave that alone.0250

We have our selection of the outside; now, we're going to go to the levels, and we're going to take the shadows and open up the shadows a little bit; take the mid-tones and bring them down just a little bit...0259

Look at that--it adjusted that really nicely; we'll accept that.0278

Go to the exposure; do just a little bit of work on it, like that; that's fine. 0285

Now we'll go to the color, hit that Vibrance again, and run up the Vibrance on the green, and take that, and that is all there was to it!0292

Deselect; we have gone before and after; and that selection protected the rose, and we did the entire outside, just like that!0303

Quick Edit--all you have to do is move the slider or the boxes or the auto, and that is all there is to it.0312

All right, let's go to the Guided Edit; I want to back out of everything that has been in there; and let's open up another image.0319

Guided Edit is exactly what it says (of course, Quick Edit is what it said--quick--the idea here is, you do some quick fixes and get the photos out and gone); Guided Edit walks you through everything.0327

This image is a little dark, so we would like to do some exposure and maybe a little sharpening; we'll take a look at the sharpening, if we need any--let's do Before and After.0340

Move the image over; just a little sharpening...and here, it walks you through how to do it; you either Auto Fix...we'll just take the slider up just a little bit, and that looks good--we're done with the sharpening!0352

It's going to tell you everything you need to know.0367

Now, we're going to go with exposure, and we're going to take the levels, and it tells you--I'm just going to go ahead and do it, but it walks you through the instruction in how to work it--even roll over a box to see before and after, how to adjust the sliders...0370

I'm going to create the adjustment: I know how to work it.0387

It said to put those sliders right up to the histogram, so we'll take the bright and move it over to there; notice how it brightened it up.0391

We'll take the shadow area and open it up a little bit, get the detail on her, and click OK.0398

We are done with the color, and now all I want to do is maybe enhance the color slightly by changing the hue down a little bit.0407

Let's see what Auto Fix does; it didn't do anything, so we're going to undo that.0419

We'll take the hue to the left, and it makes it just a little warmer--maybe -4; a little bit better; before and after; we're done!--just that simple.0425

Let me show you--it walks you through everything in here; it gives you instructions on how to do it; very, very simple.0436

I want to do one more thing, which is called Recompose; here we have the Recompose, and what it allows you to do is take areas in an image and paint over them to protect.0446

In this case, what I would like to do is squish the image and not affect her; so all I have to do is paint around her, taking a little extra area, and we're going to fill that in.0459

Everything that is colored will be protected when we change the dimensions of the image; we're not making it larger or smaller--we're going to squish the image.0480

OK, she is now (we have to get that hand) protected, and it tells you, "Drag the image handles on the sides to recompose the photo," so all I have to do is grab it and move it, and look what it did.0492

See how it squished it?0507

I'm not going to click OK because it takes a while--this is a very large image--but you see exactly what it did: she didn't change, and yet the image has become squished.0509

If I clicked OK, it would calculate that; and it is gone from here to here; we're just going to cancel out of that one.0518

Now, you have seen a whole bunch of other stuff that you can do right in there.0526

But now, we'll go down...also, photo effects can be added, just by clicking a button; we'll click the orton effect, and we roll over, and there is where it was, and there is where it is--kind of a blurry thing.0531

We'll add the orton effect, and we'll blur it down just a little bit...add some noise to it...and adjust the brightness, and you have changed the image.0543

We'll cancel that and make an old-fashioned photo; you have all of the options, and again, it walks you through all of the items in here.0554

Let's do one more--a lomo camera effect--just by clicking the button and applying a vignette.0563

With two clicks, you have a very in-vogue, high-style image; we'll cancel out of that.0571

You have all of these options; and then, we'll take one more here: let's open up the flower again, and you have these walk-through items that you can create.0578

Let's do a pop art.0589

You have choice A, choice B...we'll take choice A, and it says "Convert your image to a bitmap?"...OK, I'll do that...add a color fill adjustment layer...duplicate the image...and it's done--just like that!0591

Isn't that cool?--So, Guided Edit gives you all sorts of options for making cool things and doing cool photo effects, and also adjusting all sorts of stuff on your image, by walking you through every single item that you want to do--very, very easy stuff.0609

Now, let's go back to the Expert mode and back here; that was a run-through of the Quick Edit mode and the Guided Edit mode--easy ways to make an image overall...0633

Again, it's an overall adjustment for most of it; the Quick Edit does allow you to do a minimal amount of selection.0649

This is good for: if you don't know how to do something--go to the Guided Edit; if you want to do a really quick fix that is not highly detailed in precision, use the Quick Edit.0655

That is the Quick Edit mode and the Guided Edit mode in Photoshop Elements 11.0665

In the next lesson, we'll get started on all the features of doing precise and wonderful things, with great precision and great detail, to your images, in the Expert Edit mode in Photoshop Elements 11.0673

Hi, everybody--Mike Brown here again; welcome back to Educator.com's Adobe Photoshop Elements 11 Beginning and Intermediate course!0000

We talked, in the last couple of lessons, about Quick and Guided Edit--how to take your images out of Organizer, open them up into Elements Editor, and do some really instantaneous, if you will, quick or guided edits--some of them, even one-button clicks, and it's done--simple ways to take your images and improve them.0009

If you are just looking to do only that, Quick and Guided, and a couple of little touches from the Expert mode, may be all that you need.0031

But, on the other hand, if you want to do professional-level stuff, we can take it further.0042

This program goes both ways.0046

There is third piece of software inside, kind of in between the Organizer and Photoshop, that we need to discuss, because it provides you another additional method to improve your images very easily.0049

It's called Camera Raw.0062

In this lesson, we're going to ask three basic questions and explain them: What is a raw file and what is a jpeg file--how are they different/which one is better? What is Camera Raw? And why and when should I use Camera Raw?0066

Let's get started.0082

We're going to revisit "What is a raw file, and what is a jpeg, and which one is better?"0084

Most digital cameras have two different file formats available: raw and jpeg--or both; you can actually, I think, if you remember from the intro, shoot both at the same time.0091

My camera, this little Nikon, has both; for this lesson, by the way, you will see what happens when you shoot both of them, because I use the sample where we shot the identical shot (it doesn't shoot two separate shots; when you click the shutter, it takes both the raw and the jpeg at the same instant).0101

So, you see both different ways at the same time.0119

With a jpeg image, your camera automatically applies corrections to your image.0123

It applies auto color correction, auto exposure correction, some sharpening, some contrast, and also some lens corrections.0131

So, when you first open up the jpeg image, it already looks pretty good--it has been corrected a great deal.0141

Now, if you're shooting as an amateur, and you only want to do some limited corrections to your image, make them look better, and move them on to the Web--or to take prints--jpegs are fine.0146

There is nothing wrong with a jpeg, even for the more professional level, with a couple of exceptions.0159

Jpeg images have a narrower range of exposure than a raw file, so there is less recoverable detail in the shadows and highlights.0166

This is rather important if you are shooting professional-quality imagery and you want to make sure that you don't have blown-out highlights or blocked-up shadows.0179

That is where the raw file comes in, right there; jpegs have a little narrower range, so even though it has corrections applied, you may lose detail in the highs and the lows.0189

Secondly, jpeg is a lossy compression format, which means it throws away some data when compressing the image.0201

The reason for that--that is why it can compress it into a small space; it has to get rid of some pixels.0212

When you open the image back up, the computer tries to restore all of the areas where it threw things away, and sometimes it just plain misses, because a lot of the spots it has to interpolate from the areas around, because it threw away a pixel and it doesn't know what to put there.0218

What that will do is slightly degrade your image, and you will end up with what is called jpeg color noise, which can be removed, somewhat, in noise reduction, but it does degrade your image.0238

Now, with a raw file, your image is exactly what the camera's sensor captured--exactly--no losses, no ups, no extras, zero data loss.0251

You have total control over every aspect of the image: exposure, color, sharpening, and anything else you want to do with it, because you get what the sensor sees.0266

The quality of the image, then, falls down on the quality of the camera itself.0275

If you want the optimal file to work on, raw is the best way to go.0281

Now, even if you are an amateur, and you just want to work on it, raw is just fine.0285

This is what Camera Raw is all about: it's taking the raw files and doing, in a way, what the computer or the camera does originally with the jpeg.0291

That answers the question, "What is raw and what is a jpeg?"0303

They are both good files; I'll show you a little difference; in fact, right now, I'm going to show you the difference between the two.0308

Here is a shot that was taken--I just took it--at the Japanese Garden right next door here: this little sculpture of a dinosaur, and in the background, you see some bamboo and some other stuff.0315

We will deal with this further, but I just wanted to give you a quick look.0329

Let's come up one more time; you see that it's a little bit soft; it's in focus, but it's a little soft in the background; the bamboo is also a little soft.0333

Here is the jpeg of the same shot, identically; now, you notice that the little dinosaur over here--he is in good focus; the bamboo is; let's go back and forth.0346

You can see the difference; there is also a little expansion; that is the lens correction.0361

You see that this is a little bit squished and this is a little bit open: the camera has sharpened this image and adjusted color (notice how the color has changed?--look, it's kind of yellow and flat over here, on the bamboo, and when we go to the jpeg, notice, it's now more green, clean, and sharper).0365

There is your difference between the two.0384

All right, so the second question was, "What is Camera Raw?"0388

Camera Raw is a plugin contained within Photoshop Elements that allows you to work on your raw images (let me add that) non-destructively; in other words, it will not affect the pixels--anything you do in Camera Raw.0393

The adjustments you make are saved as a separate file in the same folder as your original image.0412

The original file is unchanged until you open it in the Editor.0418

You can always go back and change those settings, if you want to--very cool feature.0423

With Camera Raw, you can do exposure correction, sharpening, and noise reduction before you even get to Elements Editor.0428

So, you ask the question, "Well, didn't you just say that that is what jpeg does?"0439

I does, but remember, jpeg has a narrower range, and it works on the pixels; those corrections on a jpeg image are in the image; all of the corrections made here in Camera Raw are saved as a separate file, so the original file is untouched--no destruction whatsoever.0445

If you're only interested in just making your photos look nice for posting on the Web, Camera Raw is a very easy way to get the most of your corrections done without even having to go to Editor.0465

You might find that it does enough that that is all you need; so it's just an extra tool for you.0476

If you're doing professional-quality work, Camera Raw is a quick and easy way, and quality way, to get your raw files started non-destructively, and then move on to Editor.0480

All right, and next you ask the question, "So, why should I use Camera Raw if I'm going to do everything in Editor anyway, or with the jpeg if the camera already did it?"0492

Camera Raw is a good tool for non-destructive overall image adjustment.0503

You can quickly make all, like I said, exposure, color, noise and camera distortion, and lens aberration corrections--all of that for initial improvement.0510

Why bother with Photoshop Elements, then? Because it has a greater variety of tools, functions, and techniques for a wider variety and more precise adjustments.0518

Elements also has layers, which are amazing; when we get to layers, you are not going to believe it.0528

Again, layers allow you to do things totally non-destructively; you can also make composites--all sorts of stuff extra.0534

You can make far more precise selections, as well, which allow you to isolate areas, whereas Camera Raw and the other ones only allow you to do overall adjustments; the same with Quick and Guided Edit and Camera Raw.0541

It's overall, whereas, right in Editor, you can isolate areas.0556

So, if I can do everything in Editor, why use Camera Raw? Camera Raw offers you non-destructive adjustments and edits for quick initial improvement, right out of the camera.0561

Use Camera Raw to make initial overall corrections, very quickly and easily, and then move to Elements for more precise stuff.0572

It's another tool.0580

All right, that describes what it is all about and what the difference is between jpeg and raw.0582

In the next lesson, we're going to go in-depth and show you the value of Camera Raw.0590

I have talked about it; time to show you how to work it.0595

I'll see you back in the next lesson!0598

Hi, everybody--Mike Brown back with you; welcome back to Educator.com's Adobe Photoshop Elements 11 Beginning and Intermediate course!0000

We've been looking at Camera Raw in the last lesson; I introduced you to Camera Raw, what it was, why you would use it...0008

We have the Quick Edit and the Guided Edit that we have gone over; in both cases, they have very easy-to-use exposure, color, and sharpening adjustments.0017

The Guided Edit, with all of the instructions, is to modify your images; but in both cases, everything you do to the image is directly affecting the pixels.0027

If you want to come back at a later time and re-correct it, because you really don't like it after a while, you're going to further torque the pixels.0039

But, it's there for quick editing, to get things ready and go out.0047

There is another way to do this--non-destructively, as I have pointed out, which is Camera Raw.0052

In this lesson, we're going to look at the workspace and basic editing in Camera Raw; we'll take a look at the tools, the panels, a workflow philosophy (which you really already know), exposure, color, sharpening, and noise reduction.0059

In this case, it's exposure, color, noise reduction, and then sharpening; you want to do the sharpening last, because you don't want to sharpen and then make it unsharp by noise reducing.0076

We'll talk more about that as we move along.0090

As we move along, I'll show you an example or two of exactly how Camera Raw works.0092

Let's go ahead and get started.0097

I'm going to first work with an example (if I remember, this is the one, right here); note what I'm using here; remember, I told you in the workspace, File, Open, or File, Open Recently Edited--I have obviously been setting up this lesson, and here is a list of the previously-opened files, and here is the particular one that I want to open up.0099

It's a .nef, which is Nikon's designation for a raw file.0123

Up it comes...and here we go; the default sizing of Camera Raw--this is the way it normally opens up; you can toggle to full screen or back with this little button with the double arrows, right there.0129

This is your preview button; any changes you make in Camera Raw--you click it, and you will see the before and the afters.0146

Let's go back to full screen so we can concentrate on it right here.0154

Let's start right along the Toolbar--pretty simple stuff; we have the Zoom tool (which you really don't need, because you remember my shortcuts--Command+, Command-, Command0); or you can click it, Option/Alt, and go down.0158

I prefer the shortcuts.0177

The Hand tool is the thing that if it's zoomed way in and you want to move it--but you can also get the Hand tool with the spacebar, just like in the Editor, and move it this way; or, if you want, you can use it there.0179

This is a white balance eyedropper to try to help you find the correct white balance in an image.0191

I'm not going to bother you with this one, very simply because sometimes it doesn't work, more times than not, and it's difficult.0201

There is a much easier methodology that is built in, and that is why we're using Camera Raw.0208

The Crop tool--pretty cool; the Straightening tool--you've seen that before; the thing with the Crop tool (I'll show you that one back in a minute)...red eye reduction; these are your preferences, which we don't really need to...0214

We want to save as sidecard.xmp files; we click OK.0229

I'm going to go and cancel for a moment, because I want to show you something: I'll go to the Open menu, and I want to go to this folder right here, and there are all of the raw files in the folder, and grayed-out, you see (I can't magnify it any more) a .xmp, another .xmp, a whole series of them; those are the saved changes that you make inside of Camera Raw.0233

Remember, I told you it was non-destructive; the image remains the same, and it saves the changes as this .xmp file, automatically, back in the same folder.0265

That is where the changes are.0276

I want to go back and open that file again, right there.0279

There is Camera Raw again; so, we went over the tools (and of course, you have Rotates Right and Left), and that is it--very simple tools--you don't really need the tools too much--maybe the Crop tool or the Straightener; Preview; OK.0287

Across the bottom of the document workspace, there is the camera that it was shot with, from the information inside the image, and there is the name of the file, magnification in the corner; that pretty much sums it up.0300

I want to go to a third panel, right off the Start (let's go back to the smaller one); I want to switch a page here.0315

First, these are the features that are inside; we looked at the Toolbar; now, we're going to look at the panels, and there are only three: Basic, Sharpening, and Camera Calibration.0327

We're going to start with that one.0339

Let's go ahead and open that back up again in Camera Raw; go full frame; and go to the one that has the little icon for the camera.0342

This is all you really have in here: the camera profile--you can do some different basic settings; you can try to change this thing a little bit; but basically, leave it at Adobe Standard and work the sliders.0354

The process is the only thing that counts; if you open up a raw file that was worked in an earlier version of Elements, before Elements 11, you will see, over where my cursor is, there will be a little box with an exclamation point in it, which is an indication that it recognizes that you shot it with an earlier version, and the sliders in this panel will be the earlier version.0370

If you highlight 2012, if it comes in with 10 or 3, it will convert to the current Camera Raw 7.1, which is far better and far more precise than the earlier ones.0399

It's an absolute--there is no reason not to; that is what the exclamation point is; that is what this panel is.0415

Back to the basic panel: we have some information in a histogram, up at the top--information about the camera, the particular picture that we have right here...0422

This is white balance: you have several choices; it has read the data out of this image, and knows it was a Nikon, and these were the white balance choices for the Nikon; just leave it as shot.0436

Just change your color temperature until the image looks right.0451

There it is: throw in a little magenta to counter the green, and we have countered it!0455

We went from there to there; that was a white balance correction; really tough--done!0460

Then, we have, below that, several exposure controls: exposure--overall, the sliders work pretty well: more and less in each case.0467

Exposure goes with everything; I usually don't use it unless it's a very dark image; let's open up another image to demonstrate everything here for you; we're going to open up 9921.0476

Now, this image is going to open with a whole series of changes that have already been made to it; if you want to reset changes to 0 and start over again, rather than just--I could change them, but if you want to reset to 0, right where it says basic, go over to the right, to the little list menu, Camera Raw defaults; that is it.0489

There they are; that is the original image, and notice, all of the sliders are now zeroed out; that is how it was shot.0514

Now, here is how simply it works: in this case, for white balance; this is green felt on this pool table; this was a big tournament that I photographed.0520

It's a little bit cyan, so all I have to do is go to the right and make a little...and move this down just a hair, and check the skin tones.0529

We want green, not yellow, felt--right about there; looks like that ought to do it; now, there were television lights above the table; that is why there is such a high color temperature here.0541

Now, it looks pretty natural; notice, his skin tone looks good; the table looks good; the red, the orange, the yellow, the purple, and the blue are absolutely accurate.0557

So, we have already done the white balance.0567

Now, as far as exposure goes: we're not going to move the overall; contrast--not yet; highlights--we can increase or decrease just the highlights.0569

The table is a little hot, so we come down, and there you go!--the table looks fine; I want it a little bright; now it's deep shadow.0580

Remember, I told you that raw files have much more range of exposure than a jpeg; watch this: you see how dark it is in the back?--we could open it up that far, if I wanted to, but that is interfering with the action going on here, so I'll pull it down just a little bit--enough that we get delineation of him; it looks just fine.0587

I think I'll up the white point a little bit, just to open it up just a hair--there we go.0616

That is it--we have finished our exposure changes.0624

I might hit the--no, I don't want to hit the contrast, because I'll get that back.0627

Maybe take the table down just a little bit...I can always come back later and change it later--no problem.0630

Now, clarity is not necessarily sharp sharpening; what it does is takes the very narrow range of mid-tones and alters the contrast on those.0638

I have to tell you that this works phenomenally well; we're going to bring it up, and you can begin to see some of the detail in his shirt.0652

But, I want to show you what happens with the clarity: I don't want to put it all in--I usually go a little bit.0663

Watch: automatically, it will pop.0669

Look at that!--now, it's beginning to blow things out, so we're going to come back down--there is 0--there is maybe 30 (I don't want to blow out the contrast too much), and that is amazing the difference: we went from there to there--it just sharpened things up, or the appearance thereof, a lot.0672

That is all it is; now, I would like to bring up the color in the table a little bit; I don't want to hit the hue saturation, because it makes the background go, too, so I'll hit Vibrance, which is non-dominant colors--and notice how the table came up?0694

Backgrounds stay the same; and there you have it; we went from there to there in no time.0710

Now, we can take the Crop tool--watch this: I'm going to crop it, and I'm going to mess with it--I'm just going to go all the way to here and click OK.0716

You say, "Wow, what did he do?!"; go back and hit the Crop tool again; notice, it did not destroy any of the underlying pixels; it just saved the crop area, so I can re-crop it and change that at any time, as well--completely non-destructive.0728

Cropping, as well--pull it right up to about there--that looks pretty good--now, we'll hit OK, and I like it!0748

Now, the only other thing that we need to do is to go to the second panel that we haven't talked about yet, and that one is the Sharpening and Noise Reduction panel, which is kind of cool.0758

In this case, we have sharpening and noise reduction; I want to do the noise reduction first; I want to get the noise out and then bring the sharpening in, because if we sharpen, it will over-sharpen the noise.0774

So, let's get rid of that first; we'll zoom it up; now this is a very noisy image, and I know it's grainy; if you look in the background here (let me zoom it way up), see, there is a huge amount of grain.0787

This was at an ISO of 4000; basically, those people are in the dark.0802

It's kind of noisy, and I want that effect, anyway--that kind of grittiness of a pool room--but I do want to take some of it out of this young fellow's face, and not lose detail in his shirt.0807

So, we're going to deal with either luminance noise or color noise; color noise is jpeg artifacts, and there is not really much in here; if I hit this, you notice we don't see any change; I can go all the way over, and you won't see any change in noise reduction, because there is no color noise; that is only in jpegs.0821

Luminance noise is the electronic noise, and that is what you are seeing in all of this noise in here; it's electronic from the fact that I set it at 4000 and it was able to pull the detail.0841

All right, so we're going to take the Luminance slider, and I'll show you: I'll go about a quarter of the way, which is what I usually do--watch what happens.0852

Notice, immediately (back to 0; watch; look at all the noise; look at his face--watch his face) and there it is; it's not noise-free, but significant difference.0862

But the other side of the coin is that, we go back down here--the noise is part of everything; notice the detail and the highlights and the glass tones that we get: as we begin to do noise reduction, and go too far, we lose that--we get a very smooth effect; we lose detail.0878

So, when you're doing noise reduction, you want to balance off the detail (it comes back up a little bit) with the noise reduction; in this case, and usually, around one-quarter of the way is about right.0900

You can change the detail, and you can change the contrast, as well, which affects your details.0916

But, I usually leave that alone and take it as it is right there.0923

Now, if I want to sharpen it back up just a little bit, I usually leave the radius at 1--the radius is how wide the sharpening is; I want a narrow band.0927

I'm going to put it up just a little bit; I go down to 0; it's soft; if I go way up, we have noise back again.0939

So we come down somewhere in the mid-range; and we'll go from start to the finish, and we have a considerable reduction, and I'm concerned with the eyes, and we still have it, and the detail noise is very fine detail; in this case, we have a lot of noise; and that is that.0950

All we have to do now--you have two choices: you could accept this image as it is; you could save it in a new location in the folder, and you could change the filename, and you could change the format--whatever you want to change it as--and that is going to be it.0974

Or, click Done, and if you click the Done button, it will go back (I don't have that up right now)--that .xmp file that I showed you--it will create the .xmp file in the folder with the original, which was this image right (where is my original? it should be there--why isn't it showing me the original?) there it is--the original image.0995

It saves the .xmp file, which are all of these settings right here now, and closes the window; if you reopen it, it will reopen in Photoshop with all of these settings intact.1030

We can also cancel the complete thing, or we can go ahead and open it up into the Editor.1043

In this case, I'm just going to click...I'm going to cancel, because I have some other settings on there--and there we go.1049

So, we talked about the Sharpening and Noise Reduction--the basics; it's very simple--just use the sliders: exposure, color, a little clarity, I usually don't mess with the sharpening, some noise reduction--out of there, and off we go.1057

That is what it's for--for those of you who might just want to be using Quick and Guided Edits to do simple stuff, this is an even better way--if that will get you to there in the Camera Raw, you can open the file; then you can go ahead and save it as a Photoshop file and move on with opening it up and resizing it; post it on the Web; do what you want with it.1072

But, it's another way to do this, simpler than the Quick and the Guided, to get you started; that is the whole idea.1101

One other thing I want to show you is--in Elements, raw files open automatically; jpegs and tiffs will open directly into Photoshop, but you can make them open into Camera Raw and get slightly less control, but work on them non-destructively by doing this.1106

In the PC, if you're on a Windows, go to Edit, Open as, highlight the image that you want to open, and change the format to Camera Raw.1128

In a Mac, we'll go to File, Open; get your dialogue box up; in this case, it's on the Desktop--there is the tiff, right there--and I'm going to change my format to Camera Raw, click Open, and instead of opening up into Elements, it opens up into here, and we can very quickly go and do a horizon correction, just like that; click OK.1141

You have that corrected; let's crop this thing down a little bit, click OK, and crop it down a little smaller: take the Crop tool (oh, we're going to change it that way--that is what it wants me to do); OK, OK; bring this down; bring this up just a hair; click OK, and there it is.1168

And of course, it's always going to go back to the original point.1193

Now we're ready to edit this thing; the color temperature looks a little warm--there, that is more natural--now a little cold--we're going to adjust the contrast on this a little bit, hit the Vibrance, do a little clarity (wow, that pulled it up really nicely!); there we have that.1196

There is no noise in this, as far as I can tell--let's go ahead and take a look; no, that is pretty smooth.1217

That is it!--it was that quick--we didn't need to do anything else on the image--and now, we can go ahead and open it.1224

It's that fast with a tiff and a jpeg.1231

So, back to the beginning: we've talked about the tools, the panels, the workflow, and a couple of examples of what it can do with the primary functions--primarily, exposure, color, and a little bit of sharpening, and especially the most powerful thing is color correction for white balance.1235

All of this is using Camera Raw inside of Photoshop Elements.1257

Hi, everybody--Mike Brown back with you; welcome back to Educator.com's Adobe Photoshop Elements Beginning and Intermediate course!0000

We're about to get into working on the images in the Expert mode--all of the various distortions and changes and layers and compositions and all of the stuff you can do, but we need to talk about three important things before that.0006

First of all, when you have your image and you're working on it, you need to be saving that image, and you need to save it frequently.0021

So, we have to talk about how to save it, where to save it, and the formats--which is the second thing--that you can save your image in--why we do the various formats--and the third thing we need to talk about is image size (which we're going to do in this lesson), canvas size, and resolution--how they all work together, how you can increase the size of an image, decrease the size of an image, how you size it for print, how you size it for Web.0028

Then, we go into the formats and saving.0055

Let's get started!0058

Here are some descriptives; we're going to quickly go over these, because they all apply.0060

Megapixels, as you always know, is the number of pixels on your camera's sensor.0067

That is the horizontal times the vertical pixels on the sensor of the camera.0078

Your file size, when you open up an image in Photoshop Elements, is actually three times the megapixels, because your sensor shoots a red, green, and blue channel, each with the same number of pixels, so the file size will be three times as big as the megapixels of your camera.0084

Resolution is simply the number of pixels per inch or centimeter, horizontally or vertically, in your image.0103

Now, image size--that is document size--is the length and width of the image, independent of resolution--it's merely document size.0115

Let's take a look at what document size looks like, how we change it, and maintaining the proportions (in other words, not distorting our image).0131

What we're going to do, to do image sizing: we go to the Image menu to Resize, to Image Size Box, and up pops the Image Size box.0141

Let me actually go to an image, so we can work with an image; image resize, image size...here we are.0154

Here is the Image Size box, and there are three distinct areas in a dropdown menu; let's go through those.0161

The first box is the pixel dimensions and the file size of your image.0169

This image is 3000 pixels wide, 2000 pixels high, and it should be 18 megabytes, but the computer trims just a little bit off when it opens it up in Elements, and it's actually 17.2 when it opens--approximately 18.0175

Now, for 3000 wide and 2000 high--that is the number of pixels we have--at 200 pixels per inch, either horizontally or vertically, obviously, the width--if it's 3000 pixels wide by 200 per inch...3000/200 is 15 inches--very simple.0193

Accordingly, the height is 10 inches.0216

That is the document size, and these three relate to each other; if you change the resolution, normally you would change the width and height; we'll talk about that.0220

Below that are three checkboxes, and by default, they are checked: Resample Image (in other words, add more pixels and make it larger or take away pixels and physically make the image smaller--not changing the document size, necessarily--making the image physically smaller and changing the file size).0230

We also have Constrain Proportions; that way, if you resample your image and change a single dimension, the other dimension will automatically change, so that the image still looks the same, whether it's larger or smaller.0252

Scale Styles is important if you're working with graphics and effects; if you have drop shadows or glows or bevels, things that you put in as effects don't automatically change if you resize an image.0265

Therefore, if you're resampling to add or subtract pixels, you need to check the Scale Styles.0280

In this case, we don't have any, so it doesn't matter, but it's to automatically do that.0286

Now, don't worry about Nearest Neighbor, Bilinear, or Bicubic; the two things you need to deal with when you're resampling, or making an image physically larger or smaller in file size: if you're going down or reducing the image, you want to use Bicubic Sharper, because the computer throws away some data, and you want to sharpen it back up.0290

When you're enlarging an image, and you're opening up the spaces between the pixels, the computer is filling that in, and it needs to smooth it, because otherwise it would look kind of degraded.0316

So, enlarging--you use Smoother; reducing--you use Sharper.0328

Now, let's go back (oops, I went back to the descriptives); we want to just change the document size only; this would be for printing--maintaining the proportions and not changing the file size: Image, Resize, Image Size.0333

OK, and (oops, I want to go back to the picture again--sorry) Image Resize...Image Size; here we go.0355

I would like to print this image out on an 8.5x11" piece of paper, and I don't want to either enlarge it or reduce it; I just want to change the document size.0363

If I uncheck all of the boxes (and, you notice, the pixel dimensions are a lot), notice, I can't do anything with them; no matter what I do in this document size box, it's going to still have 3000x2000; it will just change the document size and the resolution accordingly.0380

We want to go inside an 8.5x11, so I want to change the width to 11, and notice that the proportions are 7.33, still 2 to 3, and to accommodate the fact that the pixel dimensions are still the same and the file size is still the same, we made the document size smaller, so the resolution had to increase.0399

It went up to this odd number 272.27.0424

If we click OK, we're ready to print this image out at 11x7.333, which would fit in an 8.5x11 paper.0428

We're going to reset; the way you do that is Option on a Mac/Alt on a PC, and it will change your Cancel button to the Reset button and brings it back to 0; let's uncheck everything again, and let's go up; let's say we want to print this image on a 20x30 panel.0438

If we go up to 30x20, the proportions are the same; the resolution is cut in half, because, once again, height times resolution has to be 2000; height times width has to be 3000.0459

That is how you change the document size without changing the file size.0474

There we go; we'll cancel out of that; let's go back to the descriptives.0480

That is changing the document size only, maintaining everything else.0486

If we want to resample and enlarge the image to a different dpi, or a different size, or contract the image to a different size, and maintain the proportions--let's go back to that image: Image, Resize, Image Size; we want to put this out to the Web on a website.0490

Typically, monitors are somewhere between 72 and 95, depending on PCs or Macs, pixels or lines per inch; and in the case of this Mac, if you looked at my system preferences, you will see that I have all sorts of choices; I can have it as much as 1050, which is the entire vertical, or down to 800--all sort of options there.0514

Other monitors today are higher resolution or lower resolution (older or newer monitors); it's best to try to pick a medium point.0542

If you're going to go out to the Web, we'll go to Image, Resize, Image Size; now, if I want this thing to be...a typical website is approximately 800 to 900 pixels wide, so this image--I don't want it to be any bigger than 800 or 900 pixels, and right now, it's 3000, and also, the resolution is 200--it's absolutely mammoth, and it's a huge file size--we need to take it down.0550

So, what we're going to do is to leave the checkboxes up so we can resample it; in other words, we're going to make it smaller and throw away data; constrain the proportions so it doesn't distort the image; and we'll leave the Scale Styles on, as well.0580

We're also going to go with Bicubic Sharper for reduction.0593

Now, notice that the Pixel Dimension box is now active; the first thing I want to do is do the resolution--I'm going to go down to 72 dpi--that is the typical resolution that you would do if you're preparing any image for the Web--72 dpi, and we know that the websites are...I'm going to go full-width on a website--maybe the website is 900, so I'm going to make the width 800 pixels.0598

Notice, it has allowed me to change the resolution and the width in pixels or document size, and look: it was 17.2 megabytes; now it's down to 1.22; we took it way down.0624

We click OK, and notice that the image looks just the same; when we zoom it up to 100%--right now it's at 100% magnification, and look: it looks just fine on the screen.0638

If I open up my own website--I'll go to the website right here, and you notice that it's just a little over 800 wide; let's go to Facebook...Facebook isn't a good place to go for that...0652

Here is another website I did for a school; now, we have a lot of excess space, but you see the width; I'm going right back to the width at the bottom, and again, it fits inside that.0670

That is roughly the way you would make an image for the Web, and it looks great on the screen; now, if we zoom it up, you see that it's very highly degraded, because it's a very small file.0682

So, I'm going to do Command/Control+Z and let it go back to the original file size.0693

We're going to go back to the descriptions; this is how you resample to go down.0699

Now, let's also take a quick look at going up.0704

Image, Resize, Image Size; rule of thumb--we're going to leave our checkboxes checked; this time, we're going to do Smoother for enlargement.0709

We went way down in size, from 3000 pixels to 800 pixels; we went about a reduction of almost four times when we reduced it, and the image still looks great.0719

If we were to go up four times, it's not going to look really good at all, because the huge amount of space that will appear between the existing pixels that the computer will have to fill in--it's going to look really bad.0733

So, the rule of thumb is approximately 15, maybe 20 percent increase; no more.0746

In this case, if we want to resample, constrain proportions, and go up, let's say 20%, that means 20% of 3000 is 600 pixels, we would go up to 3600; proportion changes--it's now an 18x12 image, and it went from 17 to 24 megabytes.0755

Bicubic Smoother for enlargement; let's go ahead and zoom it up, and let's see how it looks; let's go look at that rock over here.0775

Now, we're going to go down and bring the rock back in and come back up; look at those two; down; it looks pretty good--it's not too bad.0787

Now, we're going to do Window, History, I want to go back to the...we're on the Open; OK.0797

20% works pretty well with the Smoother; let's go back here and go back to our descriptions.0804

That is how you resample (oops, I didn't mean to scratch it--just do that) to maintain proportions--either down or up.0811

Leave all of the checkboxes.0824

Now, resampling to distort an image: you might do this occasionally, and I'll show you a situation where I have been doing it, and I'll show you how to do that.0826

We have this shot right here, and you notice that it's actually not as horizontal as the previous image; let's take a look at that one--see how this one is stretched and this one is not?0836

This was shot with a 4x5 film camera, and I want to make it the 2x3 proportions, and it's the kind of a scene that I feel that, if I stretch it a little bit, I mean literally distort it and stretch it, that it's not going to hurt it.0849

Now, there are two ways to do this; we'll talk about a little bit more on the canvas size.0866

The first way is: I'm going to do Image, Resize, Image Size, and what I want to do to start is: I'm just going to go ahead and make this 30x20 (oops, I didn't want inches; I meant 30 inches), and it's 30, but it's 22; or, if I make it 20, it's 26; so what I'm going to do is make the height 20--I'll keep the height--and I'm going to stretch it to 30, which is about 20% more--we're stretching things out 20% of 26; that's about 5; that's roughly 30, so I think we can get away with it.0871

Now, we're going to check the Resample Image again, but we're going to uncheck the Constrain Proportions; we're resampling it, but now I can go ahead and type in 30 inches, and you notice that it's going to go up in size, because I'm stretching it.0913

It's going to go up from 26 to 30; and I click OK, and it works, and look!--it actually looks better than it did--now it looks kind of squishy, even though that is natural, and this look makes a nice, wide-angle scene that works really well.0932

The quality level, I'm sure, is pretty good; we'll open it--there is where it was; there is where it is; it looks just as good.0947

So, there is one way of distorting (I'm going to go back to the original) an image by using image size.0958

That is resampling to distort; so you just check only the resample, and let the dimensions and resolution change to stretch your image.0967

Now, let's talk about canvas size.0977

I'm actually going to do it right here on this image.0981

Notice, I have some white space here, and I've kind of run out on the left; actually, we had better do it with an image so that you can see; the other one was white.0983

This is the image; let's say I would like to make a frame around this image--have a white border and not cut into the image.0995

What I can do is to go to Image, Resize, and I'll go, not to Image Size, because I'm going to leave the image the same; I'm going to Canvas Size.1004

Up comes this box; now, we know that the width is 15 and the height is 10, and the new size--you type in either inches, centimeters, whatever you want; you can change the extension color to foreground, background, white, black, gray, or another color.1012

I'm going to go ahead and extend it at white; and you can click Relative, and if I put 2 inches, it's going to go one inch on either side automatically; I'm just going to do it my way.1029

Right now, it's 15x10; let's set that back; again Option/Alt, Reset; this check box with arrows--right now, if I want it put one inch all the way around the image, if I type in 1 on the right, 1 on the left, that is two inches on the width.1045

I'll change it to 17; I'll change the height to 12; and the box is in the middle, which means it's going to allow expansion by the arrows, right and left, up and down, uniformly, and it's going to go up 2 and up 2, 15 to 10, 17 to 12.1066

Click OK and look; we have a white border around it, and it put it on the background.1084

All right, let's undo that and go back to Image, Resize, Canvas Size; let's say we want to only go and add something...let's just say to the left.1091

If I click to the right of the median, notice what happens: the arrows allow up and down, but they will only allow it to go left.1103

So, if I change the width now to 17, 2 inches, it's only going to allow it to go out this way; still white; I click OK, and see what happened: we have 2 inches over there.1112

Where would that apply?--let's go back to the one we were looking at now, and you see I'm getting pretty close to this edge; I have a little over here, if I want to balance it.1127

I'm going to go to Image, Resize, Canvas Size; I want to increase on the left side, so I'll click that right arrow so it can go left, and right now, it's 11; I'm going to change the width to 12 inches, click OK, and notice: it popped out to the right a full inch, which I think is a little too much, so I'm going to do Image, Resize, Canvas Size; and let's do 11.5; click OK; I have to make the box; and now, I have balanced the image out by adding canvas on the left side.1138

All right, let's go back to the descriptives; that is how you work with canvas size.1177

Now, we have covered (let's go with a new) resolution, pixels per inch, and how it relates to your image size.1186

If you change your document size alone, which is right here; you don't change the file size--you change the document size; if the document goes down, the resolution comes up; if the document goes, the resolution comes down, so the file size maintains the same.1198

Image size: increasing and decreasing; remember, you are resampling now to change, maintain proportions, or distort the image.1220

If you maintain the proportions, keep all of the check boxes checked, and now it will maintain proportions, but we could change this to 250; file size goes up; up we come, and it is now a bigger image than it was before, because we made it larger, but it looks the same.1233

If you want to distort the image, Image, Resize, Image Size; we're going to take the Constrain Proportions away, and let's say we make it 7 inches high; resample it; we're going up.1257

We click it, and you notice that it distorted things, because it stretched it upwards.1271

And then, canvas size is adding extra around, and you do that with Image, Resize, Canvas Size, and adjust the box to where you want to go.1277

If it's in the middle, it will go equally up and down or right and left; if you go in a corner, that means it only goes to the right and down; so, in other words, wherever you want it, you can set that to add wherever you need it on the canvas size.1288

There you have a lesson in resolution, image size, canvas size...and by the way, one final thing: sizing for print and Web.1305

We talked about the Web, which should be a 72 dpi.1314

When you open up an original file (let me bring one right out as a raw file and show you), there is the raw file; we'll open it; go to the Image, Resize, Image Size; and notice, it defaulted at 240 pixels per inch; that is the way all of the cameras do these days into Photoshop Elements.1322

The reason for the 240 is: if you're printing, not on your laser printer (you can do anything 300 dpi or up, or as far down as...until it degrades--whatever you want; the laser printers are fine, or inkjets), but if you're going out to a regular ink-on-plate lithographer, they can only print a maximum of 175 to 200 lines per inch.1346

What they ask is that you give them a file that is 1 and 1/2 to 2 times (typically 1 and 1/2 times) the resolution of the output print.1375

If you are printing at 175 dpi, one and a half times 175 is approximately 240, which is the reason that it defaults at 240--at 240, this image is ready, as it sits, to be printed on a lithographic printer.1388

So, preparing for print; you're going to go with 240 to 300 dpi (I can't draw very well--d-p-i), and for the Web, 72 dpi.1409

There you have all you need to know about resolution, image size, canvas size, and sizing for print and Web.1429

Hi, everybody; Michael Brown here again; welcome back to Educator.com's Adobe Photoshop Elements course.0000

In this lesson, before we dig into the nuts and bolts and features and techniques of Photoshop Elements itself, I wanted to talk to you about a subject of vital importance.0007

That is the importance of quality.0017

We're going to talk about my mantra for quality, and how to always get the best possible quality you can in anything you do, not just Adobe Photoshop Elements.0021

Then, we're going to talk about setting up your camera to get the highest quality images you can out of the camera, that is from the settings within the camera, technically.0033

Then, I'm going to give you some photography tips, based on my 35 years of location experience, to help you capture the best quality images you can from a compositional point of view and an artistic point of view, and also a quality point of view--the things that you can do when you take the image, to ensure that it will be the highest quality.0043

Let's get started by talking about the mantra for quality.0062

It's pretty simple, and it is: Garbage in, garbage out.0066

If you begin with poor quality, the best you can hope to achieve is a poor-quality product with icing on it.0072

This is true, not only in the creative process--this is true in anything you do.0080

Starting with the best possible quality and doing your very best at every step of, in this case, the creative process, but anything you do in life, will result in the best possible finished product.0088

You give it all you have; that is all you can do.0102

You start with the best you can, and work it all the way along, and you will get the best out.0105

Now, quality begins--in the case of what we're dealing with, Photoshop Elements--it begins with your photograph.0112

Digital cameras today, like this one I have here, all of them shoot two different format choices: you can choose to shoot a jpeg, or you can choose to shoot a raw file.0120

I will explain the difference between the two.0133

Let's start by talking about the raw file itself: the raw file is exactly what the sensor captured inside of your camera, period.0136

This gives you the maximum number of pixels and no compression loss whatsoever.0147

It's the best the camera has to offer, right there.0153

The secondary option is a jpeg.0156

Jpeg is a very common format; this is what your images on the Internet are--mostly jpegs.0161

Jpeg is a file format that compresses the file to make it smaller; so, in other words, the same file that was a raw, that was captured by the sensor, will be taken in jpeg format and compressed.0169

It is a lossy compression: in other words, it loses data, because as it compresses it, it throws away some data.0184

The more it compresses, the more it throws away.0192

When you open it back up, the computer has to fill in the blanks, and sometimes it misses spots here and there; it just will.0195

That is just the way it is: it can't get them all back; it has to fake it.0205

You begin to get a little degradation, and you see it in color noise.0208

The more you compress it--the more data that is thrown away--the more noise and compression you're going to get.0213

If you're going to shoot jpeg at all--which there is nothing wrong with--shoot it at the minimal amount of compression, so that you lose as little data as possible.0219

If you at all can, shoot raw.0233

The other thing about jpeg is: whether you have any internal settings set to make corrections to your image in the camera--and I suggest don't; do it in Elements; that is what it's for--when it takes the image, it does exposure, sharpening, and color corrections to your image automatically, to the pixels.0236

So, what you see is already altered slightly, whereas the raw file is absolutely unchanged, and you get to work it any way you want to, starting with the best raw works.0258

The other thing about jpeg is: the sensor has a range of exposure that it can capture; in other words, that is the light all the way up into the brights and down into the really dark shadows.0271

Jpeg--the range is smaller than the raw file, so automatically, even if there was no compression--or no corrections--the range of light and the range of exposure in a jpeg is smaller than that is in a raw file.0283

So, if you start to work on your image, and you're trying to pull detail out of the brights or the darks, you are restricted with a jpeg; so I recommend, if at all possible: work with a raw file.0298

Let's take a look, now, at exactly how to set your camera up for that.0311

Here we are: what you see here--these are a couple of screenshots from the menu on the back of one of my cameras, a D7000 Nikon.0315

These are your choices for format and shooting.0325

In this case, you see there are four choices for raw and three for jpeg.0330

NEF, by the way, is Nikon's raw format; it's a Nikon electronic format; each manufacturer of camera has their own: Canon's, I believe, is CR.0335

That is just a designation; now, you can shoot raw--as you see, the fourth one--just purely the raw file, or raw plus three different quality levels of jpeg: a jpeg fine, a jpeg normal, or a jpeg basic--basic being the least, the most compression.0348

Me personally--I see absolutely no reason to shoot a raw file and a jpeg; if you are shooting raw at all, the reason you are shooting it is that you're going to take the raw file, take it into Photoshop Elements, and work on it!0370

You have the best quality file, and you're going to work on that file to get the end result, and the end result is what you're going to be using.0387

If you shoot them both, that means you have to do one of two things...well, the only way to work it is to take both of them and work on them.0395

You're wasting time, and besides, the jpeg image is not of the quality level of the raw; it's just taking up extra space.0403

If you need a jpeg for whatever purpose, once you work on your raw image and you have it enhanced the way you want it, you can save it out as a secondary file, as a jpeg, and send it out to anybody you want to.0410

I recommend: either shoot jpeg fine or pure raw.0426

Now, if you're shooting jpeg, jpeg fine is the highest of the image quality--that is the least compression.0431

The physical image size is another choice you have with jpeg--you have the compression ratio and the number of pixels that the image opens up to.0438

In this case--and this is the same as for raw--with my camera here, almost 5000x3200 in change, 16.1 million pixels--that is how many pixels there are in the sensor.0448

That is how many pixels there are in your image.0460

If you shoot medium, look: it has already cut it to 9 million pixels.0464

If you shoot small, it's one-fourth the number of pixels; whereas the large has 16 million, the small has 4 million.0469

Your image is much less quality, simply because it has less pixels; the resolution is smaller; you don't have as fine detail.0479

Shoot raw; shoot jpeg fine; and image size of large; and that takes care of how to set up your camera.0490

Let's now talk about some photographic tips.0499

My tips on taking quality photos: I have a whole bunch of them, but I'm just going to give you these basic ones that will help you get the best you can.0504

First of all, fill the frame; the frame, meaning your monitor on the back of your camera.0511

Fill it up with the scene; if you are shooting a picture of a person, don't make them really small and have all of this excess space around that you are never going to use, because you're going to crop in to print that image, and you're throwing away a lot of data; it's like shooting a jpeg at a small compression ratio.0519

You're wasting; fill the frame!0536

Let me give you an example of filling the frame: here is a shot: on the left, this is the raw file, and this is the finished shot.0539

This is a photo I took out in...I'll just zoom it up so you can see it...Death Valley.0549

I love this photo; this is actually...I'll zoom it up so you can see it...there is a raven that just landed on this branch and sat there for a while; it's not a prop; that was really there.0555

I have a nice composition; from side to side, it looks really good; there is a little excess space on the top, and maybe a little excess on the bottom, but for this composition, I didn't want to come in any more on the side.0568

I composed it as tightly as I could in the camera, and if you will notice, my finished image--the exact width is the same as the raw file; all I did was trim a little bit off of the top and the bottom.0581

I got the maximum quality level I could by filling the frame of that image.0595

In addition to that, be conscious of a couple of things.0603

It amazes me--whether it be with your smartphone, or whether it be with a camera of any quality level--human nature is, "Take a picture of me!" "OK!" and you hold it up, and you shoot it just like this--horizontally.0609

Most of the pictures you take are of people, and people are vertical items, unless they're lying down; they're vertical!0625

Why would you take a horizontal image of them?0632

Even if you fill it up on the monitor, you have all of this extra space on the side, and when you trim it, you are not getting all that the camera can give you.0634

Very simple tip: if you're shooting people, and you want to fill the frame, just turn the camera vertically!0647

Zoom it in so that the people fill the wider area of the image; you get higher detail and a better quality picture.0654

When you are framing, make sure that you leave a little extra space, so that you have a little latitude on your cropping.0665

You don't want to get in too tight, and think, "I want to axe this," but you don't want too much extra space.0672

Play with that; that will give you more pixels, higher definition, better quality.0677

Check your focus on the monitor on the back of your camera.0684

For maximum image clarity, take time to zoom that image up; you can do that very simply--each camera has a different way; here I do it with a zoom control.0688

Look at your image to make sure that the focus is exactly where you want it.0699

Autofocus: I don't care how high-quality the camera is; autofocus--it's not you; it's just a piece of technical product.0705

It's going to autofocus where it thinks the point should be, and a lot of times, that will go to infinity.0719

You're taking a portrait; the camera focuses back on the wall; you open it up in the computer; it's out of focus.0725

You go on vacation; you want to take a picture of your significant other with a backdrop of this beautiful place; you pick up the camera; you take the picture.0734

You get home--a place you're never going to be again, or a situation or experience you're never going to have; you open up the image; it's out of focus.0743

Photoshop Elements can do a lot, but it can't fix terribly out-of-focus things.0751

Check that focus!0755

Be careful of what is called camera shake, especially with the digital cameras of today.0758

In film days and back, cameras had viewfinders; this one happens to have it--you can probably not see it, but it's a little one here, rather than just the screen.0764

I can put the camera right up to my eye, and I can take the picture.0773

That, right there, puts me in a position like this, where it helps to stabilize the camera, and it doesn't shake.0778

But, all of the digital cameras--you hold them like this; if the light is low and the shutter speed gets longer than a thirtieth of a second, it's very, very difficult to make sure that camera is going to be in focus; even though the focus point is right, you can't physically hold that camera steady at a slow shutter speed.0786

For anything less than a thirtieth of a second, I recommend that you use a tripod, if you have it, or brace the camera against something solid, if you are outdoors--a tree, a rock, or your car--and if you can't do that, the best thing you can do is, instead of holding the camera like this--way out--bring it in a little bit, put your elbows on your side, and try to stabilize it as much as possible.0808

Breath smoothly and shallowly, get it in, and squeeze the shutter carefully.0834

That will help get the best you can.0840

In addition to that, make sure that you get the best exposure--that is, the amount of light: too bright or too dark.0845

Do what is called "bracketing" your shots, if possible: shoot a couple of shots incrementally underexposed and a couple incrementally overexposed; what that means is the camera is going to try to get, if it's on auto, the best exposure it thinks; that may not be the best exposure.0853

You can actually set in your menu to bracket; what that means is you take the nominal image, and then you shoot one that is a little brighter, and then you shoot one that is a little brighter than that.0872

Then, you shoot one that is a little darker than the nominal, and a little darker, so that you get a range of exposure, from a little underexposed to a little overexposed.0883

You can go through those images and pick the absolute best exposure that you want.0891

Let me show you an example of that one.0897

Let's go to Vasquez Rocks.0904

If you look at this top row right here, you will see--it's hard to see on this thing--but you see, I'm just going to walk my way across, and see, that one is a little bright, a little less bright, a little darker, a little darker, a little brighter, bright, bright, bright, bright.0906

It's the same scene, but I changed the exposure, and obviously, this one is too bright, and obviously this one is too dark; the one that is nominally right is this one.0920

That way, by bracketing, I made sure I had the best exposure, and by having the best exposure, you don't either lose detail in the high lights or lose detail in the shadows; you get the best you can, the highest quality image.0932

Shoot several shots of a scene, if you can; that is, the same shot; in other words, don't just take the camera and go, "Click!" and walk away.0947

Check that image, and make sure that it's right, and if you can't make sure that it's right--you don't have the time or anything--click the shutter a couple of extra times.0958

How much does it cost you?--this is digital!--the cost for multiple shots: zero!0969

Just click the shutter and put it on the memory card.0976

You want to make sure you have the best exposure and no camera shake: shoot it, shoot it again; shoot it again; I mean, if you're shooting a sporting event, where it's in action, you have to only shoot one; but if you can, shoot extra, even--especially--the shots you are taking of people.0980

You smile and take the shot; you don't know if you caught the best smile in that shot exactly, so shoot two or three shots to make sure that the expression on the person is correct, so that you are, again, getting the best quality we possibly can.0996

Finally, shoot multiple angles and different focal lengths.1011

Just because you saw a scene and thought, "Oh, that looks really nice," and you click the shot, that doesn't mean that that is the optimally best composition or shot of that scene.1017

The other thing is that human nature, especially with the digital cameras today--when you take a photo, what do you do?--you hold it out at eye level at arm's length, and that is the viewpoint that you shoot.1028

That doesn't mean that that is the best view of that scene.1042

You can try getting lower for a more dramatic angle; getting higher and looking down on something; move over in different directions to see if the scene looks better or worse, by shifting the actual viewpoint right, left, up, and down.1047

Not only that--you have a zoom on your camera, even in the phones!1060

It looks different when it's wide-angle and you are close to it than it is when it's telephoto and you're far away.1065

If you have the time, and you want to get those quality images, shoot the different angles; shoot different focal lengths.1071

Once again, just to very quickly sum this all up on the tips: Fill the frame; maximize the number of pixels; check your focus--make sure that that image is crisp; watch that camera shake when it gets dark--brace the camera; make sure you get the best exposure by taking a couple overs and a couple of unders; make sure you get the right one so that you can get all the detail.1078

Shoot more than one shot of anything you do if you can--it costs you nothing--it ensures that you get the best shot; shoot multiple angles and different focal lengths for artistic creativity; all of this to get the best quality possible that you can.1102

Back to the beginning: all of this...where is my mantra of quality?--there it is!...I want to stress again: quality is incredibly important, and the mantra of quality: Garbage in, garbage out.1119

The camera: set it right and get the best quality possible that you can.1135

All right, I will see you in the next lesson in Adobe Photoshop Elements.1141

Hi, everyone--Mike Brown here again; welcome back to Educator.com's Adobe Photoshop Elements Beginning and Intermediate course!0000

In the previous lesson, we talked about image sizing, resizing, canvas sizing, document sizes, and preparing your image in size for output to various different...perhaps print, perhaps Web, perhaps just back into your computer's hard drive.0006

But, what format are you going to save the files in when you output them?0025

In this lesson, we're going to look at the Adobe Photoshop Elements file formats, explained; the various formats available for opening and saving and which ones you should use.0031

Let's get started; here is a list of the primary file formats that you might be using in Photoshop Elements.0042

The first and foremost that you're going to use, whether you open a raw file, whether you open a jpeg, whether you save one out as a Photoshop file or reopen it as a Photoshop file...0056

For example, right here...this is a .psd, .psd, .psd, .psd, .psd, and one .jpg; all of the .psd's are Photoshop format.0070

This format is absolutely lossless; it loses no details whatsoever; it supports all layers and channels, effects...everything that you do, when you save it and reopen it, you get it 100% the way you saved it.0085

It saves a fairly large file, but that is your working file format.0102

Let's go ahead a put up a layer and do a little discussion; that is the working format for Photoshop Elements.0106

Photoshop .psd--primarily, you will do that.0116

Now, remember, we talked about jpeg, way back--the difference between a jpeg and a raw file; jpeg is a lossy compression format, and when you save it, it compresses and loses data.0120

When you open it back up, it has to fill in the gaps, and it kind of degrades a little bit.0136

Then, when you save it again, it throws away a little data, and after two or three times of opening a jpeg and saving it back as a jpeg, you will notice some degradation.0142

But, jpeg is the most common image format for cameras, and for the Web and computer image displays.0154

It does not support layers or transparency; in other words, if you have created a jpeg--let's say you designed a logo for a website--and it's against a transparent background, when you save it as a jpeg, it turns that transparent background into white.0163

However, for images, jpeg is the best file format for the Web, and also for sending around and for visually looking at, it's the best, so it's the most common format.0183

A lot of times, you will open a file that was a jpeg out of the camera, work on it, save it as a Photoshop file, and at the same time, take it down in size and save it back out as a jpeg for Web usage, or for--if you have a client in a graphics design house or an advertising agency, you might save them the jpeg, just as a rough idea, so they can see what it looks like--easily transferable.0198

That is what jpegs are--the most commonly-used one--but remember, they are lossy compression.0225

I want to move down to this one right down here, called .png.0231

It's basically a jpeg; it has all of the same attributes as a jpeg; it's a compression format; it does lose a little bit--not very much--not as much as jpeg--but the most important thing: it supports 8-bit, which is 256 colors, which is good for graphics, or 24-bit, which is a full 16.7 million colors, just like jpeg and a Photoshop file.0238

It also supports transparency--it's wonderful for Web design; if you're overlaying logos, or pieces on top of pieces, where you have a file that is just the image, let's say, against the transparency--a small one--and you want to drop it in, save it as a .png; it automatically preserves the transparency.0264

It's a little bit larger than the jpeg; it doesn't compress as much; therefore, it doesn't lose as much; but .png is also very popular for Web design--a really cool format.0288

I want to show you, before we go to the next one: if you go to your File menu, and go to the Save as, you will get this dialogue box right here.0303

You're going to save it in a place...we'll talk about this in detail in the next lesson on saving; but the dropdown menu for the formats--here they all are.0315

I have scratched out two of them, .bmp and .pxr; in my 22 years as a Photoshop and digital artist, I have never had to use them for any reason; the most common ones that you will use are the Photoshop format, Photoshop project format, a pdf, jpeg, and a tiff; .png, probably, and .gif, if you're doing graphic design.0325

Let's go back to the formats and start from the top down.0350

GIF, G-I-F: a very cool format (let's underline those; we've finished that); a .gif only supports 256 colors; it's a compression file like jpeg, but it doesn't support 16 million colors like jpeg; it's a great format for Web graphics with solid colors.0355

It compresses them down; it's only 256 colors, but it pulls it down to a very, very tiny file, so that it open quickly; and if you're working designing websites or putting pictures up on websites, the key is: you want them to open quickly and look good.0377

You use jpegs for images, and you use gifs for graphics--very cool.0394

Now, we're going to drop down (we're bouncing around here a little bit--I put these in the order that they were in the dropdown menu); let's talk about .pdf for a moment.0403

A PDF is independent of software or hardware; it can be read with Adobe Reader by anybody, on any computer.0413

It can be set for a read-only or a print-only, and it supports text, images, all of the graphics that you would normally use...it's a wonderful way to send your graphics or whatever you may have--images--out to someone for viewing or for printing, but they can't mess with the file.0422

That is what a PDF is good for, and besides, it can be read on any...you don't have to save it specifically for a computer; anybody with a computer that has Adobe Reader can read it, download it, and print it; PDF--pretty cool.0448

All right, we're going to go to the next commonly-used one, called .tiff, T-I-F-F; it supports all of the same Photoshop attributes that .psd files do: layers, channels...it can also be saved with a flattened version, so that it can be opened in software that cannot open layered files--it's kind of cool.0463

Now, .tiff saves as a slightly larger file than a Photoshop file, and it's principally used for CMYK printing; if you're sending your file off to a lithographer who prints it CMYK, for large jobs for print, you would most commonly deliver the file, rather than a Photoshop file, as a .tiff file.0485

That is principally what they are used for, but you can save your images as a .tiff instead of a .psd and open them back up, and they will look just as good in Photoshop--just a little bit larger; better to use the Photoshop file.0508

We're down to the very last one, which is the Photo Project format; this is exclusive to Elements--if you go to the Create menu over here, and we create a photo book, greeting cards, a photo calendar--things that have multiple pages, and that have templates that you fill in images with, it can be saved out as Photoshop files, but the best way to save them is what is called the Photo Project format.0522

It is exactly made for these creations: it saves the pages in the right order, so that printers can work on them; it is the perfect format, all ready to go; that is Photo Project format.0553

It is used for photo books, calendars...created projects.0569

There you have all of the definitions of the various formats; there is the dialogue box, and again, there they are; you Save, Save as, and choose your format.0573

Principally, you're going to be working with the Photoshop format (let's put in an image on top of that)...predominantly, you'll be working with Photoshop, jpeg, and tiff most of the time, and if you are in graphics, .png and .gif, and you may work in PDFs if you're working with ad agencies, and your Photo Project format.0586

There you have a good tour of the various formats available for opening and for saving your images and which ones to use for the various different usages.0613

Let's go ahead and delete all of that stuff, and I'm going to leave this zoomed up one more time, so that you can get a good look at this.0625

Stop your video, if you wish, and define what each of the file formats in Photoshop Elements is.0635

I'll see you back in the next lesson, and we will discuss putting the Image Size, Resize, and the formats together with saving out to output and saving your files.0643

I'll see you back in the next lesson!0655

Hi, everybody--Mike Brown here again; welcome back again to Educator.com's Adobe Photoshop Elements course!0000

In the two previous lessons, we have discussed preparing your images for output by image size, canvas size, adjusting the resolution, taking the images down and reducing them for Web, or getting them in the right resolution and sizing for going out to print--the two different ones.0007

In the last lesson, we looked at the file formats available for saving, and in this lesson, the final part of the trio is actually saving your images.0028

We're going to talk about Save, Save as, and Save for Web--the three ways of saving.0038

Under the File menu: Save; Command/Control on a PC, the letter s; Save as; or Save for Web.0044

When you first open an image (and this one has only been opened and untouched), notice, at the end of the title, there is nothing there.0051

But, this one has an asterisk, and so does this one; whenever you see an asterisk, that means something has been done to the file.0062

As simple as highlighting a different layer--something--anything you do that is different will cause this to have an asterisk to remind you that something has been done and you should save the file--just in case you forget.0075

Now, if you don't do anything to your file, or the very first time you save it after you do something to the file (we'll change this, and let me make an adjustment change...do a little levels, just for fun...and turn it off)--now, we've made a change; if we want to do the traditional what-you-think-would-be-the-right-way-to-save, Command/Control+s, notice it saved, without asking me--it just saved the image.0089

Now, if I had done something drastic to that image, like flattening it, let's say, or changing the image size down for the Web to 72 at, let's say 900, 1.5 megabytes--now we have a very small file with no layers; it's just for the Web only.0134

If I were to (and I'm not going to do it) do Save or Command+s, it's going to save over that original file.0165

It's going to wipe out the big file that you worked on; for example, here is one here: look at all the layers in this--there are hours of work to get this particular image worked the way it is; if I turned it into the small jpeg, and just did Command/Control+s, I would overwrite that other image.0175

You have to be terribly careful when you do that.0197

So, instead of using Command+s or Control+s, ever--I don't even use it at all; I always go to File, Save as, and this is what will happen.0201

Up comes a dialogue box, and notice, it automatically put a little bit extra at the end of it that is different from the original one (2497...where is that?...there it is); notice, the name is 2497HDR Blend 1; it added this part; and then, if I did it again, it would be adding in 2.0215

So, by using the Save as dialogue box, it prevents you from saving over.0240

Sometimes, it may actually come in with the same name the first time you would do it, and even though it doesn't change the name, you are reminded, by the fact that this box is here, "Oh, yes, I worked on that image, and I don't want to save it over itself, so maybe I'll call it 1A instead, and then I can save it."0248

We'll go back to the Open box, and we go to the Desktop, and there is our original image (oops, this was the wrong one--2497); there is the 86-megabyte file; and there is that little tiny file; two different images.0275

You want to make a habit of being careful about saving over your images, especially if you're sizing them down for the Web.0296

One other thing that can happen: Photoshop Elements can crash.0304

It has been known to happen; it has happened to me--it happened this morning, when I was preparing this lesson.0311

If I had been working on an image like this for two or three hours and never saved my work one time, and it crashed, or I sized it down and saved it over the original image accidentally, I have wiped out all of the work that I have done.0315

So, make a habit of periodically saving your file as a slightly different version (let me see--here is one here--let's see what we have in here).0333

There is one; we'll take a look here--here is an image; there is the raw file; there is my work in Photoshop--I opened it up into Photoshop, and I worked it as a raw file.0347

Then, I worked a little bit further, and I saved it as a blend, so that if--worst-case scenario--I lost this, at least I had that one.0360

I would have saved more normally; then, I saved it as a jpeg, and I was very, very careful when I made the jpeg--I'll show you this in a little while.0371

The whole idea here is to...0381

Let's see if we have any more--here you go--here are a whole bunch of them; there is the raw file; there is the first version; there is the second version, with a different name change; there is a second version of that--notice, I just added a 1 over it; and then I filtered it.0384

Then, I did another one, so I have 1, 2, 3, 4, 5 different versions of that image saved into the same place in sequential order; so, if something bad had happened on the last one--that was 11:51--less than 7 minutes before, I saved another version, and I didn't lose all of my work.0398

It's a very good work habit to make to frequently save your file; don't save it over the file; save it as a different version as you move along.0420

It takes up extra space--I realize that--but it will save you from having to go all the way back to the beginning and start again.0432

What we have done here is talk about...I really don't use, very often, the save; I just don't use it.0439

I use and recommend using the Save as dialogue box, all the time; do File, Save as, and it reminds you, "Oh, yes, OK, it has changed the title; that is good."0447

I can see up here that it's WebTitle.psd; it changed it; OK; and it's going to put it there, and this is the format that I want; that is what the Save as does.0457

You can also open new folders; you can save as a copy; you can save layers, include it in the Organizer, save right in with the original in the Organizer (that is what the "version set" is), and embed a color profile.0468

All of these options you have for name, place, format, and various options for saving your file, and it prompts you to remember that you don't want to save over something--a very good habit; just use File, Save as, all the time.0481

Now, let's talk about the third one, which is Save for Web.0501

I'm going to go ahead with this shot right here; we have a file that has a whole lot of layers in it; it's 35.5 megabytes, but it's HDR Blend 1A.0505

I think that is 2497...that would be Saturday...I just want to show you this...2497...maybe Sunday...2497...how could it be 2497?...I have the wrong one here...oh, 9868!--I was looking at the wrong one; I'm sorry.0520

9868; and I saved it on the Desktop--that's good; so there is 9868, right there.0547

That file is 220 megabytes; that is what I wanted to show you; it's a huge file.0556

Even though the base file is 36, there are 1, 2, 3, 4...at least 4 layers at 40, plus all of these other layers, make it a 220-megabyte file.0563

We're going to save this out to put up on the Web.0574

So, what we're going to do first is flatten the image; it gets rid of all the layers and compresses it down.0578

Then, we do Image, Resize, Image Size, and it's now 35; we're going to do what we did--remember the image size for the Web?--we're going to resample the image, constrain the proportions, scale the styles, change it to 72 dpi, and in this case, probably 900 pixels height would be just fine.0585

It has now gone from 35 megabytes to less than 2; I click OK, and it is sized.0605

All right, so it's good for that; now, I'm going to go to a new one for you, and show you how to save for the Web.0612

File, Save for Web; and up comes a dialogue box (it's calculating), and we have a 2-up: original and the jpeg after.0620

Now, you notice that I sized this image down first and then opened it up; if you try to take a huge file and open it up directly into Save for Web and do your sizing over here, it's either going to crash the program or take hours, because it's so huge.0634

This Save for Web can only handle the smaller files.0651

So, when you're doing Save for Web, make your image size-down reduction first; then, open it into the Save for Web dialogue box.0654

Let's zoom up, and let's get down here where we can look at the image.0663

The original image was 1.8, and it's going to come down to...let's go to 100% quality...it's going to come down to 461K; 1.8:461 is about a 4:1; that is a standard jpeg, at 100% quality.0671

But, you have all sorts of options here--you have the Hand tool, Zoom tool (you notice the Hand tool automatically...Zoom tool--we can zoom it here)...0690

What we're going to do is look at our Options; there are presets, first; now, remember the .gif; the .gif is only 256 colors; we can come down to 32 colors, and notice that the image (I'm going to zoom it up even one more time)--notice how horribly the image degraded.0698

It's only 32 colors; that is why this is good for graphics of solid colors only.0722

We could even take it all the way down to 4 colors, and look: it just get awful; even at 256 colors, it's (if you can see--let's go into the fingers) degraded; so you don't want to save a photograph out as a .gif of any kind.0727

You can go to a jpeg high, low, or medium, or a .png; we'll go ahead with a PNG24, which is the same as the jpeg, and notice: the quality level is identical; the only difference is...notice the compression; remember, the jpeg was at 469, and the PNG 24 is at 992; remember, I told you in the last lesson that a .png saves out a little bit larger, but it supports transparency, and it does an equally good job.0749

But, for the Web, we're going to go to jpeg.0782

Instead of using a preset, we're just going to make jpeg maximum; don't go with the progressive, the one that scales over and scrolls several times; go to Optimized.0785

You can embed the color profile if you want; that is fine.0795

You can adjust your quality level, and this is where it's very cool; let's come up another bit right here.0800

Notice, the jpeg size is 469; that's a standard compression; as we come down in quality...let's go all the way down--go down about 25 or 15; notice how horrible the image is looking--it's all black.0807

It has these squares in it (let's go way low)--just squares, very distorted; we have lost all sorts of detail in this image.0821

So, we'll begin to come up, and as we move forward, it's getting better; it's still degraded--you can see it in the fingers--but we're up to 46.0830

But, once you get close to 60, if you compare these images side-by-side, very difficult--there is a little bit in the finger that you can see, right here--just a little pixelation, but if I get up to around 68, they are almost identical, and that is at a huge magnification.0839

If we get down to 100%, it's perfect; you can't tell the difference; so I usually will save my images for the Web at a quality level of somewhere between 60 and 70, and look what it did--it took that 465 KB file and took it all the way down to 130.0857

So, instead of a 4 times compression, it's down to about a 16 times compression, and it still looks great, and it loads quickly; this is the way you save for the Web.0879

It tells you the image size--you can change it here--but change it before you get in here; that is the way I do it.0893

You don't want to do your image sizing in here; it's better to do it with Elements, on the outside, and bring it in.0898

Now, one thing else that I want to tell you about this is that, when you save this out as the jpeg at this quality level, it's good for viewing on the Web, but it has also compressed it, as you see, at least 3 to 4 times further than a normal jpeg; it's only good for viewing.0905

They will not be--if somebody tried to steal your image here, it could not be printed any bigger than about the size of a postage stamp.0927

So, it's also a good way to protect your images; once you get that all filled up, save.0934

We're going to have the lesson; it's the same one we know up here; see, there it says .psd; now it's .jpg; we're going to save it, and it's saved.0940

Now comes the final danger that I want to alert you to in your saving process.0950

Remember, we have taken this very large, layered image--I can still recover it through the History, because there it is; I can go back to the Open; but we're at a very small, flat image, and inherently, we forget what we're doing.0956

We say, "OK, I'm done with this image; I'm going to close it, Command/Control (or File), Close, Command/Control+w, and up comes this box that says "Save changes to the document?"; "Oh, yes, I made some changes; save them"; that is the first thing that you instinctively think, and you press this Save or Return button.0973

What is going to happen: it will save over that wonderfully huge layered file that you worked for hours on, with this tiny, jpeg, flat image, and you won't be able to recover it.0994

Once you close this image, you cannot recover the original if you saved over it.1010

So, you must be very careful; when you Save for Web, close the window; "Save Changes?"--you don't want to save the changes to this document.1017

We'll click Don't, which means, out on the Desktop, we still have our 220-megabyte file original, and we also have our nice, tiny little 136K jpeg for use on the Web.1028

There was a fairly long, detailed explanation as to how to use Save for Web, and also caution about closing.1049

This is why I always recommend: always use Save as to save your self; and when you use the Save for Web and close the window, think: when the little box comes up and asks you if you want to save the changes, you don't, because you just took a monster layered file and made a tiny little jpeg out of it, and you'll destroy it.1062

So, there is how to use Save, Save as, and Save for Web to get your files saved out properly, and a couple of cautions: use Save as, and watch it when you close your files after doing a Save for Web.1086

I'll see you back in the next lesson; we'll get working on our images in the Expert mode in Adobe Photoshop Elements 11.1101

Hi, everybody--Mike Brown back with you again; welcome back to Educator.com's Adobe Photoshop Elements course!0000

We're ready now to work on our images in the Expert mode in Editor.0007

One of the first things you're going to do with your images, when you bring them in, is crop them, straighten any crooked horizons, and correct for camera distortion, bulging, or perspective distortion--both the perspective and lens distortion.0012

Also, recompose, which we took a look at over here in the Guided Edit mode, briefly; we're going to go back and, in the Expert mode, take a good, close look at that.0028

All of these are corrections that we make before we even do anything to the image--so let's get started!0040

I'm going to open up an image into Camera Raw first.0047

I want you to take a quick look at this image; I have already made white balance, exposure, color, and a little clarity; I've also taken a little bit of noise reduction--just the generalized stuff that we do, and that is how quick that was.0052

There is a Crop and Straighten tool feature in here; we'll talk about that in a moment.0069

But look, first, at the edge of the building; it's not only perspective distorted; it's bulging a little bit wider; that is the wide-angle lens barrel distortion, they called it.0074

We can't pull that out in here; we could crop the image, and that is all we have the option of doing--purely cropping--but I don't want to; I'm going to take that away--Option or Alt turns the Cancel to Reset; bring it back.0089

I don't want to remove any of the area of the image, because, as we correct perspective, it will tend to remove it anyway, by torquing it out of the image; I need as much as I can get.0103

But, if you have a landscape or a shot of somebody that everything else is fine; no distortion; all you need to do is cropping; by all means, just go ahead and take a crop tool and move the corners any way you particularly want to, to get the crop that you want, and then enter it, and it's non-destructive.0115

The Straighten tool--same thing: all you do is click and drag where the horizon will be, and it will turn it and crop it in to that point.0133

OK, so let's bring it on in into Editor.0141

The first thing we do with an image when we open it up, no matter what: duplicate the background layer in case, somewhere down the line, you need to go back to the original to pull something.0145

Right now, we have just the background layer; this is a 2-key shortcut: Command on a Mac/Control on a PC, and the letter J, or go to the Layer menu: Duplicate Layer; or, across the top of the adjustments layer, the Layers panel with the adjustments at the right-hand side with the dropdown list--there is Duplicate Layer.0155

We're going to use our shortcuts: Command on a Mac/Control on a PC, plus the letter (I hear you!) the letter J; Command on a Mac/Control on a PC, J; we have the layer duplicated.0178

Now, we work on this layer, and the background is left alone.0189

The first thing I want to do is correct perspective and camera distortion at the same time, so let's go to the Filter menu to correct camera distortion.0193

Watch what happens, automatically, when I open it up: look at that curved edge: Filter, Correct Camera Distortion, turn off the grid, and look!--the edge is already straightened out.0205

Without any control changes at all, the filter recognized, in the data that comes with this image, the camera and the lens, and it corrected it.0220

Now, if it didn't, here is the distortion "barrel distortion" right here; you can make your sliders and add or subtract.0233

In this case, it's just 0, because the filter automatically took it away.0241

Now, vignetting: we have just a little darkness in this corner, and a little up in here, so we can...this is vignetting: you see, it's dark or it's bright; we're going to put in maybe 3 points...4 points; and there we have a little bit of vignette.0248

Let's take the preview; a little bit darker, and a little bit...there we go.0274

We have already lost a little area, if you can see, down in here, as we remove the distortion automatically; that is why didn't crop it in Camera Raw.0284

We still have space left, and we have to be very careful; I should have thought about it, when I shot the building, and given a little more space on the right.0293

That line is right there, so we have to be careful about that.0300

Perspective control is next: vertical and horizontal.0303

Vertical: this way, it's going to make the top get larger; this way, it will make it smaller.0308

We go this way, and you can correct; or this way, and you can go really crazy.0313

We'll pull it back, but see what happens: as we correct the top, this line is no longer in the picture--a bad intersection; so I'm going to back it up just a little bit.0319

I don't want to lose the top side of the sky, either, so we'll just take about...maybe even a little less than...that.0330

Horizontally, let's see what happens if we go this way; that is not going to help us a lot.0340

We'll just leave it at that; I should have left more space, but we have this; and let's take the preview: we went from there to there--it's looking a little better.0350

Let's go ahead and accept that; the edge extension--what that shows you is where you have done it.0360

You can just show larger or smaller--just pull it up or pull it down, so that you can pull some of that back in; but we're going to leave it right here.0367

Click OK, and now it has applied the corrections: there is where we started, and there is where we are--everything is looking good.0375

Now, what we want to do next--again, before we apply a crop--is, we need more perspective control.0385

There is a feature called Transformations; it's under the Image menu, Transform, and it allows you to scale an image automatically--that is the Free Transform--or Skew, Distort, or Perspective.0392

Let's take a look at the Free Transform; I didn't mean to get into this one in this lesson, but you see, there is your scale.0407

We can use this for perspective, as well.0413

Once you have gotten the Transform box in, Control+click on a Mac/right-click on a PC; notice the little list that shows right next to the cursor.0417

We're going to do more perspective.0427

The way we do this here is grab a corner, and if I pull this corner, that one will correspondingly come out; look at that; and we have (let's see...if I push in just slightly here, I'll get some of it back...OK...pull it out just a hair more...that is about all that I can really take) done one round.0431

We're going to do this in stages; we have one little round; we're going to click OK on that; and we went from there to there--that is looking pretty good!0455

Now, we're going to do another one--we're going to activate the Transform, Command on a Mac/Control on a PC, the letter T, Control+click or right-click on a PC, and this time, we'll do Distort.0465

Watch what happens: I'm going to take this corner--you know that it allows you to distort things--and we're just going to pull that corner down, and that also takes away the stretch and improves the look along the top.0477

We'll give it just a slight bit of perspective, and let's go ahead and do a little bit on the right edge, as well--stretch it up and out...that is pretty good, there; you can come down just a little bit more, right here--that looks pretty nice!0492

That helped counter the distortion; notice how the doorway and windows are now a little more natural?--we'll accept that second round of transformation.0513

Let me show you, from the History panel, what we have been doing.0525

We opened it; we copied the layer; we did a camera distortion correction and perspective in the filter; then, we did a Transform, and then we did a second Transform with Distort, and look what we have--a building that looks very, very natural.0529

Now, we have all of our distortions corrected; we're going back to the title.0545

We corrected for camera distortion; we corrected for perspective; it took it in stages, but we got it, and now we're ready to crop this image.0551

Let's go to the cropping tool.0565

Here are your options for the Crop tool: Crop allows you to have the rule-of-thirds grid; let me show you what that is--you see that the little dashed lines...may be hard to see, but as we get out, there, you see the dashed lines.0567

The photographic rule of thirds for dynamics and composition or a regular grid, which gives you just a bunch of gridlines, or this thing called the Golden Ratio (which I really haven't figured out myself) or nothing; we'll leave it at the rule of thirds and have no restriction on the crop, or you can do it specifically into proportions (16x9).0581

You can also have specific width, height, and resolution if you're going to resize; we're just going to crop it as is.0607

We have the Crop tool, and I'm just going to click and drag; I don't need to do the whole thing.0614

Now, with the Crop tool, I want to show you--notice, if you get to a corner on the outside, you are allowed to rotate this thing.0621

We don't want to rotate it; I'm just going to show you what happens--you can rotate the crop box, and I'm going to get out of it and go back and put the traditional, straight crop in.0630

Drag a corner--and it's free to do this--we're going to come up, right about to there; we're going to come over to the right edge, and up just a little bit; let's get a little more sky--why not?0641

OK, that is a good crop; we'll click OK.0656

Now, I want to turn off the background layer; notice, we have cut a little out of the sky and a little out of the pavement, but that is not a problem, because this is a very easy retouch correction over here, and it's very easy to fill in the sky.0661

We now have the image (I'm going to turn the background on, and it doesn't show as much); look, we went from (let's get that History panel up) opening the image that was this, to this, by doing camera correction, camera distortion correction, a first perspective transform, a second distort transform, and a crop, and there is our final image, compared to the original image.0679

This is dynamic, but for an architectural image, this is very nice and looks very good.0711

We have perspective, camera distortion, and cropping taken care of; now, let's talk about straightening.0717

I'm going to open up another image here (let's see; I think that one is right here--there we go); this is an image I shot of a friend of mine, and I deliberately took the horizon and made it crooked.0727

It's very simple to correct that problem.0742

This is the Straighten Horizon tool (all of these are down in the Modify tool).0745

All you have to do is click and drag the line in the direction that you would want the horizon to actually be level, and release, and it will turn the picture and do that.0749

Now, there are three options: what that did, if you notice (let's make it smaller) is it rotated the image, and it kept it within the original frame of the picture.0761

Size-wise, it just made it smaller to fit.0775

Let's undo that; you can also have it, if you wish, to remove the background--in other words, fit perfectly with no extra edges.0778

There it is; but notice, in this case, it cropped a lot out of the top and the bottom, which I would rather do myself; or you can have it at 100%, and we'll straighten that one more time and show you what happens with that; it let it go ahead--basically, the same thing.0790

We'll go back to the beginning here, and we'll do it this way, which I like the best.0807

There you go--and, by the way, if you had a multiple-layer image and you checked this box, it will rotate everything to match.0815

OK, we have that, so now we need to crop it; there is the Crop tool; we'll take the Crop tool, and I'm going to go ahead, up to the top, right about there.0822

I'm going to come in a little bit here; I'm going to crop all the way up, so I don't take anything out of that corner; come in a little bit more; maybe a little bit more on this edge; I could come all the way to there, and it looks even a little bit better, and I'll accept that.0833

If you notice, by cropping it this way, all I have done is lost a little bit of the sky--that is the black, and that needs to be retouched back again, but it's pretty neutral--it's a gradient--we can very easily retouch that.0851

So, we have gone (Window, History)...we opened it, straightened the horizon, and cropped it, and we're all ready to do a little retouch and finish the image up.0867

That takes care of the Straightening tool.0879

Now, we're down to the Recompose feature.0885

We're going to use this image right here--the same one we did with the Guided Edit, but I'm going to show you more carefully how this works.0888

We're going to use the Recompose tool; here are the options: Add and Subtract, and what you are doing is painting out, or making a mask, if you will--a mask blocks it; you want to block the areas that you want to preserve.0895

The first thing we will do is get this brush up to a reasonable size, and what I'm going to do is paint over and go a little bit outside, to give a little edge on it.0910

This is the area I want to preserve; in other words, I want to preserve all of her; I don't want any distortion in her, so I have now painted over that, and I also would like to preserve most of the cave--let's do that right there--I think that ought to take care of it--that's pretty decent.0923

But, if I get too much, I can always go back and paint it out, and that will remove that area.0946

OK, so you have the option--this is the actual image size: 10x6.667; let's go ahead and take a look and make sure that is correct: 10x6.667".0955

You can, again, have perspective; various different sizes--8x10, 5x7--in this case, no restriction--we're going to do the work.0970

There is the bounding box, so I'm going to start on the right edge, over here, and pull in.0979

Notice, as I pull in, she is being protected, and so is--watch what happens with the cave.0985

Now, this is obviously only useful on images that have areas that, when they're compressed, won't really be hurt too much; this grass and rock--you can't see anything, but this way, I'll be able to go all the way to here, and accept that, and there is the new image.0997

It will recompose; it has to think about this one a while; basically, it's calculating every single pixel inside of the image and recalculating what it's going to look like.1016

That is how the Recompose tool works; it works really great on shots like this.1026

Let's do an Undo and a Redo, and you notice that (let's do the History panel; redo; Window, History; Recompose; Open), we were there, did a little levels, made the layer, and recomposed the image, and we're ready to accept it, so all we have to do now is click OK, and it should get rid of the green so that we're all ready to go.1032

We want to accept that (where is it?--there we go); we're going to accept it, and there we have our recomposed image, and it preserved them; a really easy feature.1068

Now, we have also taken a look at the Recompose tool, and there you have cropping, straightening, recomposing, correcting for camera distortion, and correcting perspective in Photoshop Elements 11.1087

Hi, everybody--Mike Brown back with you with another lesson in Adobe Photoshop Elements 11 from Educator.com!0000

It's time to work on your images!0009

You have organized them; you have run them through Camera Raw (maybe; maybe not); you have them open in the Editor; and the first thing we want to do, after you sharpen your image, is exposure and color.0011

Now, in this lesson and the next lesson, we're going to go over exposure and color corrections, auto and manual.0027

We will discuss the auto exposure and color corrections, manual exposure, manual color, and, in this lesson, I'm going to show you a comparison of doing these corrections with Quick, Guided, and Expert modes.0034

Let's go ahead and get started!0048

First, here is a chart of all of the auto exposure/color controls, manual exposure, and manual color controls.0050

In this lesson, everything that has a red dot is what we will cover; in the next lesson, everything with the blue X.0059

Let's start right away with my mantra for exposure and color; you have heard me say this in the intro on color and light: "Exposure affects color; color does not affect exposure."0066

Always do your exposure corrections first.0081

Remember the example of a stop sign at noon on a bright, sunny day; it's really vivid, bright red; as the day goes on, the sun goes down, and it begins to get darker, towards twilight, that color goes from a bright, vivid red to a darker, richer, dark, dark, dark...and it eventually goes black as it gets dark.0085

The exposure change from the sun and the day getting darker as it begins to get close to twilight changes the color.0105

So, just from a workflow point of view: always do your exposure corrections first--get the exposure right in your image; then adjust your color.0114

If you do the color first, and then the exposure, you will have to come back a second time.0125

The time you save is time you can spend on other things.0130

Exposure affects color; color does not affect exposure; always do your exposure corrections first.0133

Let's start with the auto exposure controls.0140

Don't be daunted by this chart; these are very simple.0144

There are five of them under the Enhance menu: Auto Smart Fix, Auto Levels, Contrast and Color Correction (are kind of grouped together--I'll explain that in a moment), Auto Smart Fix and Adjust Smart Fix (it's the same control--this one is adjustable; this one puts in a fix level).0147

Personally, I feel that they should have just left the Adjust, because that way, you put in exactly what you want to get the effect that you need, rather than having to take this and say, "Oh, I need more (or less)."0167

Auto Levels works on contrast between the brightest and darkest points; Auto Contrast uses a mid-tone gray and adjusts contrast from there; Auto Color Correction works on your brightest and darkest points as color.0178

Don't worry about that--they all three do similar things, but slightly different.0196

When you are working on your images, once you get them in here and you are ready to do exposure and color, it takes very little time to do all of the auto ones to see if one of them works well for you.0201

If it doesn't, you move on to the manual.0213

I want to tell you (and we'll show you here in a moment): different images respond differently to the auto controls.0216

Some of them respond very well; some of them don't.0223

It depends on the exposure, the color, the lighting...indeterminate ways.0226

I have two images here: this one, which (let's pull up our history panel) already had an adjustment on it; this image here--decent exposure; it's kind of a flat-lit situation; the colors are OK, but they could use some more "pop," and it looks to me like, overall, it has a little bluish cast to it--notice, the grass is a little dull.0233

This image has really good exposure (there is where we are, and we're on the original); the good exposure is in the mid-tones, but the sky is a little burned-out, and the foreground right area of the land, the shoreline, and also the rocks and the water in here are a little blown-out.0257

If I had exposed this any darker to get exposure on the land, I would have blocked up the shadow areas.0277

It being a raw image, I knew I could pull it all out of that image in Photoshop, so I accepted the mid exposure.0285

Let's try the auto exposure features on this image first.0295

We'll try this background layer, Enhance, Auto Smart Fix; it works...and not much; before and after--it's very hard to see--it brightened things up just a little bit; it didn't do much for that foreground at all--not too much.0302

We'll go back and do the second one, Auto Levels: you can see that it snapped the contrast (let's zoom it up a little bit so you can see it) over in this area; look up in the top, in the darks.0324

See, it snapped the contrast, which helped a little bit on the color of the water, but it really didn't do much for these rocks, so it still didn't do a lot.0340

Enhance, Color; we have a little color in there, but I see a little blue tone (it's hard for you to see, probably, but) there is a little blue tone that came in across the rocks, a color...blue and maybe even a little magenta; it kind of discolored things.0348

I can see the magenta in that walkway, or the roadway up there--so that didn't do a lot of good.0368

Let's try the last one, which is the Adjust Smart Fix, which gives us more control--let's go all the way.0374

We got some color improvement--you can see that--(it's thinking for a moment here)--color out, color in...it's the best of the bunch, but I'm not really happy with it.0384

I think we can do better, so we'll just go ahead and leave it where we are.0397

Now, you saw that none of those auto controls did much on this image; let's take another image.0401

This is that image--a little blue and a little flat; let's start with the Auto Smart Fix; it's thinking; and it actually improved it!0409

There is the original; there is the Auto Smart Fix--we have color improvement and exposure.0419

So, we know that works; we'll take it out and try Levels.0424

That is even better--I like that a lot; look--everything looks good, popped up; the colors came up; notice, the exposure change actually changed the colors.0429

Auto Contrast--not quite as much change as the Levels; Levels seems to be the best.0439

We'll do Color Correction; that is not bad either; and we'll try the Levels again--I still think I like the Levels; it snapped it better.0447

Let's try the final one, Adjust Smart Fix--you notice, in this image, we're getting significant effect from each of the auto controls; in the other one, we didn't; that is why it's worth trying right away.0456

Let's just up this thing all the way to the top: Wow--look at that!--there is the Adjust Smart Fix all the way to the max, and here is the Levels, and here is the Adjust Smart Fix all the way; I think we got just a little more out of that.0469

That is pretty good, right there: we have a winner with an Auto Adjustment on this particular image.0491

But, on this image, none of them seemed to do much, so we're going to have to go to our manual controls.0499

We have looked at (let's take a look here) the Auto Smart Fix, Auto Levels, Auto Contrast, Auto Color, and Adjust Smart Fix.0505

You can see that, on some images, especially this image right here, all of them had a positive effect, and in that case, the Adjust Smart Fix did the best job.0518

It's worthwhile checking them out; on this it didn't; on this one, it did.0530

That is what your auto ones do; just give them a try, and it gives you a good starting point; it may not be...even with what we have here, I wouldn't mind going in with manual controls and popping it just a little bit more, but it gave us a good overall start.0535

There are your auto exposure and color controls.0550

Now, let's look at the manual exposure controls.0552

We're going to go back to three of them: Shadows and Highlights, Brightness and Contrast, and Levels, and they are under our Enhance menu.0556

We're going to start with this one here: Enhance, right under the Adjust Smart Fix, Adjust Lighting: Shadows and Highlights, Brightness and Contrast, and Levels.0567

Let's start with Brightness and Contrast: we get this slider box; what Brightness and Contrast does is, with the brightness slider--as you go brighter, everything gets brighter--black gets brighter; white gets brighter; mid-tones get brighter.0578

As you get darker, whites get darker, blacks get darker, mid-tones get darker...every pixel is affected, either positively or darker.0594

What we want to do...obviously, we are blown-out bright, so let's start by sliding it to the left, and we want to keep an eye on our shadows up here, so we don't lose them.0602

We brought it down, and let's snap the contrast; it's not overall contrast of the brightest and the darkest--it takes a section of mid-tones and snaps those and saves the brights and the darks, so it doesn't kill them.0618

Notice, as I do this, it didn't really do much on the whitest whites and the darkest darks; we still have some detail.0632

That is not too bad, actually--let's zoom it out; look at that--the color has come up; the preview is out; the preview is in; look at the change.0639

Look what we have down in here; let's take a look at the water, and look at these rocks over here--significant improvement; the color could stand some change, but that exposure sure helped things.0650

Let's open it up just a little bit--there we are!--that is what Brightness and Contrast did.0661

Now, what I'm doing over here (I want to show you) is, I have multiple layers on this image (we're going to get into layers in another lesson); each layer is independent.0668

The one that says BC here--we have applied the Brightness and Contrast to it; the "I" says it's on; I turn it off: there is our background layer--now we can see it.0680

Now we see the Brightness and Contrast layer, so we can see what we have done.0691

We'll turn that off; we're going to turn on the next one, which is Shadows and Highlights; go back to our Enhance menu...Adjust Lighting, Shadows and Highlights.0694

If this sounds familiar and looks familiar, it should be--remember, Camera Raw has a slider to adjust the highlights and the shadows independently, and mid-tone contrast; this is the same thing, right here.0707

When you do it in here, it defaults with the light and shadows at 35%; it's already light in the shadows, so we will slam that back to the left, to 0, and that is our starting point; nothing has been changed.0721

We don't need to lighten up our shadows any; we have detail; we're looking good.0736

We do need to take our highlights down, so let's start moving them down.0741

Wow, look at the change: we're starting to see tonality and color; over here in the earth--let's just go back: nothing--see how it's bringing it down; we get detail in the brights; the highlights are coming down really nicely--look at that!0745

Wow, that is nice: we have tone in the dirt; we have color in the water; we have color in the sky (that's 38%), right about there; it looks pretty good, doesn't it?0761

Not bad at all: we still have detail in the shadows, so we can even darken the highlights a little more and snap the contrast, even a little bit more.0775

Look at that; that looks pretty good.0783

Let's go ahead and click OK with that one, and zoom it back out, and now let's go off and on: the Shadows and Highlights layer is on, and the background layer is on.0787

So, if I turn this off, there is our original; and there is what Shadows and Highlights did; isn't that wonderful?--look at all of the shoreline; it looks beautiful; the color has become richer; it's a little darker yet--we need to pop the color a little bit--but it looks pretty good.0799

Now, let's compare it to the Brightness/Contrast layer: we'll turn that on, so now, when I turn Shadows and Highlights off, we'll be comparing Brightness and Contrast.0817

There is the Brightness and Contrast; there is the Shadows and Highlights; look how much detail into the shadow areas and pulling down of the highlights!0827

See, in the water and the rocks, the Shadows and Highlights really does a great job of pulling detail out.0838

It looks almost a little surreal, but you can see much better than the Brightness and Contrast, and significantly better than the original.0847

We'll turn those off, and now, let's go to Levels.0856

This is our original; Enhance, Adjust Lighting, and we're going to Levels.0860

Up comes the Levels dialogue box; now, this auto button is the same as the Auto Levels button in the auto controls; if I hit it, there is what we had from that--it didn't do very much, and notice, it just kind of jacked up our histogram a little bit.0869

We'll reset it, and we'll start all over again.0886

Now, a histogram, right here, is a graph of the distribution of exposure throughout the image from black (which is the black triangle), white (which is the white triangle), and gray (which is mid-tone).0890

You can see that it is actually a good exposure; that is what I was talking about--in the mid-tone areas, it's just wonderful--it just didn't have it in the highs and didn't have it in the lows.0903

Now, what you can do--if you take the black slider and go to the right, what it will do is, everything to the left of that slider in the histogram becomes black.0916

So, if I move all the way over here, notice how much black there is; all of this is now black.0928

We'll move it back out where it was; and the reverse is true with the white--as you move the white to the left, it brightens things up, and everything to the right is now white--all of that detail is lost.0935

This distribution only allows us to really snap the mid-tone contrast.0950

When we do that, you notice that the shadows have blocked up.0956

But, there is another slider--the output levels; it works in reverse; if I take the blacks down, everything gets darker; if I take the whites up, the whites blow out.0961

But, if I take the black output down, it will lighten the shadows back up.0972

Watch what happens: notice, we just do a little bit to get some detail--just a little bit of detail--back in the shadow areas; and we'll accept that.0978

You could also work individual channels, but we're not going to deal with those yet.0991

Click OK, and we'll turn that off; there is the original; there is what Levels did.0996

Let's try Brightness and Contrast comparison.1003

There is Brightness and Contrast, and Levels gave us just a little more, but not quite as much color; it's pretty close, actually.1006

We have a little more control with Levels; the one that really worked the best is Shadows and Highlights, but I think it needs a little pop in exposure.1016

Now, what we have seen is Brightness and Contrast, Shadows and Highlights, and Levels.1027

What we like best is the Shadows and Highlights, but I would like to apply a little bit of Levels to that and snap it just a little bit.1034

We're going to duplicate that layer and call it Shadows and Highlights Plus Levels.1043

We'll take and apply Enhance, Lighting, Levels on top of the Shadows and Highlights.1054

Notice, the distribution is now a little bit better: we can open up just a hair without hurting things; white, notice, got a little bit brighter; snap the contrast just slightly (oops, too much); and up the brightness just a little bit.1063

We'll undo and redo that one; this is Shadows and Highlights Plus Levels, and below it is Shadows and Highlights, and notice, what it did is snapped it just a little bit more.1085

There you have the exposure controls manually; let's take a look at them all now.1098

Brightness and Contrast, Shadows and Highlights, Levels, and then Shadows and Highlights Plus Levels, gives us this wonderful finish.1106

There are your three controls.1117

What I normally would suggest is: do Shadows and Highlights, and then apply a little bit of Levels to snap it a little bit further.1121

Look what we have, and we compare that with our original; we went from there to there--beautiful exposure and color throughout.1130

All right, let's go back and take a look at our chart.1139

We have now looked at Shadows and Highlights, Brightness and Contrast, and Levels, and you can see that combining the two of these gives you your best result.1143

Do the Shadows and Highlights first, and then add a little bit of Levels on top of that.1156

Now, let's go to our Color controls, and Hue Saturation is what we're going to deal with.1165

Here we have this image, which is pretty much the way we want it (tell you what); all we need to do here is to go in and Enhance, Adjust Color, Hue Saturation.1171

What we have is a slider box here: Hue runs the color wheel on the colors to shift all colors from where they are.1187

Let's put that back to 0 (oops--Enhance Color--sorry, I didn't mean to get out of there); the "saturation decreases" or "increases saturation" is overall; that is all colors.1197

Now, what we have here--I would like to bring up the greens just a little bit, but mostly, it's the blues and the earth tones that are down.1214

So, what I can do is: I take the saturation and, not increasing it too much--the trees look really good now--we could still use a little more blue, so what we can do--notice this button?--it says Master.1223

What I was increasing was the saturation of all channels; you have the option of working with red, yellow, green, cyan, blue, or magenta.1239

Well, we want to up the sky and the water, so let's take a look at cyan and see what the saturation level is there.1248

You can see where it is; we pull it up a little bit, and the sky is coming up--you can see it--not a lot; let's go to blue1254

We bring that up, and up comes the sky dramatically, now--notice that; we're going to click OK, and we're going to go back to the beginning.1262

This was the overall Adjust Hue Saturation--just a little bit, and then we snapped the cyan and blue, and look what happened there.1276

Now, we're going to do one more hit on that; I could have done it all at once; let's bring up the reds in the earth and see what happens.1284

We'll go to the reds and just up the saturation there a little bit; notice, we go all the way--you can see where the reds are--we don't want to do that; we'll back them off right about to there.1295

That looks pretty good: click OK, and now we'll undo it and redo it, and what you will see here (let's move it up so you can see in the earth tones)--we take it out, and we take it in, and you can begin to see some sandy color, and also the reds in there.1309

Let's move it up into here, and out, and in, and we have just a little bit of pop, and there is the final result after adding hue saturation, overall and individual channels.1329

Let's do one final thing: in this image, we have the Smart Fix; now, let's take it from there--let's duplicate the background and take a little bit...in this case, Shadows and Highlights we don't need; let's just go with Levels.1344

I think all we need to do is a little mid-tone contrast, right there; we brought it down, and we'll zap the exposure up just a little bit this way--there we are.1359

Before and after; it snapped it nicely; we have good exposure; let's up the color a little bit: Enhance Color, Hue Saturation, and I think, if we just take it overall (there we go), all the color levels were pretty uniform on this one, so right there looks pretty good.1376

There was before; there was after; so, all we had to do with this one: we started here, put a Smart Fix and a little Levels and a Hue Saturation, and look at this wonderful image, and this one, which we have done a lot of work to--we did Shadows and Highlights, Levels, and enhanced the color.1397

We have now gone over hue saturation, as well; that gives you a good idea of the auto exposure and color, manual exposure, and manual color.1418

I want to do a really quick thing now and go through--we have done the Expert mode; I want to show you Quick and Guided Edit with the same images.1437

Let's take this image and go to the background layer, which we know is untouched; I'm going to copy it and put it in a new image right here, and we'll just call this Quick.1446

What we will do is go to the Quick Edit; this is before and after; and we're going to do exposure first, color second.1461

This exposure is like the Brightness and Contrast; it's going to blow it out; but let's take a quick look.1472

It's just more or less, so we really don't want to deal with that one.1479

We'll deal with Levels--look familiar?--the same control that we have before: shadows, mid-tones, and highlights.1485

Here, we just pick boxes, so we're going to do mid-tones--maybe a little snap on the mid-tones--you just move your cursor and pick the box that you want, or you could use the slider.1493

Highlights--let's take the highlights down, and there is the same result we had before.1509

Let's go back to the mid-tones and snap them just slightly...and there you go; we have done the exposure control; let's go to our color.1520

Saturation, Hue, and Vibrance--but we do not have control of individual channels here.1534

We're going to go with Vibrance instead of Saturation; remember, we know that if we take our Saturation and up it, that is way too much.1540

We're going to go to the Vibrance; Vibrance deals with non-dominant colors, which will pop those blues; the greens will stay the same, and notice how the blue, as I move across from one to the other--the blue continues to come up.1550

Probably right here...and now you can see that the greens, the blues--we didn't get a lot on the yellows, but look at the before and after; we're just going to go ahead and save that one as Quick.1567

Oops...I can't spell very well...save it.1588

Now, we can go back to the Expert mode, and you will see that there is the Quick, and there is our--let's see...let's do this one with Shadows and Highlights Plus Levels versus the Quick Edit.1593

They're pretty close: a little bit more in the blue, because we had more control with our hue saturation.1608

Let's go take a look at the Guided Edit, and here is Levels; it's the same Levels; and here we have the Enhance Colors, which gives you the Hue Saturation without individual control.1614

You're going to get the same result as you would in the Quick.1627

Here we have the Quick and the Expert: Quick, Expert; you notice that we get a little more control in the high areas of control, due to the fact that the Hue Saturation allowed us to have the individual layer controls.1631

There you have Lesson 1 in exposure and color corrections: we have gone over auto and manual exposure and our primary color controls.1651

Come back in the next lesson, and we're going to go over removing color casts, desaturating skin tones, variations, and making some cool things out of black and white.1662

I'll see you in the next lesson!1673

Hi, everyone--Mike Brown back again with another lesson for you in Adobe Photoshop Elements from Educator.com!0000

In our last lesson, Exposure and Color Corrections: Part 1, I showed you the auto and manual exposure and color adjustment correction tools inside of the Editor, both in Expert, Quick, and Guided.0008

We took this image, starting from here, and, by utilizing...first checking auto to see if that would help the image, and then moving on to Shadows and Highlights and Levels, and then using Hue Saturation, we got the image to here.0031

Without having to make any specific adjustments, just overall corrections, the image looks fabulous.0053

What I wanted to do to start Part 2 is fill in a blank that I left.0061

You could (and, as I always talk in the workflow, the first thing to try to do is) open your image into Camera Raw and make adjustments--preliminary adjustments--there, and bring it into Editor.0068

So, let's go ahead quickly and do that with this image that we worked in the last lesson.0079

I'm going to open up that raw file into Camera Raw, and I'm going to make sure that everything is set at the default 0.0085

There is the same image, and what we're going to do is just the simple stuff, right down the basic panel here.0093

We're going to hit some clarity, which is slightly snapping things; we're going to pull the highlights down (obviously, we need to do that--we still need to go more with that); shadows--we can open up just slightly; increase the contrast a tiny bit, and drop the exposure a little bit, and pull up Vibrance and Hue Saturation.0100

There we have a start, but we still have a lot to go in terms of the foreground, and that is pretty much it--maybe a little in the water.0121

So, we're going to go ahead and open the image...and here is where we have it; we'll duplicate the layer, and what we need to do now is exposure and color.0131

Color looks pretty good, but we need exposure changed, so we're going to do Enhance, Lighting, starting with the Shadows and Highlights is the way I like to do it, set it at 0, and we can see that we need to bring the highlights down in that shoreline--and there it comes, right there.0140

We have good detail in there; open up the shadows just a little bit and snap the mid-tone contrast; that looks pretty good.0157

Let's just see what we have done with the History panel: we went from there--that is what we got out of Camera Raw; that was the manual controls; and it looks pretty good right now.0167

Let's compare it to what we did before: there is that one, and there is the one we just did.0177

I see that perhaps the Hue Saturation and exposure could be improved, even a little bit more, over here; so, we're going to go ahead and go hit Levels and see what happens if we snap the contrast just a little bit more.0185

There it is; open up the black point just a tiny bit, click OK, and I still think we need hue saturation on the reds, so we're going to go to Enhance, Color, Hue Saturation, take our red channel, and bring up that earth by increasing that saturation--that looks pretty good, right there.0206

Let's go ahead with the blues and pop that just a little bit more.0228

Let's see how that compares, now, with what we did.0232

There was that one; and there is the one we just did--pretty close, but the whole point here is that you can do it either way; but I would suggest that putting Camera Raw into your workflow will give you a slight advantage and cut down on the amount of time that it actually takes to do it.0235

You can do it either way, but you can see that Camera Raw helped us out just a little bit here.0257

OK, that demonstration is just to show you that you can get the same thing without or with Camera Raw; it just helps you along by giving you some preliminary start.0262

That takes care of Camera Raw--comparing that with the manual exposure and color in Editor.0276

Let's move on to removing a color cast.0285

Once again, we go to Camera Raw; let me open up an image in Camera Raw.0290

Again, we're comparing Camera Raw with the Editor Expert workspace.0300

Here is that image that you have seen before in my white balance example; this was shot in daylight with a tungsten white balance, so it has this severe blue cast.0304

To correct the color is so simple: you just take the temperature slider and move it until it looks right, which should be somewhere around 5000 degrees Kelvin, and it's done; all the colors are accurate; we just corrected the color temperature, and it's completely done.0314

That is how easy it is.0333

Now, we're going to go ahead and set that back to 0 and open it up in Photoshop.0334

There are color cast correction options in Photoshop, but it's a lot better to work it in Camera Raw: as you can see, that was easy--just move the temperature slider.0340

To correct it here (we're going to duplicate our layer), go to the Enhance menu, Color, Remove Color Cast.0352

This tool--I'm just going to show it to you; I don't really like it that much (oops, I opened the wrong tool).0361

Color, Remove Color Cast--it leaves it mostly up to you: this is a little eyedropper, and you click the eyedropper on a part of the image that you think should be either neutral gray, pure white, or pure black, and the computer will correct accordingly.0367

The street should be neutral gray; I click that, and it doesn't look too bad, but it has this odd yellow cast to it--too much yellow.0387

So, we'll come back up here--let's try the house over here.0397

Still, too yellow; let's try the fence.0403

Not too bad, but it's still too yellow, and this odd color in the sky...so, let's just hit the fence on pure white; it didn't do much.0407

Reset; let's try another shot in there; in other words, what you are getting here is, this is not an easy tool.0416

You have to be lucky and actually hit a spot in your image that would be purely neutral gray, and have it fix it.0425

I don't like this tool particularly; it's much better to use color temperature sliders in Photoshop Elements.0434

OK, so that talks about the color cast, but there is another way to remove a color cast, and that is with color variations.0442

Basically, what has happened here is we have blue all over the image; that affects the greens; it affects the whites; it affects the blues; it affects the reds; it affects the yellows.0455

So, what we want to do is remove the blue.0466

The only problem is that, when you put a filter, if you will (which is what you have here), over an image--let's say it's blue like this--blue affects red differently than it affects yellow and differently than it affects green, so the intensity levels are changed differently for each individual color.0469

In reality, the color temperature is the only way to correct it perfectly, but we're going to try to remove blue.0492

What we have here is before and after; you can work on mid-tones, shadows, highlights, saturation, and adjust the amount of intensity that you're removing.0499

We're going to set it right here so we do it a little bit at a time.0510

We're going to start with the mid-tones; this is before; this is after; and the only reason I don't like this tool so much is that I can't see the actual results up close.0514

We can increase red or decrease red, same with green, same with blue, or lighten it and darken it.0526

Exposure is fine; we want to decrease blue, so we hit that, and every time you do, it affects the right-hand one (let's up it a little bit here); notice, you see that it's getting less blue.0532

It's hard to see, though; right now, it looks pretty decent, right about there, but you don't get a preview, and you have to deal with the small image.0546

I'm going to go ahead and click OK and see what we've done.0556

We got it this far, and I can see that it's a little too green, so we'll go back, Color, Color Variations, and now we'll decrease the green.0560

Let's increase it, decrease...it looks a little bit better; let's work in the shadow areas and take the green out of the shadows, and click OK, and see what we have now.0573

That is not bad, actually, after we played with it; it still has a little green in the street, so I'm going to go back: Enhance, Color, Color Variations; decrease the green another shot; click OK, and it's getting fairly close.0590

One more time: Color Variations; let's decrease the green in the shadows, and let's hit it in the mid-tones, and see what that does.0608

There we go--that did a pretty decent job, but it took a few tries, and it's not as easy and quick and accurate as the color temperature slider.0618

Enhance, Color, Remove Color Cast--difficult at best; Color Variations--takes a little time; it's better to open your image into Camera Raw and adjust the Color Temperature slider.0628

There is how we remove a color cast in Adobe Photoshop Elements.0644

Correcting skin tones: here is a shot that was taken--this is a friend of mine and her daughter and her grandson, and you can see that--they're Latino, so the skin has a little bit of a yellow cast to them, but not a lot like this, so the skin is way over yellow, and you can see that there is blue on the wall and in their eyes.0650

Other than that, the exposure is pretty good.0675

So what we'll do is duplicate the layer, go to the Enhance menu, Adjust Color, Adjust Color for Skin Tone; and we get this box; click on any person's skin--it will adjust the entire photo.0677

If you're not satisfied, again, reset and do like the color cast removal; it's kind of like that, but this one works pretty well.0692

Let's just try a spot and see how that works; that wasn't good enough--let's use it right here; that looks pretty good, but I can see that now we have a little blue cast to it, so we can play with the tan and the blush.0700

If we take out yellow, you can see that went out; we take out the blush (we removed too much there).0714

You can do the color temperature shift here, as well--warmer and cooler--but I think we want to leave that pretty much...that looks like very natural skin tones on the three of them, but it's colored by this excess blue.0720

What we're going to do is accept OK on that; in other words, it went from here to here, which is an improvement, but now we need to get the blue out, so we'll do a second pass and we'll use another tool.0738

Enhance, Color, Hue Saturation--and we'll use an individual channel of cyans and blues to take that blue out of there.0751

Let's just pop it up; you can see the blue in the teeth and in the eyes and on the wall; so let's start with cyan and just remove it.0761

It took a little bit out; let's go to the blue and remove that; and you can see right away--look--the teeth--watch the eyes and the teeth; snap them up; click OK; zoom it out, and we started from here; with the color correction for skin tone, we got it to there; and with the hue saturation, we got it to there, and it looks very, very natural.0769

The key here is that you're going to actually use the skin tone, but you're going to also use it in conjunction with another tool, hue saturation.0793

That is the way everything usually works: there is no magic button that is going to make everything right; one thing will help you--another thing will take you further.0804

Like the Shadows and Highlights was good on the picture, and we added the Levels to it, and it snapped it a little more, then used Hue Saturation to pop it, so there were three items--in this case, we used the skin tone and hue saturation to get it there.0815

This is the way things work, all right?0831

Let's get this one red again...0834

Correcting skin tones; converting an image to black and white--all right, let's take a look at this image right here, which has been corrected nicely in color; it looks beautiful.0837

We're going to make a black-and-white out of it.0848

We're going to make two layers here and do this two different ways.0850

We're just going to desaturate first, which is what most people would do: we'll go to the Enhance menu, go to the Adjust Color, and over to Hue Saturation or Remove Color--either one (Remove Color simply will desaturate all of the color out of the image).0855

If you--just to show you a comparison, we'll undo that and go to Enhance, Color, Hue Saturation, and Desaturate; same thing.0874

Now it's black and white; you think, "OK, we have a black-and-white image"; not yet, because look--it's kind of flat and doesn't have a lot of snap to it.0885

We could go in with an exposure control--let's say Shadows and Highlights--we'll leave the shadows where they were, pull the highlights down a little bit, and snap the contrast, and that helps, but it's still just OK.0894

I'm going to turn that layer off and go to this layer: we'll go to the Enhance menu, to Convert to Black and White.0909

What that is going to do is give us this box with before and after, and the preview will show over here, so we can move this down.0917

You have presets we'll start with; there is an infrared effect--kind of cool--actually, that is really cool; newspaper effect--blown out; portraits--pretty much desaturated, like we had before; scenic landscape--a little flat, but it enhanced that--that's pretty good; urban snapshots; and vivid landscapes--I kind of like that, but it needs a little help.0924

But what you see is, with each one of these, notice, the slider has changed; what we have in the sliders here are red, green, and blue channels of the RGB, as well as the contrast.0948

What we're going to do is, let's play with them a little bit and see what else we can improve on.0961

Let's go with the blues, darken the blues a little bit--let's bring them down just a little--yes, I like that (oops, it went crazy on me).0966

There are the blues darkened, the greens up, reds up--let's open that blue just a tiny bit--and there is a pretty good-looking image.0981

I think that red has to come down--just a little too bright; there--we'll click OK, and now, there is a very dramatic black-and-white image, as compared with purely desaturated.0993

Now, we can do one more thing here; let's go to the Enhance, Lighting, and let's go to...I would say...let's try Shadows and Highlights and see what happens.1009

Bring highlights up a little bit, open the shadows up a taste (whoa, stop--it's going nuts--my brush is catching on it--there we go), and let's snap that contrast just a little bit--there we go--a little bit more, and click OK, and there is our final result.1023

Desaturated--that is the best we could do; but using the Enhance, Convert to Black and White, adjusting the various channels, and then using Levels or Shadows and Highlights, this is what we came up with--a very dramatic black-and-white image.1045

The bottom line is, desaturation isn't going to give you the best result, using the kind (and again, it was a combination; you noticed we used Convert to Black and White, and we also used Shadows and Highlights and/or Levels to come up with this final, balanced image, where we popped the foliage, darkened the sky and the water, and just snapped the overall and gave it some depth).1063

Now, we can go one step further.1089

That was converting to a black-and-white; now, let's make a sepia tone image.1092

You can do this directly from either a color or converted to a black-and-white.1096

I like to convert it to the black-and-white first, because, if you remember the one we were just on, this is what you're going to get with desaturation, which is basically what would happen when you convert directly from a color.1101

It's not adjusting the channels--it just takes the color out.1117

So, we're going to take this layer that we have made black-and-white, and we'll convert it to a sepia tone by going to the Enhance menu, Color, to Adjust Hue and Saturation.1120

There is our Hue Saturation box, and nothing is going to happen, plus or minus, because it's now black-and-white; but over here, on the right-hand corner, notice a check box that is unchecked, called Colorize.1135

We just check that box, and it instantly adds a tonality and a saturation; so now, we can adjust the hue to anything we want.1148

Here is that kind of an old-time sepia-tone color (right about there--just a little bit more).1158

I like that; and we can up the saturation or drop it down, as you wish, and click OK, and instantly, we went from the black-and-white to a sepia-tone, old-fashioned look.1168

Very simple, but again, the best way is not to do this directly with a color; it's to take your color image (let's do it with this one right here--we'll do one more copy; this will be the last one I'll deal with on this); we're going to copy it; we're going to go to Enhance, Convert to Black and White, and (let's see...I think we were using) let's try the best ones in here and see what works the best.1183

Vivid, Vivid Landscape, Scenic Landscape...Vivid Landscape; let's bring our blues down, and you can see the sky came down; open up the greens a little bit; reds down; snap the contrast; blue should come down just a hair more.1213

There we go: that is probably about the best we can do with this one.1242

There is our black-and-white conversion; actually, I should have done this from the best one; let's duplicate that--that was the problem.1250

Now, I'll do this (sorry about that): go back to Convert to Black and White very quickly; Scenic Landscape looks pretty good; snap the contrast, and that looks pretty nice.1262

Now, we have that versus the desaturation; now, we go to Enhance, Color, Hue Saturation (I was working on the original image; that is why it didn't look so good; let me cancel and show you).1274

That is what I got, because I had forgotten that this was the image we had worked on.1289

So, you go to the Enhance, Color, Hue Saturation, Colorize, adjust your hue, adjust the saturation accordingly, and there you have a black-and-white version of that image.1293

Personally, I think the color, in this case, looks a lot better.1309

OK, there you have it: how to create a sepia tone image from either a color or a black-and-white.1314

That wraps up how to deal with exposure and color: auto, manual, color, black-and-white, removing color casts, and (let's go back to that) skin tones and color variations in Adobe Photoshop Elements 11.1323

I'll see you back in the next lesson!1343

Hi, everybody--Mike Brown back with you again, with another lesson in Adobe Photoshop Elements 11 from Educator.com!0000

Well, in the last two lessons, we dealt with exposure and color--making exposure and color corrections overall, to an entire image.0007

It worked pretty well; however, we could still have done much better than that by isolating specific areas for correction.0016

In this and the following two lessons, we're going to deal with the most important technique in Photoshop Elements.0026

If you remember my four categories--selections, corrections, retouch, and manipulation--you have now learned the corrections, which are exposure and color, but selections are the most important technique in Photoshop Elements.0032

We're going to talk about what they are, the importance of selections, the primary selection tools, panels, and options in overview, and selection shortcuts, and I'm going to show you a few samples that will show you precisely the value of using selections.0047

So, let's get started!0062

Creating selections is the most important technique in Photoshop Elements.0066

What is a selection? A selection allows you to precisely isolate an area of your image for making specific and precise modifications or corrections.0072

When I mean precise, it doesn't mean necessarily a very sharp edge; sometimes you need a broad, soft selection to blend slowly into something; sometimes you need a very sharp-edged selection to cut out a specific element.0084

Accurate selections immediately provide you the means to take your images to a quality and creative level far beyond just making the overall adjustments.0100

This feature alone sets Elements apart from any of the many plug-ins and apps that claim to be able to work wonders to your images.0111

In today's world, we have smartphones; we have tablets; we have laptops; we can even have iWatches coming out pretty soon; all of these have photographic capabilities, and they all have little apps that you can buy to take your photographs and retouch them and fix them up, and then put them up on the Web or print them.0121

But, they really only do generalizations; they are not super precise, because you are dealing with--first of all, the tablets are pretty small, and you're dealing with your fingers, not working with graphic tablets to make precision stuff; they're not really what...but they do a decent job; but if you're working seriously in photography, and you want your stuff to look absolutely flawless, even better than you can do with any of these apps, that is what Photoshop Elements is all about.0142

That involves selections--the most important technique--my mantra is very simple.0171

Even if some of those apps, by the way, can do a decent job of improving, none of them are able to make the quality precision selections you can here in Elements.0178

If you can't select it, you can't correct it: it's that simple.0187

If a selection is not perfect, and blends perfectly, the effects or corrections that you apply to the selected area will not blend flawlessly into the image, and will immediately scream, "Photoshop!"0192

You have all seen it; you have seen pictures where somebody has stripped a person into an image, and the edges are not perfect; you can see the little outline around it; you know perfectly well that it was fake.0206

You have seen all sorts of stuff--hands; everything you look at; "Oh, yes, that's Photoshop"; that is why "Photoshopped" is a term in the dictionary--because of mistakes, not because of how great it is.0217

In this series of lessons, I'm going to be showing you the entire array of tools and techniques of selecting, and how to use them to create perfect selections for any situation.0230

You're going to learn to do this easily and efficiently, and that is the key; if you get bogged down, spending a lot of time trying to make an accurate selection, you're going to give up and just move on.0241

But, if I make it easy, quick, and flawless, you're going to use it, and what is going to happen then is, once you understand what type of selection you need for a situation, and how to quickly and accurately create it, the quality level of your images will go up dramatically, and the creative possibilities become endless; because now, you know what you can do to your image, and how well you can do it, it allows you to visualize photographically entirely differently.0251

So, let's get started looking at selections!0280

Let's go over the principal selection tools, and their options, very quickly; in the next lesson, we'll attack them specifically.0284

All of these selection tools are gathered under the Select category in the Toolbar.0292

We have the Marquee tools up here in the upper right, and if you'll hover, you will see the shortcut: the letter M, for Marquee tools.0297

We have an elliptical or a rectangular; the elliptical draws ellipses or circles; the rectangular does rectangles.0308

You have an option for feather, which is the thickness and softness of a selection edge; and feather is so vitally important--we will probably have a lesson on it specifically, because that is the blend area where things blend in and make it perfect.0316

There are your Marquee tools; under the Lasso tools, which are right below the Move tool: we have three of them.0332

We have the Freehand lasso, which does freehand selections; we have the Polygonal lasso tool, which allows you to make precise straightedge selections; and the third one is the Magnetic lasso, which I am not a believer in, because it tries to find edges, and ostensibly it does a wonderful job--but if the edge isn't absolutely perfect, it searches around, and it's going to drop points all over the place, and you're going to spend more time correcting it than you will making it.0340

The other two tools will do a better job 99% of the time.0370

And, with the Lasso tools, we have the Refine Edge dialogue box, which, by the way, appears with all selection tools.0376

That takes care of the Lasso tools.0386

Now, the Quick Selection, Magic Wand, and Selection Brush--all three of these are under the lower-right-hand one.0390

Here is the Quick Selection tool, the Selection Brush, and the Magic Wand.0398

If you are working in Adobe Photoshop Elements 10, the shortcut for the Magic Wand is W, and it sits separately as a singular tool.0403

The Quick Selection and Selection Brush are grouped, and their shortcut is the letter A.0414

Now, the wand also is grouped in here, and it has the shortcut of A, not W.0424

Now, the Quick Selection tool looks for edges of contrast and color--that is how it does its selection; so it defines edges.0431

The Magic Wand tool: what it does--it works on areas of similar color--for example, the sky--and you can adjust the range of color by adjusting what is called the tolerance slider.0441

The larger the tolerance, the wider the range of color; so, you can tighten it or broaden it to suit your needs.0454

The third one is the one that you're going to use an awful lot; this is the Selection Brush.0462

It allows you to just simply paint selections and masks (masks are the blocked-out area; selections are the active area).0466

You can actually painting, and see what you are painting, of a mask, and then, once you have made the mask, just simply reverse it, and it's now a selected area--very cool tool.0477

There you have all of them; and the fifth and final one would be layer masks, which we will be dealing with when we attack layers.0488

A layer mask is a saved selection that is attached to a layer, so that it affects whatever the function is, only of that layer; very cool, but it's basically just a selection.0500

So, Marquee, Lasso, Quick Selection, Magic Wand, and Selection Brush are your selection tools, and we have feather, the tolerance for the Magic Wand, and the Refine Edge box, which allows all sorts of modifications--softening the edges, making it expand and contract--all sorts of cool stuff--and it allows you (this is new for Photoshop CS6) to select hair and fine details accurately--it's absolute magic.0513

All right, let's take a look at our selection shortcuts very quickly.0542

I'll be putting these in the Quick Notes for this lesson.0546

The tools: Marquee tools--the shortcut for Marquee tools (which starts with the letter M) is the letter M; all you do is hit the letter M, and you notice that the Marquee tool highlighted and popped up.0550

The shortcut for the Lasso tools is the letter L; if I hit L, notice it highlighted and popped up the options for the Lasso tools.0564

Quick Selection, Magic Wand, and the Selection Brush are all the letter A, and there you see: when I hit A, up came those options.0574

The operations (we'll deal more with this in detail) that make making selections so easy: if you are making a selection, and you need to add a piece, you very simply hold down your shift key and keep going with the tool.0583

If you make a mistake and go too far, and need to subtract something, you hold your Option key on a Mac/Alt on a PC, and fix it; so, you can just do this on the fly.0599

To hide the crawling ants--and let me identify what crawling ants are--I made a selection here, and you see the little dashed line that keeps moving around here?--the colloquial term for this is "crawling ants."0609

What that is defining is just the edge of your selection--not the thickness of the edge; just the broad border of a selected area.0625

So, you can tell where the selection is.0635

To hide these crawling ants (because, if you're making an adjustment, you really don't want to see that edge--you want to see that blend), you do Command on a Mac/Control on a PC, and the letter H (which I'm going to do--Command+H).0640

Now, you saw that it went away; it did not deselect the selection; it's still there; it just hid the crawling ants; Command+H brings them back.0653

If I want to deselect a selection, what letter do you think we might use in combination with Command on a Mac/Control on a PC?--D for deselect, H for hide, A for all.0662

Command/Control+D deselects; Command/Control+A (notice the crawling ants are around the entire image) selects all; Command/Control+D...these are your basic shortcuts that you use while you are working with selections.0676

That sums up the generalities; let me show you the value of selections, using three different types of pictures: a landscape, a commercial composite with very fine detail, and a portrait.0691

We're going to start with a landscape; this is the landscape that you guys remember (I want to get rid of this right now) from our last lesson in exposure and color.0705

We first took this raw image, and we applied overall Brightness and Contrast--did that; overall Levels--did that--it looks a lot better; but it was still a little bit bright in the rocks and the sky and the water, so we went to Shadows and Highlights.0717

Now, the water looks pretty decent; so does the shoreline; but it flattened things out, because it brought the highlights down and the shadows up; it looks good, but it's a little flat.0734

We would like to fix some of those things.0744

Then, we took the Shadows and Highlights, and we added Levels, which popped it just a little bit, and it looks nice; but watch how easily and how quickly we can make it even better by using selections.0746

I'm going to go to the Selection Brush tool, and I'm going to put it as a mask.0760

I'm going to have a soft brush, with a hardness of 0, because we'll paint, and the first thing we're going to attack is the river.0766

We're going to just select the water area by painting, and notice--soft-edge brush--all I'm doing is painting very generally--I don't care if the edge goes over just a little bit--because it's going to blend in pretty well.0774

Make the brush a little smaller to pick up that area, and pick up that in there, and that is it.0788

Now, I'm going to go open the options, and I'm going to turn the mask--now, the mask--in a selection, masking blocks the effect; if I apply an effect right now, it's going to affect everything but the water.0794

I turn it into a selection, and the way you can tell that it's not going to be affecting the water is--see, out on the outer part of the image--the crawling ants are there, and around the water, and if I bring the mask back, you see that the water is masked; everything else is not.0809

You say, "Well, how do I fix that?"; I have the selection--I simply reverse it by doing Inverse, and now, you can see, everything else is masked--very simple.0829

You have the water ready, so I'm going to leave it as a selection, and I'm going to make an enhancement, but I'm going to do it with what is called a layer adjustment.0839

The same controls for lighting and color are right up here on the top, and apply as layers.0849

This is the power of Photoshop Elements that we will be dealing with; right now, I'm going to take our Levels and apply it.0854

I want you to look right up at the top; a layer appeared for Levels, and you notice (I'm going to just turn off the box) the thumbnail that is black and white; if I hold my Option/Alt and click it, there is the selected area, right there, that we made by painting.0863

The black area is protected, and the white area is the only place where the adjustment will occur.0883

Now, let's take that Levels, and let's work it.0890

Watch the water; I'm going to snap the contrast, and notice that it only affects that water area where I made the selection; so I'm going to snap the contrast, which darkened it, and then I'm going to take the white point and brighten it up just a little bit.0894

Snap it just a little bit more, and we'll turn it off and on; there was the water before--kind of flat and blended in with everything; and now, I popped it a little bit--it got dark.0910

But, we're not done yet: we're going to reload that same selection; there it sits; and now, I'm going to do an adjustment for hue saturation that will only affect the water.0922

We're just going to bring up the color in the water, and there we have it; so now, look at the difference: here is where we were from our overalls--it looks kind of cool: we put in exposure and hue saturation, and look at the river now--a distinctive difference from what we could do with just the generals.0934

Now, we have that; so now, let's work on the trees and pop them a little bit.0956

Make another mask by painting with the selection brush, very quickly--just the greenery is all we're going to work with on this.0960

The trees right there--we painted that--and I'm doing it generally, because we can let it blend right in with everything else.0972

I'm going to take these trees and greenery right here, and see how easy that was?--we have it; I'm going to come back, and I'm going to now open up the Options, make a selection--see, it's on the outside; we'll invert the selection; I'll show you again by making a mask.0979

Now, I'm only working on the greenery.0995

Go back to the selection; let's go up here, and we'll use our Levels again, and snap the contrast in the trees, and bring up the color.0999

Look at the dramatic difference there; I snapped it from just kind of flat to snap--we could even pop that just a little bit more, bring it on up...look at that--wow!1009

That really brought it out; so, look at the distinct difference in the greenery--it just jumps at you and has some depth to it.1021

The only other thing we're going to deal with (we can deal with the sky, and we could also deal with the mountains, but just in reference to time here)--I'm going to work on the shoreline very quickly--once more, with a mask.1027

We're going to paint the shoreline--just go in and just do the same thing with a soft-edge brush.1040

I'm going to avoid the dark rocks, because I don't want to make them any darker; we have that; go to the Options; make a selection; invert it; and I'll show you again that now, the protected area is everything except just the rocks and the shoreline.1046

Now, we're going to do the same thing again; let's get rid of that; let's go do a Levels exposure control, snap the contrast--and look at the color that came up with that!--up the white just a little bit, and now I'm going to reload that selection and do a hue saturation, and we're going to pop the saturation in the earth; and look at all the color that came out in that, right now!1063

What we did: (let's turn it all off) this is where we are right now--look at the drama in that image; I can do a little more here in the sky, but watch.1088

This is where we had worked it to, overall--it looks nice; then, we put Levels and color in the water; then we adjusted the greenery, and then we adjusted the foreground area.1095

Look at the dramatic difference: before...and after--all taking selections to make some additional modifications after we had done all of our overalls.1107

A really dramatic result, and very easy.1120

OK, let me show you a couple more examples, and then we will get on to the next lesson and actually use them.1124

Here is a commercial composite that I made for the Chevrolet dealer.1129

What I have here is a new Camaro, in speed, driving around a corner in the mountains, with the logo of the dealer in the background.1135

Well, the original photograph--this is the Chevrolet right here; I shot it in the dealer's lot, and if you can see, when I got finished with it, the wheels are now spinning; the background (which--let's see if I can bring the background out)--there was our original background there; I have actually made the background move.1144

But, I want you to notice that the car has been stripped in, or composited in, a background, and look at the difference: you can't see any evidence along the edge of the car that it was composited.1170

Look at how perfect the edge of that car is.1185

I'm going to show you the selection for the car, right now; this is the power of making a precision selection, which you can only do here in Photoshop Elements or in Photoshop.1189

Here is the selection of the car: take a look at the selection edge.1201

Let me bring this brush way down; I'm going to blow it way up.1206

Look at how precisely--just a little clean smoothness--how smoothly and perfectly that edge goes around the automobile.1209

That can be done very easily; and then, we have other areas where I needed to make selections.1221

Let's go up to the top here; here is one for the logo for the dealer that need to be stripped in.1228

If I undo that, you will see that the logo has a perfectly clean edge with at drop shadow; you can't see any evidence that it was composited--you know it was, but it's a perfect job.1237

Then, for the wheels, where we did the spinning, right here (I think this is the front wheel)--there is your front wheel, and you notice it's a little, tiny bit soft, right in this area, where there was some shadowing, but look at the precision around the edge of the tire, so that it looks perfect when it's stripped together.1248

There is the power of using extremely precise selections; and oh, by the way, we have some more; let me just show you really quickly.1271

There is the roadway; there is the shadow of the car, and look at the base of the car--how perfectly that fits around the wheels; everything is absolutely precise, so that there is no way that this is a giveaway that this particular shot was not an original photograph.1279

That is the value of selections, there.1304

Let's show you the last one: here is a portrait that was taken by a friend of mine of this young lady.1306

Here is the original photograph (let's zoom it out one time and come up slightly); she looks really nice, but you can see that the lips are imperfect; her skin needs to be smoothed out a little bit; she has these bags under the eyes--just a hair; the eyes are not white, and in the area of her chest and chin, it's a little dark from the lighting.1315

Let's show you how selections worked right here.1340

Here are the selections, as masks attached to layers; right here is a selection that was painted fairly easily, just like we did with the landscape, to isolate just the skin area down there for color and exposure.1344

And, if you will see, notice how that has been cleaned up, and it blends perfectly--you cannot see any evidence at all of any edges in there.1360

Now, with the lips (let's go find the lips; I think they are right here--no, that is below the lips; let's see--they should be here somewhere; perhaps...there we are): there are the lips; we made a pretty precise selection with a little smoothness--just a little bit, so that it's not absolutely a sharp edge, so that the exposure--notice; and I'll turn it off and on--we have no evidence; you can't see the edging at all--perfect blend.1371

Let's go up to the eyes and take a look at that.1406

Here are the eyes right here; hue saturation cleaned up the area (let's just load that so you can see it); that was to whiten up the eye--notice, it took a little pink out; there is the selection right there.1411

At any rate, what you see is that we have broad selections; we have precise selections with smoother edges, and all.1427

Oh, the one big one--let's show you the one here--was the face; and a multiple-painted selection here, so that we could isolate the skin areas and not affect the eyes, the eyebrows, the nose, or the mouth when we smoothed the skin out.1434

Let me show you the difference right up in here; you can see absolutely no evidence of edging.1456

That is the whole key with all of these selections: perfect, flawless blending.1464

There we did a landscape--very easily, a very precise commercial job, and a portrait, all utilizing selections from Photoshop Elements 11.1470

In the next lesson, I'm going to show you how to do this--so I'll see you back in the next lesson!1481

Hi, everybody--Mike Brown back with you again; welcome back to Educator.com's Adobe Photoshop Elements 11 course!0000

We have been talking about selections and how you can utilize isolating areas (which is what selections are) to actually improve an image beyond what you can do with overall corrections.0007

We saw that in the intro lesson, where we took the image that we corrected on an overall basis (with exposure and color) and, by painting some selections (which is one way to make the selection), very quickly, we actually improved that image by making dynamic changes to isolated areas.0022

In this lesson, we're going to go into relative detail on how to use very basic selection tools: the Marquee tools, the Lasso tools, the Quick Selection tool, and the Magic Wand, and how to add and subtract from the selections.0043

Let's get started and show you how to work with them; in the next lesson, we'll take that even further.0060

So, let's get started!0066

We're going to deal with the Marquee tool (you remember, up here, when we click it, we have the oval and we have the rectangular).0069

Let's go ahead and open up a blank document: Command/Control+N, and I'm just going to go and make this 700x700 at 200, and we'll click OK, and we have ourselves a blank document.0078

This will enable us to take a look at this.0094

Now, when you click any of the selection tools, you notice that you'll get the Option bar; it pops up with the various options.0097

For our rectangular and oval/elliptical marquee, we have a feather option; we'll talk about feather in a later lesson, but right now, we're going to give you the generalities.0106

You notice, with both the elliptical and the rectangle, that you can set a fixed size or aspect ratio, if you want to.0119

Let's say, for example, you are doing an 8x10 photographic image, and you want to maintain that aspect ratio; you can have it as to 8x10; we click OK on that (oops, I wanted to put a 0 in there: 8x10).0129

And then, when you click and drag (which is the way you make a selection), you will notice that, no matter what I do, it has that fixed aspect ratio.0148

When I release, you see what we call the crawling ants: that is that dashed line that shows you the outer bounds of the actual selection.0158

Everything inside that area is active; everything outside is protected.0170

Let me show you that by taking--let's just take a paint brush, and I'm going to paint with black, and I'm going to paint inside this; now, I'm going to leave the crawling ants active (remember, to hide your crawling ants, Command on a Mac/Control on a PC, the letter H).0178

First, I'm going to leave them open, and as you see, as I paint, it's only working within that selection; everything outside is protected.0198

Now, if I do Command/Control+H, I have hidden the crawling ants, but as I paint, you will see that once again, the selection is still there.0207

So, if I undo that and do Command/Control+H, our selection is still there.0219

To deselect (if you remember from the last lesson): Command on a Mac/Control on a PC, deselect--the letter D: Command/Control+D; now we have no selection.0224

Let's reopen our Options, and let's remove the fixed ratio and go with specifically normal.0237

Now, when I click, it does anything I want to; you notice, what it does is creates the rectangle from where I click; it's a corner, and it makes it go from there.0249

The same thing holds true with the elliptical marquee, in the same exact fashion; if you wanted to constrain it to a specific oval, you can do that.0260

Now, I'm going to show you a couple of little tricks.0271

If we hold down the Option key with a rectangle, and click and drag, you notice what it does: that becomes the center, and it drags out from there.0275

Click and drag; I can still control the dimensions, but it all came from...rather than dragging from a corner, if I hold the Option or Alt, it drags from the center.0286

Now, if I hold down the Option/Alt and Shift, and click and drag, you notice it drags a square, centered where I started the click.0301

Click normally and drag: it drags from the corner; Option/Alt+click: it drags from the center, be it of the rectangle or, if we do it with the oval, same thing--from the center; if we hold down Option/Alt plus Shift, click and drag--in this case, it's a circle; in the case of the rectangle, it would be a square--Option/Alt+Shift, click and drag from the center.0313

Now, if we just hold the shift key down and click and drag, it drags a square, but from the corner.0344

Quick Notes will have a full list of these little shortcuts.0349

Basically, that is what you are getting: rectangles and ovals, from your Marquee tools.0353

Usually, these I use not a lot--they are used, basically, to cut out items, and I usually have a hard edge.0363

Feather, which is the thickness and softness of the edge, is available on this; we'll talk about that more.0372

That is what your Marquee tools do.0378

Now, let's go to the Lasso tools; let's back up for a moment, and let's put a blank layer on top.0380

Let's make this red, take a brush, make it small...0389

We have talked about the Marquee tools (big check mark there; I'll make a smaller one; there we go); so let's go back to that blank that we had here, and now we are on our Lasso tools.0394

We'll start with the Freehand tool.0410

Freehand Lasso tool allows you to draw freehand selections.0413

In other words, you can follow smooth objects--and you notice (once again I'll mention it), I'm using a graphic tablet; I'm going to try to draw something with my touchpad, which I doubt I can do very well.0420

Click, and you notice that it's just pretty difficult to do precise selecting.0434

It's so much easier to use a graphics tablet; this is why, if you're going to be serious about working in Photoshop Elements, I highly recommend Wacom small 4x6, either the Intuos version (which is the higher-end one) or a Bamboo.0442

You can go to Amazon.com and look up refurbished Wacom tablets, and you will find them at a very good price with a factory warranty.0462

OK, so that is the Freehand; the Polygonal tool does straight edges.0473

Let me show you where that would be of value.0481

Here is a building; let's say we wanted to isolate this group of windows, right here.0483

It's very easy to do it; we have them here; we're just going to go around the outer boundary of the windows; we have selected the straightedge; all I have to do is click on a corner and release, and now I'm free to go until I find another corner.0494

Click, and go all the way down to the next corner, and click, down to the bottom corner and click; and when you come back to the start, you will see a little circle.0509

It should appear; I think I deselected the thing--we're going to go again.0521

Click, click, click; and back to the start there: see the little circle next to the cursor?--that indicates that you are now on the start point.0525

If you just clicked Return or Enter from anywhere, it will close it off from there.0537

Watch what happens now: you notice it put that extra piece in there.0545

We're going to undo that, deselect, and do it one more time--with a pair of windows.0549

Click, click, click, click, and we come back to the start; there is the little circle; click, and there are our crawling ants, and we have highlighted and isolated that specific window.0556

That is how we work with the straightedge tools.0570

All right, let's go back to that blank again; so there was click, click, click, click, and you see the little circle to close it off, and there you have it.0574

OK, that is how that works; freehand with a regular lasso; straightedged with a Polygonal tool.0584

Now, I'm going to only mention this (and again, we have the feather control, which we'll talk about in the next lesson).0590

Here we have this Magnetic lasso tool.0599

I don't really like this tool a lot, because what it does (let's see what happens with this well-defined straightedge); it's supposed to--actually, you just kind of generally follow along, and it drops points.0605

Well, it does an OK job only; let's go around--let's follow this building down--and I'm just going to kind of roughly go along...and see what is happening?0620

I'm going to come back around and close it off, and you see that it really didn't do a very good job of finding those edges.0633

You almost have to do it perfectly; it's a real pain; I don't recommend using this.0643

The straightedge can select anything, by the way; if you have a straight line, you can go in straight-line distances; if you have a curved surface (let's...for fun, I want to show you the edge of this flower), we need to do a curve.0650

We can do this with the lasso tool--the freehand, by drawing it, and as long as you have a good, steady hand, you can do a pretty good job.0668

I'll show you how we deal with mistakes; there, I got a section pretty well.0681

But, watch this: with the straightedge, just drop very short segments, and effectively, you are getting a curve--just tiny little hits all the way along here like this, and you are getting a very good representation of the selection, actually extremely accurately, by doing just little, tiny areas.0685

Notice what we have there; let me go to the Selection Brush, and I want to make the mask (and we'll make it blue so you can see it), and look--actually, the edge is pretty good around that flower.0714

What you can do is utilize the Polygonal lasso tool in very short segments to simulate making a smooth curve.0731

You can be far more accurate by just clicking the little sections, OK?0746

There you have the Lasso tools: Freehand (let's go back to our untitled), Polygonal, and don't bother with the Marquee--it doesn't work that well.0751

Let's go back to our Functions, pick Brush, and we have dealt with the Lasso tools.0764

I recommend that you use the rectangular, the oval, the Freehand lasso, and the Polygonal, and ignore the Magnetic.0772

Let's take a look at the Quick Selection and Magic Wand.0780

Here we have a landscape (let's zoom it up a little bit), and I would like to select the sky.0784

We're going to go and select the Quick Selection tool; the Quick Selection tool looks for edges, and you have an adjustment for brush size.0792

The right bracket increases; you don't want to make your brush size very large when you're doing a selection, because the size makes it a little different as to where it's looking.0804

In this case, we'll drop it down as we come up, and all we have to do is work our way along the edge, and stay--the area that you're selecting is where you want the tool; you don't want to go on the edge, because it's looking for the edge.0814

It's not finding it if you're right on the edge; it doesn't know which side you want to go on.0831

If you want to select the sky, just click and drag, and notice how it looks for the edges as we go along.0835

Now, this tool has add and subtract features (we'll go into that in a minute); it's automatically on the add, so now we'll just go ahead and add more.0845

But look what is happening here: it is missing, because the edges are not really, really well-defined.0854

If we went to that building, and did the sky here, notice how easy it is?--and even there, it got over into the brown area.0863

Let's try it with a smaller brush and see if that makes any difference.0874

It's too small; make it a little larger; and we come along, and again, there it found the edge pretty well--I found a size that worked--but even there, it had a tendency, you see, to drop over just a little bit.0880

You need very well-defined edges for the Quick Selection tool.0894

But, it works with well-defined edges really well.0898

Let's go, now, and take a look at the Magic Wand, which only looks for areas of color.0902

Now, you have a tolerance slider; the wider the range of color is by a larger tolerance.0911

If I set the tolerance very low--like down around 11--and I click in the sky (which you can see is darker on the top than the bottom), you will see a band; that is the range with 13.0920

Let's say I made it a range of 4 and click again: the band is narrower.0932

Now, once again, you have these little boxes here: this is New; this is Add, Subtract, and Intersect.0938

If we want to add, we'll click that little box--and we'll click another segment, and just keep clicking, and the range will take it down; and as we get close to the edge, look at that--how well it actually found the edge of the mountains, because the color range stopped right at the edge.0945

Let's zoom it up and take a pretty good close look at that.0967

See the crawling ants--how well they follow the edge of the mountain--I could even click in here and maybe stretch it a little further; it did a great job and wasn't even offended by the white area.0971

A pretty good tool--now, the Quick Selection tool works well in other spots; let's try the Quick Selection tool down in the water.0985

What we'll do there is bring the brush size up just a little bit, and let's go around the water's edge and see what happens with this.0993

Pretty good--notice how it's following that cove really well, and we'll come right up into here and zoom it up and take a look at what we have.1003

It actually did a pretty good job--missed a little bit here--we can make the brush go down, and go to the Subtract side, and click right there, and drag, and that took care of that little problem.1015

We had a few little misses in here that we can fix, but all in all, it did a pretty good job of finding edges along that cove line.1028

Just bring it back down with the subtract, and we corrected it.1039

You're beginning to see adding and subtracting, but look at that; when it has a well-defined edge, it does a pretty decent job of finding things.1043

OK, so that shows you how the Quick Selection tool and the Magic Wand work--they work pretty well.1052

Let's go and look at one more here (I want to find this flower--there it is); now here is where you have some really well-defined edges; let's go with the Quick Selection tool, up the brush size a little bit--nice edging.1058

We're going to select the flower.1075

We could do it two ways: we could select everything but the flower, and invert, but we're going to select the flower.1076

So, we're going to stay inside and just (oops, we have a minus; we want a new selection) click and drag, staying inside the black, and notice how well that is doing.1082

It's automatically adding, as we lift and move, and I just drag down--not touching the black--and it finds our edges.1092

Come right over into here, coming on around; notice how really well this is working on a clearly-defined edge color differential; primarily, it looks for big color differentials to get the edging.1104

Now, here we want to subtract, because we got a little bit over, so we're going to hit the subtract button and drag along on the other side, in the area which we want to remove.1120

It works, and just a tiny bit right there, and a tiny bit right there...and look--that did a great job of selecting that flower.1132

As long as you have distinct color contrast edges, the Quick Selection tool works great.1141

But, the Magic Wand would work equally well here; let's try that for the fun of it.1148

We're going to go (let's up the tolerance a little bit) and just click the Magic Wand, and see what happens.1153

Let's make the tolerance even wider; and I just go ahead and click, and look at that--oops, too much tolerance on there; we'll back it off to about...let's say 50ish.1162

Click, click--we're adding and just clicking in the various areas, and you see that it is getting out there--pretty decent.1174

But, there are a lot of different color variations in here, so in this case, the Quick Selection tool did a little better job.1183

So, you play with those two, and for broad areas of color or color contrast, these two tools work.1192

All right, now I want to talk to you a little bit about adding and subtracting.1199

In Quick Selection, we talked about that one; and the Magic Wand selects similar colors.1205

Tolerance--you understand the tolerance also, here.1213

We want to talk just a little bit about adding and subtracting: we dealt with the Marquee tools, Lasso, Quick Selection, and Magic Wand; now, we're going to talk about adding and subtracting.1215

Let's work with the Freehand lasso tool.1227

We make a selection; if we want to add to it, there are two ways to do this.1231

All these tools have the add or subtract options, but again, we want to save time.1239

So, if you remember in the Intro to Selections, there is a shortcut for any of the selection tools: to add to a selection, hold down your shift key and simply (notice, when I do this--look at the cursor--shift key--you see the plus sign appear) all I have to do is draw, and it adds to my selection wherever I draw.1245

If I want to subtract, it's Option on a Mac/Alt on a PC, and you will see the minus sign appear, and I can subtract areas, even from the interior of a selection.1269

We'll do that again: make a selection; to add, Shift; to subtract, Option/Alt--very simple; or, utilize the checkboxes.1283

But again, we want to save time, so remember the shortcuts: Shift to add; Option/Alt to subtract.1295

In this lesson, we have talked about how the Marquee tools work (rectangles, ovals, or fix by using Option to go from or Shift to make a square or circle).1303

The Lasso tools: our Freehand lasso tool, the Polygonal tool (which makes straight edges)...1318

And by the way, with the straightedge tool, let's take a look at that really quickly; Deselect (Command/Control+D); let's make a straight-edged selection.1325

If we want to subtract, Option/Alt, click, click, click, click, click, and it pulled that section out as soon as I click it off.1337

If I want to add to it, hold down the Shift (there is the plus); so, all of the tools operate in the same fashion.1348

Now, we have added; Shift to add, Option/Alt to subtract, or utilize the boxes.1356

Notice, in the Lasso tool, they are there; they are also there in the Marquee tool and the Quick Selection, Magic Wand, and--we're going to deal with this in the other one--the Selection Brush; all have the add/subtract buttons there.1362

In this lesson, we have now gone over the primary tools, how to create the selection, how to add, how to subtract, and what the tools are actually doing.1379

The last thing we did is deal with adding and subtracting.1391

In the next lesson, we're going to deal with more of the options for the selection tools: feathering and taking the tools a little bit further.1395

I'll see you back in the next lesson!1405

Hi, everybody--Mike Brown back with you with another lesson in Adobe Photoshop Elements from Educator.com!0000

In the previous lesson, we explored the basic selection tools in Photoshop Elements, showed you how each one works, basically, and how to add and subtract from basic selections.0006

In this lesson, we're going to take it further, and I'm going to show you how to make efficient and flawless selections with those basic selection tools, and we're going to explore the property called feather--a vitally important property to make sure that you get flawless blends when you make selected areas and correct within them.0017

We're going to define what it is and have an example of how and why to use it, and then I have Part 2 here; we're going to demonstrate making selections, using feather, and adding and subtracting.0037

Make a mistake; keep going--if you're making a selection and you make a mistake, don't go back and start again--it will take too much time.0049

Just keep going, and we'll come back and fix it; it's very easy to correct things.0058

That will allow you to make quick and efficient selections.0062

Let's start by talking about "What is feather?"; feather is the width (let's just go ahead and get this) and softness of a selection edge.0066

In other words, you can see automatically, without even showing it you--if the edge is wide and soft, you make a correction--it's going to blend gradually into the rest of the area.0084

If the edge is very hard and you make a correction, there is going to be a very abrupt change right along a sharp line of the correction into the rest of the picture.0097

Sometimes, you want a sharp edge; sometimes you want a soft edge; and the way you do that is with feather.0108

Let me demonstrate it: here is an example right here: I made a circular selection, and I outlined the edge so you can see where the circle is, right here.0115

I'm going to go ahead and turn that off, and what I did is made a series of saved selections.0130

You can save any act of selection by going to the Select menu, down to Load or Save (you see under here--Save is grayed-out because I don't have an active selection), and then you can load it back up.0137

Before I do that, I want to show you where feather actually appears, to show you how important it is.0152

Under the Marquee tools, the options give you a feather slider--both of them.0158

Under the Lasso tools, each tool can be adjusted the feather--there it is, right there--all three of those.0164

Under the Selection Brush, there is no feather directly, because you are painting--we haven't dealt with that yet.0171

The Quick Selection tool does not directly have feather, but if I do a Quick Selection, like that, notice the Refine Edge box becomes active.0178

If I use the Magic Wand and click that, again, Refine Edge.0190

You can get to the Refine Edge under the Select menu, as well.0197

When you click that, you have numerous options for adjusting your selection, and there is feather again.0201

So, feather appears almost everywhere.0208

Let's go back to our blank selection, and I'm going to load up a selection of that circle with no feather at all--zero pixels--very hard edge.0211

It's right here: there is a series of selections: 0 pixels up to 100; there is 0; I load it.0224

You see the crawling ants, which defines the center of the edge; if the edge is soft and wide, it's right in the middle.0231

At 0 pixels, it's right on the edge.0239

I can change this to a visible representation of a selection by making what is called a mask out of it.0241

We do that with the Selection Brush, and now you see that selection as a black-and-white representation.0250

The white circle is the active area; the black is the masked or protected area.0259

We'll take a look at the edge, and as you see, if I zoom it way up, you can see that it's just absolutely hard; it stair-steps right down the pixels.0265

That is 0 pixels of feather; it's just a very hard edge, as hard as you can get.0277

100% active inside the selecting area; 100% blocked and protected; and it's an instant transition from all correction to no correction, right along the harsh edge.0283

If we feather it, which means we soften the edge by the number of pixels that we feather, let's start with loading a selection for one pixel of feather.0299

Watch the edge, and notice that it has softened the edge.0312

I'll undo that and redo that; there is 0; there is 1 pixel.0316

1 pixel does a really great job of just cleaning the edge and making it nice and soft.0322

As we come back down, you see: there is 0; there is 1; it's just a nice edge.0329

Now, in photographs, you will rarely ever find...in graphics, you will find absolute harsh edges; in photographs, almost never.0336

As a matter of course, I suggest that you make a minimum feather of 1 for any selection for any use other than in graphics, just to soften and clean the edge.0345

Now, let's go further: Select, Load Selection, 5 pixels of feather: watch the selection.0358

Notice that it got softer; there is 1; there is 5.0367

Now, the transition from correction to protected area has a softer edge, and it's beginning to blend.0371

Let's go back to 1, and let's load up 20 pixels of feather.0378

There is 20; in other words, from right in the center of that selected area, out to that edge, is now 20 pixels; so it's a very gradual drop-off.0386

Notice that the circle, if I correct it in here, is going to have a soft transition and blend with the outer area more.0396

There is 1; there is 20; go back to 1, and let's do one more--let's go all the way to 100 pixels.0403

Now, you can see that the center was right about there, and if you make a correction, it's just going to do a very, very soft and gradual blend into the rest of your picture.0412

You can either be using a harsh transition or a soft transition--whatever you need to accomplish the task, depending upon the picture.0424

Let's put that to practical use right now and show you how it works.0437

Here is an image that I have taken of this cove locally.0441

What we have here in the foreground area (let me make sure...right here--there is the original shot): we have a cove, and you can see that it's kind of a little yellowish, muddy-looking, and then it gets out into the open water.0447

We have a nice blue ocean, but inside the cove, it's just kind of dirty yellow.0468

What that really is are beds of kelp underneath the surface, but it doesn't look very good, so I would like to take this entire area right here, and color and exposure correct it to match it up with the ocean.0472

But, we have a few problems; this is how you attack things.0486

Look here, at this line along in the ocean, where on this side, in here, it's all kelp; out there, it's blue.0490

It's not a sharp edge--it's a very gradual transition.0496

What does that tell you?--we need a soft-edged selection to allow that to blend.0500

If we put a hard edge--I'll show you that right now.0505

Let's take a Lasso tool with 0 pixels of feather, and just select part of this area, and I'll go ahead and do an Enhance, Lighting, Levels correction on it.0508

We'll bring it down, and we'll open it back up some and do a little change in...that is pretty close to as good as you can get, right there.0521

Command/Control+H, and look what we have: you have a hard edge that shows.0537

That is because there was no feather in the selection.0545

What we're going to do is back that out and leave it right there.0549

Now, you see that we need a wide, soft edge; but what happens over here?0554

This would take you days to try to select every single one of these leaves and branches of this area, and then try to figure out how to select along this jagged cove.0561

Well, there is an easy solution to that: a very soft edge--a large feather.0574

Let's show you how to do that.0580

We're going to go ahead and leave the feather, right now, at 0, and we'll adjust it in a moment.0582

We're going to take this (let me zoom it down one time), and we're just going to make a selection, just generally, and I'm going to stay a little bit away from the edge of everything.0588

We're going to let the soft feather that we apply move it out.0601

See what I'm doing?--I'm just making an easy selection; I'm not even worrying about these leaves.0606

When you get to the edge, if your selection goes all the way to an edge, go past it, because it will always snap back to the edge, and it's very difficult just to follow the edge cleanly.0612

So, I go down, and I go up, and you can see the line following it.0623

I release, and there is our selection; let's look at it as a mask.0627

You see right there--it's a very hard edge; we'll go right back to the selection.0632

So, if I put an adjustment in there, Command/Control+H just hides the selection crawling ants.0637

Let's go Enhance; let's go to Lighting; let's go to Levels, and let's darken it down a little bit, and increase the contrast just slightly, and bring it back up.0645

Not bad, but let's look at what happened.0659

You can see the edge--see, right here in the water--that dark line; and, as we get over toward the shoreline, there it is, and back here...0663

That just doesn't work at all!0673

That is because the selection had a hard edge.0675

We're going to back it out; there is the selection, so now let's do this: we're going to go to the Select menu, go down to feather, and we're going to feather it a fairly large number--let's start with about 60 pixels.0679

You can do this and undo it until you get where you need to be.0697

Now, it doesn't change the look because of the crawling ants, but once again, let's look at it as a mask.0701

Look what is happening--now, you're beginning to see a softer edge.0710

Let's go back to the selection: it's softened down by 50 pixels, so let's try that and see what happens.0715

Command/Control+H, Enhance, Lighting, Levels, and we'll bring it down now.0722

And see, out there in the water, it looks pretty good.0731

Actually, we'll lighten it up just a little bit--right there--and we're going to undo it and redo it.0734

Now you're seeing some effect; the ocean looks fine; let's go out there and take a look.0744

Undo, Redo; the softness in that edge blended it, but look here at the water's edge.0749

Undo, Redo; it's not bad, but we're seeing a little bit of brightness right here; it could be a little better.0756

What we're going to do is try it one last time.0764

Here is your Command+H; there it is; back to Select, Feather--and instead of 60, let's go to about 150 and see what happens.0767

Take a look at it as a mask again: now, you can see--look at the transition--see, right in here, we can see that the blend is now beginning to touch the plants.0778

It's also beginning to touch the shoreline--just what we needed; and it's beautiful everywhere else.0792

We'll go back to the selection; now, we're going to do Command/Control+H, Enhance, Lighting, Levels, and now we'll apply those same corrections; we're going to darken it and open it up just a little bit.0798

Now, let's go ahead and get that right here, take that part out, zoom it up a little bit so you can see this; watch now (close out this box, too).0818

Command+Z, Command+Y; look in the ocean; out here, you can't see any transition whatsoever--no evidence of photoshopping.0831

Command+Z; look at the water line--it comes in; the water line actually snapped a little; perfect, and look down here in the green greenery; Undo; Redo; look at that beautiful, soft transition.0842

What we did (undo it, redo it): we matched up the exposure.0860

Now we need a little color shift; we still have our selection, so we can go in--it's nice and soft and perfect--go in the Enhance menu, Color, let's go to Color Variations, and we're going to take (since it's too much yellow)--we need to add a little blue.0865

We're just going to go ahead and add it; too much; let's drop the intensity down.0885

Let's, in the mid-tones, add a little bit of blue, and click OK, and we're going to undo that and redo it, and notice how much improvement we have.0890

Let's go back to the very beginning on this.0902

We started right here, and we got it to there, and look at the transitional areas--how smooth they actually are.0908

You see no evidence of where we did it.0916

That is how we use a large amount of feather for a gradual transition, and it even worked where we had some sharp edges--it let it just blend.0918

All right, that is the value of a large feather.0927

Now, we're going to work on the shoreline, and also, we're going to make a selection of the entire shoreline, up the hill, and the sky.0930

This will demonstrate feather, adding and subtracting, and "make a mistake; don't worry about it."0938

Let's take a look at that shoreline.0946

We'll zoom it up, and look what we have: remember, I told you we have clean edges--this is a very unfocused picture--but notice, right along the shoreline, it's not absolutely clean-edged.0949

There are a couple of pixels of softness all the way along there.0963

So, if we make a zero-pixel feather (let's just take a Polygonal tool and very quickly--let's back it off to 0--sorry, get that back; let's make the feather 0, and we're just going to make a quick little bit of a selection).0968

Click, click, up, over, and that should close it off; we'll take a look at it as a mask again; see what we have--very hard edge.0987

If we apply Control/Command+H, it just hid the crawling ants; Adjust Lighting, Levels; and if we darken it down, you see what happens is that the edge is very visible, as a very hard-transition edge.1003

We'll cancel that and deselect, and now let's take that same selection tool and make 2 pixels of feather only--just soften it out a little bit.1020

Now, we're going to do the same thing--go right up here, to here, to here, to here, and close it off; Command+H, Enhance, Lighting, Levels; and apply that same hard correction, but you can see now that it's a soft transition that matches the approximate softness of the actual shoreline.1033

We're going to use 2 pixels; in other words, right here, we couldn't use that really wide transition of 100 pixels that would affect the ocean, or 0.1061

So, we're going to pick 1 or 2, and it shows you the different spots.1071

Now, we're going to go ahead and make a selection of this entirety.1075

We're going to start over here; let me show you a couple of tricks.1080

I'll click it, and I'm releasing; I click again, and I can move the image by doing spacebar, which activates the Hand tool, click and drag, release, and we're back moving again.1083

Or, here is the trick: with your mouse, just release the clicker, or with the touchpad, release the clicker, and you have it floating; and just go the edge of the image, and look: it will push the image in the opposite direction, the same as using the spacebar.1097

Now, I can go ahead and click, and just push; click and push.1114

I'm going to go to here and follow down the jetty; straight lines; notice how well this is working and how quickly it's working.1121

This is pretty easy; we'll keep going here; there, there, there, right down there--just clicking our way along, following the shoreline.1131

But now, I ran out of shoreline; I'm going to go right through that tree and make a mistake.1143

Follow the shoreline again right down to here.1150

I made a couple of mistakes.1154

Now, I'm going to release; I'm going to zoom out, Command/Control- a couple of times; I want to get the image down; we're going to make a partial selection.1156

I'm going outside the border; it will always snap back to a nice, clean edge; spacebar now--let's move the image over to here; click, click, go right back to there, and there it closed it off.1165

Now, it may have made a slight error; I'm not going to worry about it.1179

What I want to do is: first, I'm going to look at this as a mask with a Selection Brush option, and it looks nice.1184

We got a little bit of softness in it; we zoom it up; see, we have that 2-pixel softness; it looks good.1194

Turn it back to a selection.1201

Now, that took a little while; I don't want to lose that selection, so I'm going to go to the Select menu, Save Selection; I'm going to call it Shoreline 1, and I'm going to save it.1203

And now, if something happened (in fact, I may have a mistake on the left side; let's take a look; we'll check that--that is what this is really good for--oh, OK, we're good)...1221

I still have the selection, but let's see what happens here; I deselect it.1235

I have lost it; I can always get it back by going to the Select menu, Load Selection, and there is Shoreline 1, and it's back.1240

We have saved ourselves some time, there.1251

Now, let's move over to the right side of the image, and the shoreline--we have a problem right here; we didn't want to select the...we didn't want that tree, because it's in front, and so is this.1253

We're going to go back now and change tools.1269

Lasso tool--we're going to use that same feather of 2 on that tool, and remember, Shift to add to a selection; Option/Alt to remove.1272

I'm going to hold down the Option/Alt, and notice the minus sign that appears next to the cursor; all I have to do is draw around that piece of tree, and it removes it.1284

Spacebar, Option/Alt, and I remove that little piece, and I've fixed it.1297

Now we need to add, because we need to go up the hill.1303

Shift, start inside the selection, come back; and now, I can follow the tree line, adding--and I'm going to make a mistake, and I'm just going to ignore it.1306

Just keep going; we'll fix it later.1318

When you run out of comfort room, just go up and over, and add a piece to your selection.1322

We'll look at it as a mask, and you see that I made a mistake right down here; so, we're going to fix that right now.1330

We're going to go back to the Lasso tool; I want to take that out, or remove it: Option/Alt; there is the minus again; I'll start outside and just surround the mistake and take it out--it's that simple.1338

Now, I want to add more--shift to add; start inside, and just follow along the horizon line on the hill, and when I run out of comfort, come around and add another piece to my selection--shift to add.1352

Come in, up and around the tree, and add another small piece.1370

Shift to add; you notice how easy this is--just keep adding pieces to your selection--and now, I think I have enough that I can pretty much get to the end, and there we have added that much.1376

Notice that I have one piece left: shift to add, and just select around that; go outside your image, and come back, and we'll take a look at it as a mask.1392

Lo and behold, we have the complete selection done!1404

Now what I'm going to do is go to the Select menu, save that selection (because it took time--we don't want to mess it up), hit the selection dropdown, and I'm replacing the partial one (Shoreline 1) and clicking OK.1407

I'll deselect right now, and I'll show you that, when we go to this Select, and Load (and the Replace Selection is the entire selection).1422

Now what we do--we have this; let's go to the Enhance menu, Lighting, Levels, and here we go--let's fix up that whole thing.1432

Command/Control+H to hide the crawling ants, and we're going to darken down the sky, and we're going to snap the contrast on that shoreline, and we're going to bring it up a little bit.1443

Look at that now--isn't that great?--we'll click OK, and we'll do before and after, and let's go ahead and look at that shoreline and see how it looks with a 2-pixel feather.1457

We're going to undo it and redo it; look at the transition on the shoreline.1472

You can't even see it--no evidence right there; the shoreline was about 2 pixels soft--undo, redo--it blended beautifully--no harsh line.1478

Let's go over to the hillside and take a look at that and see how we did along the tree line.1490

Undo, Redo; again, the 2 pixels of feather allowed us to make that transition perfectly.1498

With our History panel, we can go all the way back to this point right here, which is where we had the dirty ocean and the washed-out sky.1506

By using a large feather of a hundred and forty something, we fixed the cove; and by using a 2-pixel feather to make a selection, we fixed up the entire image.1517

Now, we'll show it to you as a before and after, and look at the smooth blends in both areas.1531

There you have it--the value of feather; what it is, how to use it in large feather and small feather.1542

Remember, the small feather is for just softening the edge a little bit; the large feather is for a smooth blend.1555

We'll keep using this as we move forward.1562

Make a mistake--notice how easy it was to correct your mistakes, save your selections, and get a quick, efficient, and flawless result in your images.1564

I'll see you back in the next lesson, and we're going to discuss the Refine Edge dialogue box.1575

Hi, everyone--Mike Brown back with you with another lesson in Adobe Photoshop Elements 11 from Educator.com!0000

We're looking at selections, and in the last couple of lesson, we have gone over the basic selection tools: the Marquee and Lasso tools, as well as the Quick Selection and Magic Wand; showed you how to use them, and showed you how to add and subtract.0007

And, in the last lesson, we discussed feather and how a soft selection edge with a large feather allows you to blend gradually into areas, as well as a narrow, but slightly soft edge allows you to work a beautiful transition on clean areas.0022

During that lesson, we dealt a little bit with showing you masks without describing them.0041

In this lesson, we're going to deal in detail with the Selection Brush, and what selections and masks are and what the difference is, painting a selection and correcting it with the Selection Brush, and how to view and correct the selection with the Selection Brush.0047

Let's get started and talk about selections and masks.0064

Now, if you remember, the Selection Brush tool (which is right here with the Quick Mask and Magic Wand) can either make a selection or a mask, and in the last lesson, you saw me taking existing selections and viewing them as masks.0069

But what is a mask?--let me bring up this particular image, right here, of this young couple, and you will see that what we have here (close out this box) is a series of layers (which we're going to be dealing with), but attached to each layer, notice these black-and-white thumbnails.0085

They look very much like what we were doing in the last lesson.0112

Let's go ahead and go to the Select menu and load a selection that is saved here--Alpha 1.0117

I'll load it, and there you see the crawling ants for the sky.0123

If I highlight the Selection Brush and go to Mask, it turns that into a red protected area with the rest of it--the sky--clear, and that is because I have designated the color of the protected area as red.0128

I can change that very easily to black, just by changing the color, and I can also alter the opacity.0148

So, there you have what you saw in the last lesson, when I would turn a selection from a selection into a mask; it makes it the black, and in this case, clear, representation.0158

You actually see what is there.0172

Now, a traditional mask itself (which is what we have over in the other side--let me get them back)--you see these as black and white--different ways to view with the tool; you just get the masked area.0175

But, right here, if I take this particular one, which looks very much like the sky in white; Option/Alt, click on the mask thumbnail--there you get the actual, complete mask.0192

Black is protected; white is the active area.0208

If I go back, Option/Alt+click, there you have it; we can load that selection, because the black and white mask is a saved selection--it just happens to be attached to that specific layer.0212

Command on a Mac/Control on a PC, and click the mask thumbnail; there you have the selection.0225

If I wanted to view it as a mask, all I do is go in the Selection Brush tool to Mask, and there it is again, but it leaves the selected area--active area--clear--the only difference between the two.0234

Selection is a mask that is not attached to a layer; when you attach it to a layer, it is now a mask.0248

All right, very simple--so that takes care of defining.0257

Selections and masks: what is the difference? Basically, they are exactly the same thing, with the exception that a mask is attached to a layer.0264

All right, let's talk about painting a selection with the Selection Brush.0276

We're going to take a look at this image right here, which I took up in the Northern California area.0281

We're going to do normal work as we go along, and then add to that the painting the selection.0290

Right now, it's a raw file open; it needs a little help, so (we've duplicated the background layer) we're going to go to the Enhance menu and apply our auto controls to see if it helps.0297

Remember, it helps some images and doesn't others.0308

Let's see what happens here: Enhance, Auto Levels--a little bit; color came up; brightened up; a little bit of help.0311

That looks pretty good; we'll remember that.0319

We'll try the contrast: a little bit, but the color didn't come up that much--we'll undo that.0322

We'll try color correction: a little bit on the red side, not too good.0329

Let's go the Adjust Smart Fix--I bypassed the Auto Smart Fix; we'll just use the slider.0334

We'll start putting it in, and look what is happening--hey, it's doing a good job here; more--more is better; there we go!0339

Let's undo that and redo that; that did a pretty good job; we could use a little more contrast, so let's go ahead and take Levels and just snap it, just a little bit, and the contrast, just a hair, and open it back up.0347

Basically, we have now done an overall correction on this image.0366

The sky looks good; the mountains look good; the greenery looks good; we could actually even go and take Hue Saturation and bump it just a little bit, and there we go!0372

Pretty much everything is done, except for a couple of areas.0383

We have all this grassy area in the foreground here; it's still pretty dull because it's dead.0387

We have the same thing going out into the water here, and we have some areas along the shoreline there.0395

It would be nice to fix those, as well as the dead trees.0402

That would be something we would attack; now, how are we going to make a selection on that?0406

We're not going to draw an edge on that; here is the easy way: we use the Selection Brush.0411

Now, you can draw your selection with a brush--you have a brush control--hardness: 0 to 100 (I like a soft one), and adjusting the size.0418

But, we use the shortcuts: right bracket key--brush comes up; left bracket--it goes down.0429

When you draw the selection, it just draws it from the brush; there is a better way--that is the actual selection.0434

We're going to draw a mask; now, we're going to paint the area that we actually want to be the selection, so we can see where we're painting, but it will paint the mask.0442

We'll just invert it at the end.0455

Bear with me; we're going to make this mask red, and we're going to change the overlay opacity down to about 50%, so we can actually see through to what we're doing.0458

We have a soft brush (let's zoom up a little bit), and we have a mask; we have our brush (its hardness is as low as we can go) with a red overlay.0472

All we have to do (we'll make it a little larger) is just paint, and you'll notice that the soft edge of the brush is pretty much like a fairly large feather.0485

We're getting a blending area, out at the outer edges, that we don't have to worry too much about a carry-over.0495

We'll just go ahead and paint the area that we really want to be the selection.0503

Just keep this in mind; we'll come right down here--don't want to go into the edge too much.0508

There we go; I'm working right through the tree--I'm not even going to worry about the tree.0517

Let's pick down in here, and just paint, and now we've painted that much.0523

If I make a mistake, what I'm going to do is flip the foreground/background colors, which allows me...I take that back; it's Option.0529

One works one way; one works the other; if I paint and I want to get rid of it, it's the subtract, just like any other selection.0545

Do Option/Alt and paint it away.0552

So, if I try to fill in this edge right here, and I go a little bit out in the water (like you saw), Option/Alt and come in from the other side, and paint it back until it looks pretty good.0556

That was pretty easy; so, let's go ahead and do the grassy areas over here.0569

I'm just coming down through here; now, we need to make the brush size a little smaller, so we'll just bring it down with the bracket key, and just keep painting those areas.0576

They'll be nice, soft edges (you already know that); see how easy this is?0586

This tool really works; a little bit smaller, and even that little bit out right there.0591

Now, we want to pick up this area, out in here, make it a little smaller, and even take it right out into there.0597

This area back in here--brush larger (right bracket key)--bring it right down along the shoreline, Option/Alt to paint away that little excess, take that back in, and let's go ahead and do the trees--might as well--we're here!0605

We'll just paint those dead trees in; if we get a little extra color in other places, it's no big deal.0621

All right, so we've painted all of the area that we want to be a selection; don't get confused because that's a mask--now we're going to flip it to a selection, but the selection is everything else, because we've painted a mask.0628

I'll show you that by doing a lighting adjustment on Levels.0644

See what happens: everything but--we really wanted that to be a selection, so all we have to do, since it was easy to paint it and see, rather than painting everything else--go to the Select menu.0650

Inverse; now I'll make a mask out of it, and (come on) you see that now we have inverted it, and the only thing that is active is the dead areas.0664

So, what we're going to do is zoom it up a little bit, Command/Control+H, and the exposure is fine; we just want to up the color.0679

Let's just enhance color; let's start by going with Hue Saturation, and see if we can bump it up.0687

Look at that--wow--it came up pretty nice, didn't it?0696

We have just the coloration we want; it almost perfectly matches the grassy areas.0703

Let's take that away and put it back in, and let's go down and look closely at the edges, because they were soft; notice, it did carry over a little bit into a bush, but not too much.0709

It looks really great along that line; let's take a look down in here and see what we have, take it away, bring it back--soft edges allowed it to blend right along the water's edge.0726

That's pretty cool; let's go look at those trees and see if we have any results out there.0739

We got a little bit, but we can use a little more back in the back there, so what we're going to do with that is take a look at our selection.0743

Command/Control+H; now, we're going to take the Lasso tool--actually, we could feather it all the way to 0--Option/Alt, and remove everything but the trees.0755

Option/Alt; we'll just draw around all of the other selected areas, including those two trees right there, and just leave the trees in the background.0767

So now, what we're going to do is go to Enhance, Color; we're going to use Color Variation, because I want to make those trees a little green.0780

Command/Control+H; we can't do that with variations, so we're just going to go ahead, and in the mid-tones, we're going to increase the green.0791

Maybe a couple of times--I see it in the background--one more time; let's see what that did.0802

It was too much, so we'll undo it; Enhance, Color; we'll go ahead with Variations, and this time, we're going to put in green once, blue once to darken the green down, and try blue a second time and see what that does.0810

That's working; we need just a little more green, and we'll be there.0829

Adjust Color, Color Variations; increase the green one time, click OK, and there you go!0833

By using the Selection Brush, we were able to select a mask, painting the areas that we really wanted to be a selection so we could see it, and then inverting it.0843

Look at the difference here between where we were and where we are; a beautiful blend, using the selection brush.0857

Now, let me take a look at one more photo here.0867

I'm going to show you (we're going to be using this in the next lesson, as well, on Refine Edge, but)--right now, I want to a quick selection of the background.0871

So, we're going to go back to this tool, and we'll do the Quick Selection tool, and all we have to do is drag it in the gray background, and we're not going to worry about the hair right now; we're just worrying about her shoulders.0881

We're going to go back, now, to our Selection Brush again, and take a look at it as a mask.0895

We see that we have areas of her blouse that got selected and shouldn't have been, so we'll correct that with the Selection Brush.0901

Let's make the brush size pretty small.0917

All we have to do--we already have mask working--is just paint the areas that we want to remove and clean up in the blouse, and have protected as a mask.0921

That takes care of that one...a little spot right there...and we'll do the same thing down here, and I'll make a mistake--no problem.0938

Remember, Option, and it paints it away, so if you get excess--and we have a little more down here to paint, and that cleaned up that entire (oops, there is more on the shoulder here)...0947

So you see the value of...and again, I'm painting this with a soft-edge brush; I don't want to have a harsh edge in there.0959

This makes it really simple to correct problems that are created by other tools that would be difficult to fix in the long run.0968

There we have that corrected; that little spot right here...move to the other side; there is a tiny spot right here; and again, we have a little piece right in here.0979

I'm going to deliberately make a mistake again and show you how we can correct it.0994

We have it painted in; Option, and it paints away any problems that we encountered there.0999

There is another little spot, right along there, that needs to be painted in.1006

Let's zoom out, and now we'll turn it back to a selection, and there you have it!1011

Let's make it into a mask with black, and completely hard, so we can take a good look at it.1018

There we have 100%; let's zoom it up and see how well...and now, if we see any spots, we can also fix those, now that it's completely solid.1025

Any slight...oh, you can see that I made some slight errors here...and a bunch of them down here, as well.1035

By using the fully opaque mask, you can see anything that you might have missed.1043

There it is; we go back to the selection, and we have a perfect selection around the clothing, by using one tool, and correcting any problems by using the Selection Brush.1050

What we have done now: there is how you paint a selection; we did that in this; notice the wonderful improvement we got out of that; we went from there to there, simply by painting the selections.1065

We also used the Selection Brush as a correction tool, by correcting any mistakes made by another tool, by painting the mask and turning it back into a channel, or a selection.1082

There is what the Selection Brush can do for you in creating selections and masks, painting a selection, and viewing and correcting selections as masks.1097

It makes things quick and efficient.1108

I'll see you back in the next lesson!1110

Hi, everybody; Michael Brown here with you; welcome back to Educator.com's Adobe Photoshop Elements Beginning and Intermediate course.0000

In this lesson, we're going to have a discussion about light and color and how they apply to what we're doing in Photoshop Elements.0008

In the last lesson, we talked about quality and how to set your camera up to take the best technical image we possibly can; what is your sensor actually taking an image of, or sensing?0018

Photons of light--not the scene, not the composition--it captures light.0030

The quality level of that light, the intensity of that light, is very important in the chain of best quality from start to finish.0035

Let's get started.0045

What is light? Technically, it is electromagnetic radiation that our eyes can interpret--the little rods and cones in your eyes--it's called vision.0047

The electromagnetic radiation are photons of light from the light source, and in our lives--outdoors, mostly that is the sun; indoors, it's various light sources.0057

We perceive light as a range of two things: brightness and color; that is why I said, in the last lesson, the four categories of Photoshop: corrections, exposure, and color--exposure is brightness; color is the other one.0068

Brightness is the intensity level of the light; more or less, brighter or darker; in the daytime, at noon, it's brighter than it is at sunset.0084

The color is the temperature of the light: higher temperatures are more bluish; lower temperatures are more reddish.0096

In the afternoon, you can see this as the light--the sun--goes toward sunset; it slants through the atmosphere more; there are more particles in the atmosphere; the photons bounce around, and you begin to get a more reddish tone.0103

You are also getting less light, because it's getting closer to the horizon.0119

So, the color changes of the light: noontime--it's very crisp; late afternoon--it's very warm.0123

A match or a candle is kind of an orange-yellow; lower color temperature; it can't melt metal, but it can sure boil water.0131

A welder's torch: very hot, very blue--melts metal; there is the difference in color temperatures.0141

A mantra for exposure and color: Exposure affects color; color does not affect exposure.0150

You want to make exposure changes first, get your exposure right, then adjust your color; if you do it the other way around, the exposure will alter the color.0158

Let me give you an example of that.0166

This is an image I took in Colorado, a nice fall scene in the mountains.0170

I'm going to show you how the color is affected by exposure.0175

Notice cyan sky over here, blue sky, nice blue lake, yellow aspen with a tinge of orange, a kind of warm color, and the grass is kind of orange-y.0179

As I increase the exposure, or make it brighter, watch the colors: notice, the colors of the grass are becoming less red; the aspen, also, are becoming less orange, more yellow; the sky is pure cyan over here, and the lake is adding cyan and becoming a lighter color.0192

Go back, and you will see the color difference.0214

The exposure is affecting the color; it will drop down, and the other way--the darker it gets, notice that the aspen is becoming very orange now; the grass is almost red; the lake has a purple tone to it; the sky is blue here, and almost blue-purple over on that side--a function of the exposure changes.0217

Now, how does color affect it? As we increase the saturation of color, the colors become much more rich, but you notice the exposure--even though it's way up there, the exposure doesn't change, just the color.0241

We desaturate; exposure doesn't change.0257

You want to do your exposure corrections first, and your color corrections second.0260

Moving on: we see light in one of two ways: transmitted light--this is light that is actually being projected at us; that is, monitors, television sets, computer screens, smartphones...beams of light are broadcast directly at your eyes.0271

A flame is broadcasting right at you; the lights that are lighting me here in the studio are broadcasting at me, but you are seeing reflected light.0290

In your monitor right now, you're seeing projected light because your monitor is projecting it, but the original light on me is being reflected into the lens.0300

Reflected light is absorbed by ink and paper, and the color you see is the remaining reflected wavelengths.0311

If you're looking at a stop sign, you're not seeing the actual color; you're seeing the reflected light, because the sun's light hits the stop sign, and it absorbs all the colors with the exception of the red that are transmitted back to you.0318

The same with printed paper; you're seeing the light from your light, or the sun, or whatever you're viewing the print under, absorbing everything but the colors that come back.0334

A totally different type of light; the transmitted light from your computer is additive; it's made up of red, green, and blue components; they combine to make the entire spectrum: white is all of the wavelengths; black is no light at all.0345

Turn off your computer; the screen goes black.0360

Reflected light is subtractive, and that is what I was just talking about--in printing, the inks are cyan, magenta, yellow, and black.0364

These combine to create all colors: black is all of the colors on paper; white is no color--here is paper with no printing on it; it's white.0374

Once the ink gets on it, it will reflect the colors.0385

Why is this important in Photoshop Elements? Your photos are graphic output to primary sources: the Web, which works with the red, green, and blue projectors coming out at you, or in various print sources, which work with cyan/magenta/yellow colored ink.0388

It is vital to have your files in the correct color range or color space to ensure you get the best color output. 0408

A quick demonstration: look, RGB has pure reds and greens and blues; over in cyan/magenta/yellow/black, there are no pure reds, greens, blues, so the color is going to be a little different for each of those sources, and you have to make sure it's right, working with your monitor.0415

What a range of color is: it's called a color space, a gamut.0437

There are five primary ones: the visible color range that we see with our eyes--and in this chart, that is the one that peeks out in the back--that's the wider one.0442

That is all that we can see--all of the color that our eyes see.0453

ProPhoto is the largest working color space that we can do on a computer.0457

It's used primarily for high-end pro work; it's used in 16-bit color mode; a gazillion colors--colors that you can't even see--as you see the triangle, the big triangle, sticks out--it has blues that you can't even see with your eye, and greens.0462

Why is this good? If you work in a larger color space, and you compress it to a visible color space or a usable color space, just like higher resolution giving you more detail, the more colors have more detail in them, and when you compress it, the final colors will be a little bit better.0476

We can't work in ProPhoto; I just wanted to show you that.0498

The two that we work in: Adobe RGB is available on all cameras, and of course in Photoshop and Photoshop Elements--this is our recommended color space to use most of the time; SRGB is the default color space for jpeg images in your camera, and most cameras, monitors, and for Photoshop and Photoshop Elements.0501

Your cameras come default in SRGB, but you can set them at Adobe RGB, and let me define why.0527

This is the Adobe RGB color space, this middle triangle right here.0537

It falls within the visible spectrum, has less than the ProPhoto, but it has a good range of colors.0542

SRGB, the default for jpeg, the default for cameras, and the default for your monitors, is the smaller triangle.0550

Notice--greens, light blues--a lot less; also, a little bit in the yellow; so, it's a smaller color space, primarily greens and light blues.0556

If you're shooting with a camera, obviously you would want to set it at Adobe RGB to get more color.0570

The other reason is: the final color space is CMYK, which is the color space for printing with ink on paper, and you notice that is the oval.0577

Compared to either Adobe RGB or SRGB, it has much less blues and greens--a little more greens than the SRGB, but really falls in the blues; and, on both of these, Adobe and SRGB, in the reds.0589

So, if you're going to print, you don't want to be setting it up in SRGB, because there are less greens, and obviously, we have less yellow anyway, because cyan/magenta/yellow/black can reproduce yellow.0606

But, you lose a lot if you try to take SRGB and set it up for print.0622

Adobe RGB is the best space for setting up for print.0627

To make this simple, for consistency, and to give yourself plenty of color range, set your cameras to shoot Adobe RGB.0632

Another reason to shoot raw in your camera--because jpeg...you can't get Adobe RGB from it--only SRGB--you want that wider range and better quality.0641

In Elements, you have only two choices for color space: SRGB and RGB; I will show you: convert to profile--you have SRGB or RGB--the only two choices.0652

When optimizing for computer screens, which are SRGB, use SRGB; you're seeing just what you get.0665

When optimizing for print, use RGB, because that's a little bit wider color space than the CMYK, but you also have to be careful, because there is going to be a fall-off in the blues and greens when you print.0673

Now, setting your color spaces: when you first open a file, you can choose which one to assign, right from the beginning with the file, so that you will have the proper color space for your final output.0688

Go to Edit, Color Settings, right here, and up comes this box.0700

No color management leaves the incoming file just the way it is.0707

If you're working, for example, for computer screens, you want SRGB; but if you shoot your image in the camera in Adobe RGB, you can bring it in as SRGB once you bring it in; it's still--the original file--RGB, so you can go back to it if you want, if you're going to be working for print.0712

But, if you're working for the monitor, you can switch it automatically to SRGB.0733

If you're working for printing, use Adobe RGB; it's the larger color space.0738

Then, you have the option of choosing them: in other words, if you check this box when you open a raw file the first time, it will ask you which one you want.0742

When in doubt, use RGB, the larger color space.0751

To change a file from SRGB to RGB, go to Image, Convert profile, and you can do it right there.0755

There you have it: a little talk about light and the value of light, and how we need to make sure that the light is of the highest quality and correct light for either working on monitors or printed outputs.0763

In the next lesson, we will talk about how to calibrate your monitors for proper output and for other web devices.0779

That wraps up this lesson; I'll see you in the next lesson!0787

Hi, everyone--Mike Brown back with you with another lesson in Adobe Photoshop Elements 11 from Educator.com!0000

We've been talking, in the past couple of lessons, about the most important technique in Photoshop Elements, and that is selecting areas and isolating them to make corrections, and making them blend perfectly with the rest of the image, which allows you to take your images to an entirely new level, beyond just overall corrections, by fixing isolated spots.0006

In the last lesson, we talked about feather, which is the width and softness of a selection edge, and how you can use a very tight, smooth edge along a clean line to make a perfect transition there, or make a very wide feather to allow a very gradual blend into an area for a soft transition, so that all of your corrections blend flawlessly in your image.0032

In this lesson: adjusting selections with Refine Edge, which is a dialogue box that allows you a lot of control over the basic selection that you make.0059

We're first going to do a quick review of feather; then, we're going to take a look at the Refine Edge dialogue box and show you how to modify a selection with Refine Edge and how to use Refine Edge.0071

This is magic...to select fine details, such as hair, which was an impossibility up until Adobe Photoshop Elements 11--a really cool feature.0083

Let's get started!0095

Here is a photo, right here; we're going to just do a quick selection of the sky.0098

This is you think of it: obviously, the Marquee tools are out; obviously, you're not going to use any of the Lasso tools to try to go along that edge; it would take you too long.0103

So, it puts us down to the Selection brush (which you're not going to paint that edge with--it takes too long; you might do a little correcting); we have the Quick Selection tool or the Magic Wand.0112

The Quick Selection tool, if you remember, looks for contrast based on color, and the Magic Wand searches for areas of similar color.0124

Let's try it with the Quick Selection tool first.0133

We adjust our brush size--you want to go down to a fairly small brush size, and stay in the area beyond the edge; you don't want to touch the edge.0136

We're looking for sky, so we'll just take and drag along the sky, and you notice what happened: it dropped down inside the mountains.0143

Let's take a closer look and see what happened.0152

It happened because there were clear transition areas here, because of the darkness and the blue; clear over here, because of the white and the blue; but right in this area, as the mountains went from no snow to a very, very light dust of snow, the edge is ill-defined.0156

So, it dropped down, and then it went for the next area.0175

We could try Option/Alt, make a slightly smaller brush, and drag back through that area to see if we can get everything else corrected.0179

It might work; pull up into here; in fact, I think that is doing a pretty good job.0192

We drag back along there, and generally, we have a good selection.0203

But, we could have done it better; in this case, it's pretty obvious that the Magic Wand that looks for areas of similar color--the sky is very similar; slight gradient; so, we'll take the Magic Wand with a low tolerance.0208

High tolerance, to me...in the past, they only let you go to 64, and that would select almost everything.0221

About 20--roughly in that area--is a good place to start.0229

We'll see what happens: click in the middle of the sky, and look: the band of color is almost the entire sky--just a little bit was missed.0233

Now, it's automatically on the add, so if I click here, it expands down; click here--it expands up.0241

Let's zoom up and take a close look at the edge: it got a little inside, so we'll switch to the Quick Selection tool, drop that down (it's on minus), and see if we can pull that area out of there.0249

Again, it's that same spot where that transition was a little edgy.0263

Not bad--we have a pretty good job; let's look at it with the Selection Brush as a mask.0268

We can see a little raggedness right in there, but we'll correct that.0274

Let's come out to a selection, and what we want to do...0278

First of all, let me look at that mask, and let me show you the edge; it's pretty harsh; you can see it, and it just needs (especially right up in here--you see it) some feather.0281

So, we'll go back to the selection; we know what it's like; let's hide the selection--Command/Control+H; and you see, it's a smooth edge.0295

Let's go--we have no feather on this one; you notice we have no feather here--we have Refine Edge; we also have Refine Edge here; we have feather here, but that is applying the feather before you make the selection.0302

We already have the selection, so what do we do?0317

No problem: we just go up to the Select menu, come down, and there is feather.0320

This is after-you-make-the-selection feather adjustment.0327

We're going to punch in one pixel of feather, and take a look at that under the selection brush as a mask, and there you see that we have a nice, smooth 1-pixel edge that pretty much looks like the edge of the mountain where it meets the sky.0331

Pretty quick corrections on there, and 1-pixel feather...so that gives you an idea, if you remember, of how the feather works.0355

We did a selection; we added and subtracted a little bit; we tried two different tools, and we did some feather and got a really nice selection.0363

One thing to remember: now that you have worked all this time to make the selection, don't lose it!0370

Go to the Select menu; go to Save Selection, and name it: we're going to name it Sky with Magic Wand 1 Pixel Feather.0376

Now, we know everything we did with that; we click OK; so, if at any time we lose that selection, we can go to the Select menu, Load Selection, and there is our selection.0392

Click OK, and it's back!0403

All right, so that is how to do a fairly easy selection; you have already figured that one out--just a review.0406

Let's move on to the Refine Edge dialogue box.0411

Here we have an image of a nice scene; we would like to select the sky, and probably replace that sky.0415

Let me open up (there we go--it's looking for a sky)--Sky Overcast--there we go--I have it.0424

I'm opening up another image here, and this is a sky that we're going to strip in to this image.0434

How do we do it? This is getting a little ahead, but I'll show you anyway.0442

We're going to need to select the edges of this image (and this is going to be a fun one, because--look at the edge of the trees!--we have blue sky through the trees...through the limbs...all up and down through here).0446

If we try our Quick Selection tool (bring the brush size up just a little bit) and drag it through the sky, it does an OK job only to a point.0458

It got a reasonable selection: let's go to the Selection Brush as a mask, and you can see.0479

It missed on the land; it missed on a lot of the limbs of the trees; but it did a generally good job.0485

In this case, we don't need to mess around much further, because we have the Refine Edge dialogue box, which appears with almost every selection tool.0492

There it is; there it is here; with the Lasso tools, it's there; with the Marquee tools, it's there; the only one that it doesn't show up directly in is the Selection Brush.0504

If you are in there and want to go to it, go to the Select menu; right below feather is the Refine Edge dialogue box.0517

Here you have it: first, we have options for view: marching ants, traditional, the overlay (which we're using--like the mask), on black (as...you see the actual image, but you see the protected areas in black; you see the actual image here, protected areas in white), a regular black and white mask, just a separate layer only (as the sky and the other layers in the image, but we have none, because it's a background).0524

We'll deal with it as our traditional overlay; we're used to looking at that.0554

There we have that; we also have a Show Radius and Original; we'll talk about that in a minute.0559

Now, there are several things that we can do here: the first thing we want to do is: for other images (we're not going to do it on this one; we'll demonstrate this elsewhere), here are your Adjust Edge features: smoothing, feather (once more--we could have feathered the other one right here), contrast, and Shift Edge (allows you to expand and contract--we'll deal with that in a minute).0563

Output, Decontaminate Colors helps you with hair and fine edges where it's indistinct on colors, to get the accurate selection.0589

You have the option to output as a selection, a mask, a new layer, a layer with a mask, a new document, or a new document with a layer mask.0598

We're dealing only with selection here.0606

Now, we're going to start by dealing with what is called the Edge Detection.0609

The Edge Detection feature looks for what is different between the area that you have already selected (and of course, this works best with uniform--either the object or the background--and in this case, the sky is perfectly uniform)...so, what it's going to look for is the difference between the blue sky and anything else that we tell it to look at.0615

That would be the ground over here or the trees or the open areas in the trees.0639

The way we make this work is: we turn on what is called a Smart Radius.0645

I'll show you that right away: with 0 pixels, there is nothing; as we up the number of pixels, you will begin to see a radius.0654

You see a clear area; that is the width of the area that the computer is going to use to determine what is selected and what is not, as its basis.0663

We're going to tell it to deal with more areas, because we're going to paint them.0677

That is where these two tools come in: this tool is your standard painting brush--a refine radius tool--it expands that radius detection by painting more clear area.0684

The eraser allows you to restore the original edge, so if you have a really smooth edge--I'll demonstrate this one in the next picture; let's just go ahead on here.0697

We're going to take the regular tool, and now that we have (you don't want to put a lot of radius in there, because we're going to add to it), we're going to starting painting in the sky and down into the areas that we want the computer to look, to see what is different between what has already been selected and what I'm painting on, and try to find the areas of sky.0709

We release; it thinks...and look what happened: it picked up (go back; let me...)...this is the area it picked.0735

It missed some in here, and let's try it one more time, with the Show Radius off.0746

I'm just going to paint down into the tree, and come back out, and let it think, and look--it found all of those blue areas.0752

It's just like magic--look at that--it's amazing!0761

Now, we're going to fix the ground; we just paint across the ground, and up into the tree, and the computer found the edge of the ground perfectly--unbelievable!0763

Do the same thing over here, in this section of trees; watch: magic, absolute magic!0774

Now, it cannot go and get everything; it probably won't get this down here, but it will do a pretty good job with everything.0779

Look at the edges, up there where just the fine-edged tree limbs are--absolutely amazing!0786

Every time I see this, it blows me away.0795

Here we go; we'll get down in here and pick up all of these little open spots--look at that--it's just remarkable!0798

It may not get down deep into that tree, but we'll pick up all of these other edges--really great job.0805

Go on down here; it picked up that.0811

Let's zoom out a little bit; we're going to paint through and pick up the ground, and this tree up in here--just painting it over, letting that computer do the work.0817

Look at that--look at that--absolutely amazing!0826

Let's go back down to the other end; we're almost done; paint right down across this tree area, and all of those open branches, and fix what the Quick Selection brush didn't get.0831

Look that--wow--just remarkable!0842

Every time I do this, I don't know how the computer can figure this out--I really don't.0845

Look at that--look at that--unbelievable!0850

It's phenomenal stuff.0853

We have that; we click OK; and it will turn it back into a selection for us.0855

We're going to go to the Select menu, Save Selection, and we'll call it Sky (if I can spell Sky right); we'll click OK.0863

Now, what I'm going to do is show you: here is a sky that I had; we're going to do Command on a Mac/Control on a PC, the letter A to select all, Command on a Mac/Control on a PC, the letter C to copy; go back to our image, and we're going to paste it in--this is kind of a preview lesson on compositing.0873

We're going to go to the Edit, Paste into Selection (that is this selected area); and watch what happens: there comes the sky!0899

We replaced the entire sky; Command/Control+D, and let's zoom it up and take a look around the trees.0909

Look at that--isn't that just amazing, how beautiful the edges are?0917

You cannot tell where that pasted-in piece has been replacing the original sky.0924

That is absolutely remarkable.0935

So, let's go back to our original thing.0939

We took a quick review of feather, and showed you, again, how feather applies, and how you can also access feather from the Select menu, right under here.0942

We looked at the Refine Edge dialogue box just a little bit--we're not done with that one; we're going to do this second lesson in Refine Edge.0957

We showed you how to modify a selection with the Refine Edge, by using the Edge Detection feature, and how to paste in a background when you have the Edge Detection that allows you to select complex edges perfectly--unbelievable!0965

Hi, everyone--Mike Brown with you again, with another lesson in Adobe Photoshop Elements 11 from Educator.com!0000

We've been talking, in the last three lessons, about the most important technique in Photoshop Elements, and that is making accurate, flawless selections.0007

Selections allow you to isolate areas for adjustment that you can't do in an overview or an overall adjustment, to make your images better than just an overall.0017

But, the key with selections are the selection edge and making sure that the corrections blend flawlessly into the remainder of your image.0029

We talked about a very important feature, feather, that allows you to clean up your edge or make it very soft, so that the blends work, and we dealt, in the last lesson, with the Refine Edge dialogue box that lets you dynamically adjust a lot of features to existing selections that you can't do normally.0037

Then, the magical Edge Detection feature that allows you to select fine details: we used an example of a landscape with tree line, and the fine leaves and branches--we were able to select those, and you couldn't do that in a million years another way--and stripped in a background.0058

But, the most frequently photographed subject in the world is people.0077

Hair selection has always been the most difficult thing to do in Photoshop or Photoshop Elements.0082

In CS5 and CS6 Photoshop, they came up with the hair Edge Detection feature that you saw with the landscape, and now I'm going to teach you how to do this with people and hair.0090

There are several very important tips in this tutorial that are not found anywhere else.0103

It will be very valuable to you to go back and review this tutorial a couple of times; it will save you a lot of heartache.0110

Let's get started selecting hair on people!0118

We're going to also deal with the Smoothing, Contrast, and Expand and Contract features with a second example.0121

Here is Debby, and what we're going to do is select her hair.0128

Now, tip #1: when you're dealing with people, the question is, make the selection of the person or of the background?0134

Whichever of the two is less busy is what you want to do, because when you use the Refine Edge dialogue box and the Edge Detection feature, it knows what the selection is, and it's going to look for what is different.0144

If you selected her and her hair--we have dark hair here; we have light hair here; we have wispy hair here; we have bright hair here; we have golden hair here.0159

The computer has to deal with all of those different textures in finding what is different.0171

If we select just the background, which happens to be neutral gray, all it has to do is find what is different from neutral gray, and that is really easy.0177

Just like in the last lesson, with the example of the landscape--the sky was just uniform blue, so everything that is not blue works.0186

There is a tip for you.0196

So, let's get started by taking our Quick Selection brush and increasing the brush size a little bit with the right bracket key, and just drag around the gray background, and we have a raw selection.0197

Shift to add pull in the rest; shift to add; and now, let's go back and use our Selection brush as a mask in black and white.0211

We can see that we have some problems: we could either reselect or paint.0224

Let's go ahead and reselect.0229

We'll go back to the selection, go back to the Selection, go back to the Quick Selection tool, make it smaller, Option/Alt, and drag along her clothing shoulder line, and see how easily we can correct that area.0231

Alt/Option to take away; and we have another one; down here, a couple of them; Alt/Option to take away; I'm going very close to the edge, trying not to go over into the gray so that it knows where the edge is.0252

That looks pretty good; go over to the other side; we have another one here--Alt/Option.0269

Let's go the other way right there; Alt/Option right here; and that looks pretty good; another little piece right there.0277

OK, let's go back and look at it as a mask; we can see we need to paint just a hair right in here, so we'll go ahead and do that right now.0287

That pretty much takes care of her clothing.0299

But we see that it's a little jagged; we need to fix that, OK?0303

We come out; we don't worry about the hair at all yet; we're dealing with the body only.0308

Now, let's go into the Refine Edge dialogue box, which, with the Selection brush, doesn't exist; over here, it does (with the Selection brush, just go to the Select menu, pull down to Refine Edge, and there it is).0313

All right, right now, it's showing it as the blue overlay; let's go with black and white--actually, just black on the background--and zoom that thing up.0328

We can see that the edge needs a little smoothing, so let's go ahead with a feather of 1; and that softened it, you can see that.0340

Let's go back to 0; let's bring it up again and go to 1 so you can see it.0348

We have the feather, but we still have, as you can see, little jagged spots in this thing.0356

That is where the smoothing slider comes in.0363

Contrast does the opposite; contrast would make the edge hard again.0366

I have never used that one, but if you have an overly soft edge, you can harden it down.0372

In this case, we'll apply a little smoothing.0378

Look what happened--look at that!--let's take it back and watch: there it is, a little jagged; and we take the smoothing on (watch that edge), and it just smoothes it out--it's just really nice.0380

Now, here is big tip #2--a very important tip here: if we leave that smoothing on, and now move to the Edge Detection, when we finish the Edge Detection (detecting the hair), the smoothing is going to apply to the entire selection!0393

So, it's going to smooth out and blur the hair.0410

What we're going to do is: we're going to go ahead and click OK, because we now have the body just the way we want it.0413

It's out; it's a selection; now we can go back again to the Refine Edge dialogue box.0419

Notice that smoothing, feather, and all of that are at 0; we don't want to apply any of those while we're working on the hair.0425

That is a key thing: nothing else here--just the Edge Detection.0432

So now, let's view it on the overlay, and let's click the Smart Radius and up the edge to about 8, maybe 10, and show the radius.0438

Now, this is a vital tip #2: notice, the radius is applying to the edge of her body, as well as the hair; if I take the Refine Radius tool and paint to select the hair, every time it calculates, it's going to look; everywhere there is a radius, it calculates, and it's going to degrade the edge of the clothing.0451

This is a tip that no one tells you; I discovered this myself, just by accident.0478

What I want to do is: I'm going to use the other tool, which is an Erase Refinements tool (get that thing to show you).0482

Erase Refinements restores the original edge.0493

Increase the brush size and paint away anywhere we have a radius that we don't want to have the computer deal with.0496

We'll just paint it away completely.0509

Now, that is protecting that nice, clean edge that we already made from any effects of the selection of the hair--a really important tip.0513

Now, we only have the radius on the hair; let's get rid of it, and let's now go ahead and take our refinement brush; increase it, and let's paint hair!0527

There is the magic of this incredible tool.0542

Every time I do it, it is remarkable.0547

It got the hair; over here, we'll get the rest of this hair; and remember, every time that I do this, it recalculates--so, if we had that radius on the body, it's going to continue to kind of degrade that edge, and it will become very choppy.0550

But notice, there is no radius over there, so the only thing it can work on is where there is radius--and there we have the hair.0567

Now, we're going to go ahead and output this as a selection.0574

I want to go...first, I want to save it (I think I have another one...I have that in here): Debby First; OK.0582

Now, we're going to go and look at our Selection brush as a mask in black.0595

I now want to show you the next big tip: as we go up here, notice, along the edges of our selection--you see what appears to be hair; that is where the computer thought that this was background, not hair.0601

It went in there and saw the light stuff; so we need to paint that away--otherwise, if we're stripping this into a background, something will show.0618

We want to take that all the way out to the edge, and if we have problems determining exactly where our edge is, we are in the Selection brush; so that is all hair, so that needs to be painted.0627

Take a look at this right here; that is hair, so that needs to be painted, just to make sure that it doesn't bleed into the actual body.0644

Take a look down here; that is pretty good; we'll come back up the edge.0657

This is not an instantaneous magic process when you use the Edge Detection; that is why you come back out and redo this.0661

Now, we need to do a lot right here.0671

OK, we'll go back into the mask, and we'll paint that.0676

I also want to do a little more (well, we'll actually do this when we do the composite): this is all, I know, part of her head.0683

We'll double-check it: there it goes, all the way out to there, so all the way out to there is actually part of her head.0694

So you see, this does take a little work, but you notice that the hair has been selected perfectly.0706

We're just fixing up the mask.0712

OK, go down here a little bit more; zoom it out one time; this does take a little while, but these tips that I'm giving you right now, you won't get anywhere else.0717

Back to a selection; save that selection as Debby Final; we're good.0731

Now, what I want to do is: I want to actually strip in a background, so I want to show you how this works.0741

We have the selection; we're going to make a layer mask, which is a saved selection attached to a layer, if you remember.0747

Layer, Mask, Reveal Selection: it takes the selection and turns it into this thumbnail mask (notice, black and white).0755

The way you view it: you see the blue frame around the actual layer; if I click on the mask, it makes the mask active; that is whether the layer or the mask is.0765

Option on a Mac/Alt on a PC, click, and there you see it again.0776

Now, you can see that the mask looks just fine.0781

Option/Alt, click again; we're good; let's load this selection; we do that--Command on a Mac/Control on a PC, click the thumbnail layer mask.0785

We'll go over to the sky; we'll just take the Marquee, take an area of the sky, Command/Control+C; back to Debby; Edit, Paste into Selection; and there, you see that the sky is in.0798

Let's look at the edging; the hair looks pretty good in almost all of the areas, except right up here.0815

What we want to do, now, is go into the mask, Option/Alt, click, and take a paintbrush at maybe 30% opacity (make sure that the thing is a hardness of 0; soft).0824

Let's actually go with 20%, and just gently paint in a little bit across that open hair area, to see if we can correct that.0842

Open, Option/Alt, click: see, it's helping now; just a little bit more right in that area; Option/Alt; there we go, and it looks kind of like a cloud behind there.0852

Now you have it with the completed mask, which had been worked on with the Selection brush as a mask, after we came out of the Refine Edge.0865

I want you to review this lesson a couple of times; I'm not going to go through a summary of all the steps, but you notice there were some tips in there that were very vital, to make sure that the body edge stays clean and the hair works right and you fill in any missed areas.0880

There you have how to select hair with the Refine Edge dialogue box.0896

One more thing I want to show you, which will apply to layers and composites, which are coming up in the next lessons: we're going to take a look at this flower.0900

What I want to do here is select the flower: we'll use our Quick Selection tool again, make the brush size a little larger, and just follow around the edge--pretty easy, because we have a clearly-defined difference in color.0911

It's a little bit fuzzy down here; we zoom up; I missed inside here.0926

We go to that edge outside; trim the brush down a little; Option/Alt, and follow along the edge from the outside to remove the overrun.0935

Pretty close; now, we want to add this little corner of flower here, and we have it.0946

We have our selection of the flower.0953

So, let's go ahead and look at that, now, in Refine Edge.0956

We're going to see that we have it already, with the overlay view, and it's hard to see, because it looks really clean.0963

We want to put in 1 pixel of feather; we're good with that.0971

Now, we're ready, ostensibly, to copy this into another image.0977

I'm going to show you the first little thing about compositing.0982

We're going to do Command/Control+C to copy; we're going to go to an untitled image; Command/Control+N; let's make it 2000x2000 pixels; click OK; Command/Control+V to paste.0986

Look at the edge of the flower--see the little dark halo around the edge?1002

That is because the very edges were soft on the flower, and you are looking at some of the background bleeding through.1009

That didn't really work; so, here is where Refine Edge comes in again.1017

Go back to the flower; go back to the Refine Edge dialogue box; the final slider that we haven't dealt with is the Shift Edge.1022

It allows you to expand the entire selection outward or inward, and right now, we're picking up some of the background, so watch what happens when I shrink the selection.1034

It should be visibly showing it; it's hard to see.1049

Let's go ahead and do a feather again of 1, and we're going to shrink it.1054

Notice, you can see where the blue pulled in; let me go outward: notice, there is the little dark edge of contamination; we come backwards, and you can now see that the selection edge is inside of the flower.1059

You can see that through the little overlay.1077

So now, we click OK; we have a soft-edge, 1-pixel-feather selection, and it's inside the flower.1079

Command/Control+C; now, Command/Control+V to paste; and bring it up, and now take a look at the edge of the flower--see how perfectly smooth and clean that is--no evidence here that that was cut out and pasted in, so you don't get that Photoshop feel.1087

That shows you (let's just load the selection, and go back in again) now how the Shift Edge dialogue box works.1112

The Decontaminate Colors: if you have wispy hair against some obtuse background that you are stripping the thing into, and you will get a bleed, because the wispy hairs have some coloration from the original background; what you would do is click the Decontaminate Colors, and that will pull from the selected area and try to fix the wispy edges up.1122

Try it a couple of times and see how it works.1149

There we go; let's go back to that, and you have now looked at, in detail, how to select hair--and, more importantly, how to correct clean-edge problems.1152

Please look at this tutorial a couple of times; you want to understand how to remove the radius, how to get the edge clean, how to paint in any overruns from the selection--three or four things in there that are very vital.1171

You also saw how Smoothing, Contrast, and Expand and Contract especially, help you when you are making composites.1185

We will utilize this in further lessons.1193

In the next lesson, we're going to come back and start dealing with layers, adjustment layers, and making composites.1195

I'll see you back in the next lesson!1202

Hi, everyone--Mike Brown back with you again, with another lesson in Adobe Photoshop Elements 11 from Educator.com.0000

We've discussed exposure and color corrections to your image; we've discussed making selections to isolate areas for correction, and we've discussed how to adjust the edges of the selections so that you get flawless blends.0007

Now, we're going to discuss another very, very powerful feature in Photoshop Elements, and that is layers.0020

In this lesson, we're going to take a look at what layers are, layer basics, and we're going to talk about adjustment layers--a very powerful feature that even goes a step beyond the regular layers.0027

Let's get started!0040

Here is a layer sample: this (I want to open this up right back to where we started from).0042

First, the Layers panel itself resides on the right side of the workspace, and across the Option bar at the bottom, you see that the Layers icon can turn it off or turn it on.0049

In this case, you see a file that appears (if we just hold the spacebar for the Hand tool, and we move it around)--seems to be a solid image, but if you look in the Layers panel, you see a list of items with thumbnails and eyes.0060

These are individual layers.0077

This image is actually made up of five separate elements: the white background, the yellow square, the red circle, the green triangle, and the star--the blue star.0080

All are independent, although you see them right here.0093

The way layers work (as you see in the panel): the background is at the bottom, and everything else moves its way up the ladder, and the visibility is from the top of the stack down to the bottom--just the way you see it: top to bottom.0097

Notice that the star is visible above the green triangle, and you can see that it overlaps it, so you look down through the star at the green triangle.0113

Below the green triangle is the red circle, and below that is the yellow square, and all of them are above the white background.0122

That is the way layers work from a visibility point of view.0129

At the left side of a layer, you see an eye; this is the visibility icon.0133

You can turn the layer off: let's just turn off the red circle by clicking, and you see the red slash; now, it's not visible.0139

It is not going away; its visibility is only turned off.0146

This is extremely powerful, because now, you can have all sorts of layers in an individual file, and perhaps, if you are making a graphic design for a client, you can turn on and off one series of layers, and you will have one visible image, which you can save out separately for display to your client.0151

Then, by changing the layers on/off, it changes the image into another graphic design, all contained within a single file--by simply turning on and off layers.0174

Let's go ahead and turn the circle back on--and you see, it's still there.0185

Now, if we turn them all off, what you see is a checkerboard pattern, and the checkerboard pattern indicates transparency.0189

Since none of the layers are visible, all we are looking at is transparency--nothing is there.0199

If I turn on, by clicking on the eye, the background, we see all white; turn on the square; turn on the circle; turn on the triangle; turn on the star; now, they're all back where they were.0205

That is the visibility.0217

To move a layer, we can change the position within the stock.0219

Let's say we would like to put the circle on top: just click the layer (you can click it in the icon or the thumbnail, or click it in the layer), and drag it up.0222

Every time you reach a position where it can be dropped, notice a line appears.0233

If I put it there, the circle will be between the star and the triangle, and there you see--it's above the triangle, below the star.0238

We'll drag it up another notch, and there it is, at the top of the stack.0246

You can move more than one layer at a time, and they don't have to be right adjacent.0250

Let's move the star and the square up to the top.0255

Command on a Mac/Control on a PC, click the second layer, and we have two active layers.0261

Now, when this reaches the top, the star will be on top, the square below it, both of them above the circle.0267

It doesn't matter which one you drag: let's drag from the bottom--click, drag--notice that they're both moving.0274

Line, line, line, to the top, and now you see: the star is still an individual layer above the square, which is now above the circle and the triangle.0280

You can organize those any way you want.0290

You can also merge two layers into one; let's say...let's move the square down to the bottom, just for fun.0294

Click and drag until I get the line; it's at the bottom.0304

I would like to merge the star and the square together.0307

Command/Control+click; the star; both are highlighted; we'll go to this little list icon at the upper right of the Layers panel, and here are all of the things you can do with stuff in the layers.0311

Merge Layers merges visible, active layers.0325

There is now active and visible; an active layer is indicated by the blue, so these two are active.0330

We click; Merge Layers also can use the shortcut Command+E, and notice that the square jumped to the top, and it's now in a single layer with the star.0340

The way you move layers is with the Move tool, under the Select menu, right next to the rectangular Marquee.0353

Highlight it; we get a bounding box around the highlighted layer, and now, if we click anywhere in there and drag (I got the wrong layer; I'll get that back up there; get this layer, and you click and drag), notice that the star and the square are moving.0360

Look up in the thumbnail; if you see up there, the thumbnail position move according to what we do in the actual image.0379

Now, if you wanted to separate these now, what you would have to do is make a selection (let's just say a rectangular selection with a feather of 0), and we would have to remove the square, since it's now part of that layer.0391

What we're going to do is just click and drag around the square.0412

That layer is highlighted; we're going to do Command/Control+C to copy, and we're going to do Command/Control+V (as in Victor) to paste, and watch what happens.0418

There is a new layer that came above the active layer, and there is the square again, but it still exists on the layer below.0432

If we want to make it go away, we need to delete it from that layer; we'll take the Marquee tool and surround it and hit the delete.0439

It didn't appear to go away, but let's turn off the square...and now, it has gone away, and we're back to new layers again.0448

This is what you do with layers.0455

The checkerboard pattern, again, is transparency, so you notice, when I took and dragged the selection, I didn't worry about going directly to the edges of the square, because that is all that is on that layer.0458

So, when I copy it (and I'll do that again, right now--copy it; oops...)0473

There is a good one for you, right there; I was looking to copy the square, but notice the active layer is the star layer, and it doesn't have a square; that is blank space, so when I try to copy it, it says "could not complete" it, because no pixels are selected!0479

We need to highlight the square.0496

Now, Command/Control+C; Command/Control+D to deselect, and I'll just go down here for fun, highlight, Command/Control+V, and paste, and now we have another square.0498

We now have two square layers, because we pasted, and we copied from this one and pasted in another one; we have made another layer.0514

That is pretty much how the layers work--the basics of layers.0525

Let's go back to the beginning here, and just to show you a couple of examples: this is a layered file that you're looking at, right here.0530

The logo is an individual layer, which can be moved, by the way, with the Move tool, and notice that it's at the bottom, under the type layer; so see, when I move it, it goes behind the adjustment layer type, and also behind the rest of the type.0541

We'll move it back in its position and click that; we're back there.0556

Notice, at the top, there is a layer with a checkerboard-pattern thumbnail.0562

That is a blank layer, and I have made that layer (and I'll highlight it as active) so that I can paint the check marks when we go over specific subjects.0566

I'll just put a check mark on the layer basics, and if I turn that layer off, notice that the little check mark turned off.0577

All right, there we go; let's turn it back on.0585

Now, let's talk about the Layers panel itself.0588

It's on the right side; let's go back to that layer sample and turn it on and off by clicking the Option bar.0591

The icons across the top of the panel: we have the New Layer icon, which you saw right here--we have a new layer; if I click the New Layer icon, notice, another blank layer appeared above the one we had.0598

It just creates a blank layer.0613

Let's go back to the sample.0616

Next to that is an icon that gives us adjustment layers; these are layers that allow you to make the specific adjustments listed separately from the image (we'll talk about that in just a moment).0618

Notice, Levels, Brightness and Contrast, Hue Saturation--our primary exposure and color controls are here.0631

Solid-Color Fills, Gradients, Patterns, Photo Filter, Gradient Map (which we haven't talked about), and a couple of others...but primarily, right here: Levels, Brightness and Contrast, Hue Saturation: our most-used exposure and color adjustments.0640

Next to that (let's go ahead and put one right here), this is an Add Layer Mask icon, which we will be talking about; we talked about it briefly in the last lesson, with the Selection brush--what a mask is.0655

You can attach a mask to a layer (we'll talk about that in the next lesson).0671

This lock locks the layer, so you can't move it around; you can move it up and down, but you can't move it around, and you can't retouch it.0676

The same with this lock (you don't use those very often); the Trash icon, the dropdown menu for all of the layer functions, which are also under the Layer menu...0684

The same right there...or right there.0694

That is your Layers panel.0699

We also have, right below that line, a series of blend modes, which accomplish a lot of things.0701

We'll have a lesson on those in a little bit.0709

You can change the opacity of the highlighted layer; for example, let's highlight the star, and say we would like to be able to partially see through the star down onto the square and the circle.0712

We adjust the opacity; you can do it one of three ways: click the little triangle and move the slider; or type it in--let's say 50%; or (let's get back to 100) the easiest method, in some cases, is called "scrubby."0724

As you move your Hand tool up, notice what happens when I get to the word opacity.0745

The hand becomes two arrows; if I click and drag, notice: to the left, it gets lower opacity; to the right, it allows you to adjust it that way.0751

Let's go down to about 70%, and now you can start to see through the triangle, because that layer is at a 70% opacity.0760

You can partially see through it.0770

There are all of the pieces of the Layers panel.0772

Adjustment layers: wow, this is some powerful stuff.0779

Let me switch to this; I want to open an image on the Desktop; just a second; it's on the Desktop; 24...70...it's on the Desktop; there it is--2451.0783

We're going to open this image up; I'll demonstrate this as adjustment layers.0810

Here we have an image, right here, and let's look at the Layers panel.0815

At the bottom, there is our background layer, still locked, as is normal.0819

Right above it, Layer 1 is the duplicate of the background layer (remember, I told you that is the first thing we do); it's identical.0824

We didn't do any physical work on that.0832

Above this are two layers that have blend modes; these are the High Pass Sharpening layers that I talked to you about earlier.0834

That is how you do the High Pass Sharpening--using layers.0843

Above that, there is Hue Saturation, Hue Saturation again, and all of these that start with a C; this particular image was worked in Photoshop, which has an exposure control called Curves.0847

We use Levels; they use Curves.0861

This is all exposure; and then you see, for all of these layers, the little gears indicating adjustment layers.0864

That indicates the icon for Hue Saturation; these are adjustment layers, and what they are are our exposure and color adjustments.0872

They have layer masks, isolating areas; let me just turn them all off (just going right up the line here), and there is your original image.0884

Here is one for Hue Saturation; here is one for Curves, right there, across that hillside.0892

There is another one for the same; there is one, across there; and as we move up and turn them on, you notice that things change on the exposure and color of the various areas; and that is our final image.0898

All of these, by the way, are non-destructive.0914

I could go in and change any one of these; and let me show you how this works.0918

I think this is the image...let me go back to that one...Command+A...0924

Command/Control+A, Command/Control+C, and we're going to go here, and Command/Control+V, and paste it.0930

Now, we can go and close out 2451, which is right here; I'm going to close it.0937

Here is the basic image; when you paste it into a blank layer, you will see that you get a white background.0948

We're going to do Command/Control, click, Command+E; and it merged those two.0953

Command/Control+J to duplicate; that is how we got our duplicate layer.0958

Now, instead of going to the Enhance menu for lighting, Shadows and Highlights (now, Shadows and Highlights--if we wanted to work with that, that is still going to work on the pixels--that is not an adjustment layer; but Brightness and Contrast and Levels are).0963

If we do this here, it affects the pixels directly; and, if we come back and change it again, you will re-torque the pixels.0977

So, if you overdo it and then go the other way, you keep working the pixels and degrade the image.0985

However, if we go under here and go to Levels, look what happens; I'm just going to close it; a layer appeared above the background layer.0990

There is the icon for Levels; it has a mask, which we'll talk about in the next lesson, and what you see is blank white, which means that there is nothing that is masked out.0999

It's going to affect the entire image.1010

We double-click, and there is our Levels control, so let's increase the contrast some, open the image up just a little bit, and there we have it.1012

Now, you say, "What is the big deal?"; well, check this out.1025

See that layer with the eye?--I can turn it off or turn it on, and I can come back in, and I can do something absolutely bizarre, and then I'm going to go on and make another one for Hue Saturation.1028

You say, "Well, now you've ruined your image"; no, I haven't.1043

These are all nothing but mathematical algorithms--the same algorithm that you apply over here, except it's just sitting here as a separate layer.1047

So, all I have to do is go back here and readjust it to wherever I want it to be, and I can do this as many times as I want, and it never affects the pixel layer until I save the file and print it.1059

This is always mathematical; so now, we did nothing with the hue saturation; we'll double-click here, and let's just up the saturation some; look at that!1079

Just like that--that is how we do that.1088

Now, I'm going to give you a quick intro; you understand what the adjustment layers do now, and we have Levels, Brightness and Contrast, Hue Saturation...other ones that you can use, but these are the ones that are the primary exposure and color.1092

Let me just quickly do one more thing: I'm going to take our (this will be a lead-in to the next lesson) selection brush tool, increase the brush size with a right bracket key; we're going to make a mask; we're going to paint a selection and then invert it.1106

I just want to do...we'll just do another one.1127

The Quick Selection tool looks like it's going to work here.1129

Up the brush size; let's just do a quick selection of the sky.1132

There it is; we're going to quickly go to our Refine Edge dialogue box, and we're going to feather at 1.1137

Now, we have the selection; we're going to go to Select, Save Selection, as we always do, call it Sky, and click OK.1144

Now, we have the selection; normally, we were going to the Enhance menu; we're going to go over here, down to Levels.1152

There comes a new layer--adjustment layer for Levels--but notice, the thumbnail is now a mask--which we have talked about before, briefly.1161

It's a saved selection, but it is saved right with this adjustment, so when I apply the adjustment, it only applies to the sky.1174

We can come back and change that; I can load that selection: Command/Control, click; there is the sky again.1189

Go back to the adjustment layers for Hue Saturation; there it is with the same mask, and take up the saturation on the sky if I wish.1195

I would like to make that sky a little darker, so let's go back to the Levels and darken it down just a little bit.1207

There we have adjusted the sky, and you can see (turn it off; turn it on): that is how adjustment layers work, and the power of adjustment layers.1215

So, in this lesson, we have talked about layer basics, the Layers panel, adjustment layers (which are the same exposure, color, and other controls you've used before, but they don't affect the pixels), and given you an example on using this.1226

In the next lesson, we're going to take a good, close look at (where is my untitled?) these layer masks--how they work and why, and how to adjust them and fix them up.1241

I'll see you back in the next lesson!1254

Hi, everybody--Mike Brown back with you--welcome back to Educator.com's Adobe Photoshop Elements 11 course!0000

In our last lesson, we took a good look at layers--how layers work--and adjustment layers--how adjustment layers provide options for exposure and color corrections that are non-destructive, that do not affect the pixels, that can be changed as much as you want and will not hurt the pixels.0006

When you saw, every time we created an adjustment layer (and here are adjustment layers, right here), it comes automatically with a mask attached.0028

That is a layer mask.0039

In this lesson, we're going to take a good look at layer masks--what they are, why we want to use them, and how you modify them.0041

What it is; why use it?; how to create and modify the mask; a mask correction trick that is not in the textbooks; and we'll use an example of using and modifying layer masks to correct an image.0049

Let's get started by answering, "What is a layer mask?"0064

Let's take a look at this particular image of this young lady.0068

If you look over in the Layers panel, there are a whole lot of layers to this image.0072

There are physical layers; here is your background layer; here is the duplicate of the background layer, and I duplicated it one more time, up at the top here, and it's turned off.0080

Remember how our layers work: so if I turn it on, we view that layer, and there is the original file; if I turn it off, there is everything underneath it.0089

There is an easy way to do a before and after.0099

Copy your before from the bottom; move it all the way to the top; and there you go!0103

Now, we also have a series of physical layers here: you notice that this says "left lower lashes" and "left upper"; I want you to look at the original shot of this girl--and it's rather sparse in the eyelashes, top and bottom.0108

But, I want you to look at the finished product; eyes are corrected; we're going to do this actual one.0124

This layer here is physically (turn it on) the (turn it off--sorry; I need to see the finished product; I got confused)...there are your left lower lashes.0130

Notice the bottom lashes; I turn it off; turn it on; the upper lashes--off and on; same thing with the other side.0144

But here are physical lashes on a blank layer; I painted, just like I'm doing with the check marks in our lesson; I painted these lashes, and then I individually selected around one, just a loose selection with 0-pixel feather; copied and pasted, rotated and twisted, and put them in.0151

There are some more, right there, for the other side.0173

Anyway, that is physical layers, right there.0176

We come down to the bottom; you see our original, our background layer, and a layer 3 (which I think is a blank layer that doesn't have anything to do).0180

Then, we have all of these adjustment layers, and look at them: Hue Saturation, and you see Curves--this particular image was done in Photoshop, not Elements--in Photoshop, the exposure control is Curves--here, the exposure control is Levels.0189

Same thing: adjustment layer: Hue Saturation and Curves.0205

We just keep coming up, and you see one that is color; that is Color Balance, which, in Photoshop, has an adjustment layer; here, it's Enhance Color, Color Variations, and it actually works on the pixels.0209

So, that is one slight advantage Photoshop has; you can do this as an adjustment layer, which is non-destructive.0224

But all you see--Hue Saturation, Curves, and Color Balance--mostly the Curves, and then, interspersed, you see physical layers, but you notice, in this case...0231

If you remember (before I go on): every time we automatically add an adjustment layer (let's just open one up for Levels, and I'll show you), it opens up; there is the layer, and attached to it is a mask or a thumbnail.0244

That is an actual selection mask, which is also a mask; remember, our Selection brush tool does selections and masks.0262

That is a mask, but being white means it affects nothing--it's not isolating an area; it affects the entire image.0273

Down here, you see masks attached to Hue Saturation, with just a part of the face.0281

We can view a mask by holding down Option on a Mac/Alt on a PC, and when the blue window or the blue frame is around it, click the mask, and there you see the black and white version of that mask.0289

Option/Alt, click, again, and it's gone.0303

Now, if we do that with the white one--Option/Alt, click, it's all white, or, again, it comes away.0306

So, you understand what the layer mask is; it's simply a selection attached to an adjustment layer or a physical layer.0315

Sometimes you don't want to have a problem, and you'll use it...in this case, you see a face--a portion of her face (let me make sure this is turned off--yes, it is), and the reason these masks are there--there are blurs.0323

Notice the skin when I turn it on and off; notice the pores of the skin; I cut out part of the face and masked it, pasted it in, and did nothing but blur it, and I wanted the mask, the black part, because I didn't want to blur anything else but part of her face.0342

I want you to see (let's do that) right around the eyes: I'll turn it off and turn it on; you notice, it doesn't affect the eyes, but it does affect the skin.0360

That is where a mask comes into play, there.0375

There: what is a layer mask? A layer mask is, very simply, a selection that is attached to a layer--either an adjustment layer or a real layer.0378

Why use layer masks? What it allows you to do is make your adjustment layers with selections, so that you isolate areas non-destructively.0393

How do you create and modify a layer mask?0409

It's very, very simple: here we have this image right here, and we're going to work with this image--actually, what we're going to do is create and modify the masks.0414

I'm going to show you a correction trick that is really cool--not in the textbooks--how to correct masks.0425

An example--that is what this will be--of using and modifying layer masks.0433

So, here is our image, right out of the box.0438

We want to duplicate our background: remember, Command on a Mac/Control on a PC, the letter J.0441

We're going to duplicate it again, because we have not sharpened this image.0447

We're going to change our blend mode to overlay--remember the High Pass Filter sharpening--go to the Filter menu, down to Other, down to High Pass, and all we want to do is make it large enough (we don't want to see color; we just want to see edges).0451

That is pretty good, right about there--maybe a little less; we'll click OK, and let's zoom up and see how much that affected the sharpness.0470

We'll turn it off and on; a little bit--maybe we could use more; and remember, rather than having to do it again, we'll just duplicate the layer, and that will double the effect.0480

Command/Control+J; and notice the sharpening; it came up really good.0492

We're going to keep all of these layers, and now, we want to merge the layers.0496

Remember from the last lesson: this one is highlighted; Command/Control on a PC, click; Command/Control, click; they are all highlighted.0501

Go to your list dropdown; Merge Layers; Layer menu, Merge Layers; or the shortcut: Command/Control+E.0510

Now, they're merged, and we'll zoom it up and check our sharpening.0520

Off; there is the original image; there it is sharpened; it looks pretty good.0528

All right, we're ready to go; this is our working layer.0532

Now, we look at this image: the first thing I want to do is crop it, so I'll take the Crop tool, and (am I on the correct tool? no restriction...got it...) just take the bottom and move it up a little bit; oh, I should have cropped the...0537

Oh, that is the wrong tool; that is the Recompose; sorry--I hit the wrong tool; you're going to learn about that in another lesson.0561

Crop tool (my fault--getting ahead of myself): click and drag; we'll take the image, and take some of that foreground away that we really don't need there...maybe we could come in a little on this side...that's looking pretty good.0566

We'll accept that; the image is cropped; and we're ready to go.0582

All right, so let's assess our image; this is one of the things we need to do when you first look at your image.0587

The sky has clouds and color, but it needs to be saturated and brought out.0593

We need to make a selection of the sky, right across the horizon; we need that selection.0598

The outer ocean, all the way up to about here in the cove, is pretty washed-out, so we need a selection from the horizon down to the cove of the ocean--that is 2.0607

The cove I would like to snap; that is 3.0619

The land mass--this is not bad; we snapped out a little bit, but it was darker over on the point, so we want to do that.0622

So, we have the point; the foreground; the cove is 3; the outer ocean is 4; and the sky is 5--different, isolated areas.0629

We can do this all from one selection, by modifying a layer mask, and I'll show you how this trick goes.0638

This is all creating masks and modifying them.0647

The first thing we'll do is make the selection of the ocean; let's go ahead and take our Quick Selection tool, and drag it in the ocean, and it's going to pop to...it looks for edges.0650

We'll go a little further in the cove, and there we have it.0665

The first thing we'll do is use our Selection brush as a mask to see how well we have done.0668

Let's zoom up and take a look!0676

It looks pretty good around this edge; let's get that brush size way down; we'll go around the edge--it looks pretty clean--I see a little water there that we could get rid of.0681

Remember, to remove a mask, Option on a Mac/Alt on a PC, and just paint it away.0691

We have a little more water over here: Option/Alt, paint it out; don't worry too much, because it's just a little exposure correction we're going to do.0698

It's not going to hurt it.0706

Option/Alt right there; we need to paint in this island, so we'll just paint it.0707

This is really easy stuff, creating these selections.0713

I like this for non-really-precise selections; the Selection brush tool is really kind of cool.0716

All right, we have that; let's go around--it looks pretty good in there; there is a little water--Option/Alt; get that out.0724

You don't have to worry too much about it...the spacebar is allowing me to move around here...there is a little more...Option/Alt, paint.0732

A little more down here; I think that whole thing is water...it is, indeed.0742

OK, so now we have modified our selection by painting, just the selection, mind you; we'll go back and we'll make it into a selection, and we're going to go up to the Select menu, down to Refine Edge.0748

We're going to feather at 2, and that is all we need to do.0770

It's feathered; let's zoom it up and just take a look at the edge, and see how it looks as a mask.0775

Smooth, clean edge...looks good; let's make it a selection: Select, Save the Selection, since we spent all the time doing it: Sky and Water--now we have it if we need it.0782

All right, so now, the next thing we're going to do is start...all we need to do here is make exposure and color adjustments to the sky, water, and land.0795

It's only those things; and what are our exposure and color controls?0807

We have Levels for exposure and Hue Saturation for color--that is all we need to use--those two here.0811

But first, I need several selections--one for the sky, one for the water, one for the cove, one for the point, and one for there.0819

Now, here is how I look at this: I have all the water, so if I modify this selection and paint out everything but this cove part, I have a new selection.0827

What we're going to do--and here is the trick that they don't tell you in the book: first, we're going to go over here and highlight this layer.0840

We're going to go to our adjustment layers for Levels (that is the exposure), and we make an adjustment layer.0848

I'm going to turn that off for a moment: notice what happened; the selection is now saved as a mask, attached to the exposure.0856

Let's show you what happens.0865

It's just working on that area, right there.0867

We're going to run that back to the original spot of 1...close enough.0871

Now, I need to modify that selection; the mask that is attached is for all of the ocean--I just want the inner part.0877

How do we modify that? I could have done it separately with the Selection brush, but I need perfect blending.0885

So, watch what happens: if I use--and here is the trick that is not in the books; big trick--hit your backslash key; it's the key immediately to the right of the right bracket key.0895

Watch what happens to the layer mask and the image.0905

It looks like I turned on the Selection brush, but I did not; all I hit was the backslash key; on; off.0914

It's just the mask that is now active.0922

What I can do: backslash key, take my paintbrush, which will paint directly--remember, black and white paints on a mask--it will paint right there as I paint on the image.0926

All I need to do is just get the cove.0940

I'm going to take the brush size and bring it up to a nice, big one; it's a soft brush--I want to double-check that.0944

The opacity, the size of the brush, settings: hardness is 0, exactly what we wanted; and all I have to do is paint.0952

Now, I'm isolating the cove from the remainder of the selection.0961

Is that cool or what?0968

Now, notice that the mask has now changed, because I painted the mask; when I hit that backslash key, now the mask (Option/Alt) is nothing but the cove, with a perfect shoreline and a nice blend over here.0970

Option/Alt back; let's open up the Levels, and now...notice, it only affects the cove...snap the contrast and brighten it up a little bit; that looks pretty decent.0985

We'll turn that off, and now let's turn it off and on; we have a little snap in the cove--notice how the sea foam looks better.0999

Now, what we want to do is: we want to go in, and now, we want to do the rest of the ocean--that is the next step.1006

So, we're going to reload the selection of the sky and water.1018

Now, you see the crawling ants; we have that, so now what I want to do is paint out the cove.1026

So, I'm going to make another adjustment layer for Levels.1034

You will see that there is that selection again; I'll hit the backslash key; there it is again; I don't want the cove now, so paintbrush: I'll paint away the cove area, and I also don't want the horizon line--I just want the ocean--so now what I'm going to do is make the brush size smaller, and I'll show you another trick.1041

We're going to go to Shift, click with a brush just above the horizon, and drag; and it drags a straight line across the horizon.1066

Now, we can make it a little larger and do the same thing right above it, to make sure that we get a nice, clean selection.1078

Now, we'll just paint everything above that.1087

You get what we're doing: we're painting on the layer mask.1090

This is a little bit advanced, but this is one way to do it.1096

All right, so I'm painting the sky out, and notice what is happening over on the layer mask.1103

Option/Alt, click; look: the layer mask is simply the outer ocean.1110

We have protected; we need to paint a little more here--paint with a brush, black, and there we have it.1117

So now, that is only going to be active in the outer ocean.1127

See it over there; Option/Alt, click again; open up our Levels, and we can darken down that outer ocean.1130

Snap it a little bit, and there you have that.1140

Let's turn it off, and turn it on; and I think we could open that up just a little bit more, maybe...yes.1143

That takes care of that; off and on; and now, we have the cove and the outer ocean done.1156

The only thing left is the sky, so what I'm going to do is another trick.1164

Command/Control, click this thumbnail; and that is just the cove--I need to get that exact line.1170

I'm going to do Select, Invert, and I'll show you what that looks like.1178

Follow me; the sky is clear, and everything else is not, so we have everything we need--we can paint it out; let's go for one more adjustment layer for Levels.1184

We'll just leave it as it is, and we'll just do backslash, and we just need to paint a mask over everything else--not the sky.1197

Just get that brush, zoom it up to a large size, and just paint everything else away.1209

This is how you modify a mask, and this trick with the backslash key allows you to make a preliminary mask, and then modify it directly on the mask.1218

Notice that we have modified it now to the sky; backslash key--we're back to business--there is just the sky.1230

Right there I missed a couple of spots: fix that--Option/Alt, click.1237

Bring the adjustment back up, and now we can knock down the sky until we get some color.1243

There we go...now, I see one more thing that I'm not happy with yet; notice, the outer ocean is a little too bright.1257

We need to do one more; here is another trick: Command/Control, click the thumbnail--we've loaded that outer area--let's make another adjustment layer for Levels; we're OK there.1265

All I want to do is get this area, so I'm going to load the selection (Command/Control, click); click on my gradient; and I'm going to take a normal black and white gradient (as you see right here, it's black and white), and what I'm going to do is: on the mask, I have this selection; I'm going to do Command/Control+H, and I'm going to click and drag at 100% opacity, right up there.1280

Notice what the mask did: Option; it's a little too much, so I'm going to do it again: shift, click and drag.1314

I'll do it right on the black and white...there we go; I just got the upper part--notice that I filtered out the bottom.1326

Now, I can take my paintbrush and clean up that little edge, Option/Alt click, and now watch what happens.1333

It's only going to work on the outer ocean--notice that--it protected the inner ocean.1341

A little snap and contrast...open it up just a hair...and there we go!1347

So now, we have gone with the inner cove, the outer cove, a fix on the outer cove, and the sky; now we need to do the land.1353

Very simple; sky and water are loaded; invert it--Select Inverse; take our Selection brush as a mask.1363

You see that it's the land completely; so, what we're going to do: make a selection and do a Levels one more time.1372

This one--we'll do the overall; let's brighten it up a little bit.1382

There it comes; snap the contrast just slightly; brighten it up--that looks good.1387

We just have a little problem over there--we're pretty good, so what we're going to do is load that selection: Command/Control, click; and make another adjustment layer for Levels (notice, all we've done is Levels here).1393

I'm going to modify this mask: backslash, and I'm just going to modify it so that we paint everything except the point out.1407

If you'll look over there, the mask now is only the point; backslash key, Option, click; there it is.1423

Take a look at our Levels, and if we brighten up the point a little bit, there you go...a little contrast...there!1432

What we did is made one singular selection that you see inverted here, just the ocean.1441

By painting on the various layer masks, we isolated the cove, isolated the outer, isolated the sky, modified the cove so that we could bring down just that section of the ocean, and then we did the entire land, right there, and painted that one again to modify it to there.1448

All of this was one selection, creating and modifying layer masks--all with a series of 1, 2, 3, 4, 5, 6 exposure controls; no color control necessary whatsoever, and we went from (let's copy this one) there to there just by modifying layer masks.1472

The trick I'm going to go over one more time with you: when you have a layer mask: with your backslash key, you now see it as an overlay that you paint with a normal paintbrush, and you can modify it at any time.1499

That is the key right there; otherwise, you take your normal method of creating a selection, go to the adjustment layer, and it will make the selection into a mask, and you can modify that from there.1514

That pretty much gives you how to create and modify (oops, I don't want to do that; I want to paint it with a brush) a layer mask by painting on it; a mask correction trick not in a textbook--the backslash key; and a complete example in how to use and modify layer masks in Adobe Photoshop Elements 11.1530

I'll see you back in the next lesson!1554

Hi, everybody--Mike Brown back with you with another lesson in Adobe Photoshop Elements 11 from Educator.com.0000

If you remember my four categories of Photoshop Elements, we have selections, corrections, retouch, and manipulation.0007

We have dealt with selections and getting flawless selections, corrections (which you now can apply with those flawless selections), and now, it's time to deal with retouching.0015

In this lesson, we're going to (in part 1) go over the retouching tools and how they work: the Spot Healing brush, the Healing brush, the Rubber Stamp tool, and the Pattern Stamp; and I want to give you a demo with basic retouching techniques and some tips on flawless retouching.0026

Let's get started!0043

All right, here is an image that I shot at a dealership, of a car.0044

You can see that you see the Mercedes sign; you see a car in front; you see stuff underneath it; you see part of the building behind the image, and a car down here.0051

We have some things that we need to retouch--a lot of body retouch; we need to retouch windows; we need to take out the signs and the power poles--all sorts of stuff.0062

In this demo right here, I'm going to show you how we would do retouching without the retouching tools.0076

We're going to use the Gradient tool.0084

It's very simple: what we're going to do is take the Quick Selection tool, and we're going to make a selection of just the sky (moving around the car here, very carefully).0086

Now, in this demo, I may not be perfect, because we have time constraints; I don't want to keep you all day.0101

But now, we'll see that we have some areas to correct: drop the brush size down, Option/Alt, and follow that car edge to remove the faint edged area that overwashed...that looks pretty good right there.0108

A little smaller...Option/Alt...take it right back down to the red edge of the car; it's looking pretty good.0125

Let's see if we can get it all the way; it's coming out--the Quick Selection tool is working very well here.0135

That looks pretty good; Option/Alt, right there on that edge; clean that up; this is looking great!0142

Now, let's come down here; Option/Alt again; get that selection.0150

Automobiles are very difficult; many times, you won't be able to do this, because the edge, because of reflections, is so faint.0154

This one worked reasonably well.0164

All right, we're coming back; I see I got that; that looks OK.0166

Now, the rear window area right there--I can hardly see it, so what we're going to do is take the Polygonal lasso tool, with a feather of 1, and we're going to take Option, because we're taking it away.0173

I'm leaning back to see this, and I can see that the edge goes right up there.0186

That will remove that, and there we go!0197

All right, we have the edge of the automobile; let's go to our Refine Edge dialogue box, and what we're going to do is use just a tiny bit of radius and see if we can get those trees.0201

We got them; do a feather of maybe half a pixel...let's do 1 pixel of feather; good enough.0215

Let's take a look at it with our Selection brush; that is so convenient to look at it as a mask.0223

We look, and we see that there is a little bit here that I missed; let's go ahead and paint that in, right on down the edge of the fender.0230

This is where these car selections are very precise; so, even painting this is not necessarily the best way to do it.0240

There we go--Option to take it out of that sign.0252

It's very painstaking work to do a car edge properly.0258

We'll come around; that's close enough; oh, let's just take that little bit out of that...oops, other way around; I need to paint.0262

This is where the Wacom tablet really helps you.0272

OK, we have our selection; let's go from the mask to the selection.0275

Now, what we're going to do here--this is something a little bit different (I want to get these to come back from green...OK): the original is right here--everything else is turned off; we are going to copy the sky.0281

We can do this on the original--there are two ways to do this; I'll copy it.0302

Command/Control+C--that copied the sky; Edit, Paste into Selection (it should have pasted it in the right place); we'll just do Command/Control+V, and it comes in in the middle of the image.0305

Now, what we have to do is move it up and match it up, pixel for pixel; sometimes this takes a little while.0317

Let me show you how we're going to do this: we're going to move it up to match up the edges; use your arrow keys to turn it off and on; we need to go over one and down one, and that should be it.0326

There we go; off and on; we've matched it exactly.0340

Now, you notice that it created another layer that is purely the sky.0344

This way, we don't mess with our original layer.0351

We're going to take the sky layer, Command/Control, click, and it loads our selection.0353

Now, we're going to go to the Gradient tool, and we're going to take our color picker, right there--the little eyedropper--and we're going to source the sky, which is our foreground color; Option/Alt, source the other side of the sky, which is the background color, take our Gradient at 100%, Command/Control+H, and just drag it across the image.0359

There you go: Command+Z, Command+Y, and we have removed that sign and all of the other distractions and fixed the sky.0385

We're going to do one more thing here: let's take a look at the window--another use of the Gradient.0395

All right, we're going to take that Polygonal lasso with one pixel, and we're going to work our way around the window in short segments, which, when we complete the selection, will, with the feather of 1 that you see down there, round them off so that it appears to be a perfect curve.0402

That way, we get a precise selection around this edge.0430

Come right around the window; spacebar; move it right to there, and come up inside the window, and back over, and there we have it!0435

All right, we have a selection; let's take a quick look at it as a mask again.0456

You can see how smoothly the edges became a curve, by using short selections.0461

So, using the Polygonal lasso tool allows you to select precision areas, if you do short segments.0467

All right, let's save that selection--we worked pretty hard to do it--just in case something happens; we're going to call that Window and click OK.0474

All right, now, to remove this: since we can't see through that window, color picker again; we're going to use our Gradient.0484

Color picker: we'll use this color for the foreground (that is that color, right there), and Option; for the background, we'll use that color there.0492

Take the Gradient; drag it from foreground to background, and there you have it!0504

It has been removed; but what we're going to do...we have one problem; here is a trick for flawlessness: notice, we have a color that looks good, but look: there is a kind of granular noise (that's from the digital camera); there is noise in this image, and there is no noise where we dropped the color.0511

So, with the selection intact (and we're working only on that area right there--that is interesting): Filter, Add Noise; we worked it in another layer, but that is OK.0530

There we go; deselect; and there we were, and there we are.0545

I meant to work on the original, but, by working on the pasted layer--if you look, we have made a retouch on a separate layer from the original, so the original is still intact.0550

All right, so there you have how to do some retouching with gradients.0566

And again, the key--I should do this with the sky as well; I'll just load up the sky, and now that the window is part, we're going to have to go with the Freehand option and go around the window; get that out of there; and we're going to put noise in the sky, as well.0576

There you go: Command+Z, Command+Y, and now it matches up with the remainder of the image.0598

We retouched a considerable amount of that automobile without using direct retouch tools--just gradients.0603

OK, so now, let's go back and take a look at our retouching tools.0612

Here is an image of a friend of mine that I took; we look at the image, and it needs a little work right away--it has a kind of green cast, so the first thing I'm going to do is Enhance Color, Color Variations; I'm going to decrease green, maybe twice, and see how that does it.0616

That is a little bit of a help; we're going to go to the Enhance menu, Color, and here is another one: Adjust Color for Skin Tone.0636

We'll just hit the skin tone right here; oh, that did a nice job of warming up the skin--that is just fine.0644

Now, we'll take (as soon as that calculates)...we're going to put an adjustment layer in for Levels and do a little contrast snap and open it up just a hair.0651

There you go--we have gone from there to there, and now, the image is ready for work.0666

Let's explore any problems we have here.0673

The most obvious one is a fold in the dress; that needs to be retouched out.0677

Secondly, I can see in the sunglasses the flashes in the background; they show in the sunglasses--a little deformity in the corner.0682

We have skin problems, but, in Retouching Part 2, we'll deal with skin retouch; here, it's just basics.0691

We have, in the background, a couple of problems--just distractions: notice the dead leaf over here, and a couple of branches there.0698

But, a big problem that we have: a branch growing out of the arm right there, and a branch growing out of her side, between the arm and the dress, and this flare spot.0707

Let's go and take a look at our retouch tools, and show you what they do.0720

Now, we have the Spot Healing brush and the Healing brush; both do similar things, but allowing for slightly different ways of doing it--we'll show you.0726

You have a choice of proximity match, which looks in the general area for similar background; the new Content Aware, which looks all around and averages things, and in general does a better job--I tend to leave it; and Texture--we don't want to deal with.0737

What we have here: I would like to have a brush, and let's look at the brush options.0753

I want a softer brush; there we go; close window; there we go...I got that out of there; close the window; all right, a softer brush.0766

Now, the way the Spot Healing brush works (let me find another imperfection that we can work on--OK, right here): we want it to remove this little mole (or just a freckle).0783

you get the size of the brush down to roughly the size of what you're doing, and just paint.0799

Now, the black area is the area it's going to fix; but, with the Content Aware, it's looking outside of that--I can't really move the brush, but it's looking about that far outside, all around, and notice--it's gone!0806

The area around it was pretty uniform to deal with; we'll just take another one; it's very simple.0821

Just spot, and it's done--that easy; just cover the little spots; just paint over them.0827

This works very well in uniform areas, where you have small blemishes, like we have here, on the skin.0834

There is a large one--and away it goes; everything works perfectly that way--very simple.0841

Now, let's come up; let's try this on the side here--just a little bit of simple...there we go--I helped that out.0847

You can do spotting, very easily, of simple problems.0855

We'll go in here and do the same thing; we'll paint over that flared area--and it did a reasonable job.0858

Let's make the brush size larger and paint over a little more area--and it did a better job.0865

I'm going to use the other brush--this is what you get when you don't have an option and a lot of area.0873

We're going to source: Option/Alt; there is your target, so it's going to look over here, but it's going to do the work over here.0878

See the little cursor to the left--the little crosshairs?--we've painted, and it did a reasonable job.0886

Let's try it again by sourcing up here; it doesn't work the first time on one of these; try three or four different times, because it calculates differently--nice job, right there.0895

Now, we're going to try right over by an edge, and this is very problematic.0905

We're going to source way in and paint it over here near the edge, and see what happens.0910

See that little flare?--even though it's sourced over there, it doesn't 100% look over there; it looks partly where you are working.0916

So, when you get near an edge, it tends to look out in all directions, and it saw the skin, so that is a problem.0926

Let's see what happens here: source, and paint near this edge; that was slightly...I did the same thing.0933

Neither of those works; let's try the spot in the corner and see what happens.0941

Again, we got the flare; so those only work for areas where you have uniformity.0948

We have another--we have the Rubber Stamp tool, the original cloning tool, and how that works is very simple; I'll give you a fun demonstration.0954

Option/Alt; source again--it's sourcing from her lips--and it's going to paint and reproduce (clone) exactly (notice the cursor on her lips, moving around; and I want to do this at 100%--I had it at a lower percentage)...0963

There, now it's painting; see the little cursor working around her lips up there on the face; and it's reproducing precisely; what you are painting up here reproduces down there.0980

You're cloning from one spot to another.0993

For her sunglasses, we'll source up into this area right here, and we'll reproduce that down by the edge.0997

It's not looking anywhere; it's just reproducing.1006

You can also do the spotting by sourcing and doing that again.1009

One tool sometimes works; another doesn't; so, between the Spot Healing, Healing brush, and Clone tool (both the Healing brush and the Clone tool use the source)...1015

I want to show you something: for both of those tools, you have what is called a clone overlay, and when you default and start your computer for the first time (or the program), this Show Overlay box will be checked.1030

What happens is: source in here, and as you're working on an area, it's showing you where it's sourcing from.1045

Source on the lips--it shows you that.1054

I personally want to see where I'm working--what is going on--not the source, so if you go into the clone overlay and uncheck Show Overlay, when you source, now you will only see it once you start to paint.1056

OK, so we have fixed those blemishes; let's go down and look at the dress.1072

We can do this...this is where the Clone tool will be used, not the healing brushes.1078

The first thing we have to do is to reconstruct the dress; so, we're going to take the lasso tool with a feather of 1; hit your Return, type in 1; hit it again--1 pixel.1084

We're going to fake it by just drawing what we think the dress should look like in that area with a selection.1098

We have it isolated; now we're going to do Command/Control+H to hide the crawling ants (but the selection is still there),and take our Clone tool (right now at 100% opacity with the softer brush at about 45-pixel brush--would work just fine, and we'll make it a little smaller).1106

Option/Alt, sources (let's make it smaller); Option/Alt to source, and you want to maintain tonality--see how the arm is dark by the dress, light out here?1130

We're going to try to reproduce the tonality precisely, coming down the arm.1141

It's not working too well--you see that it's brighter--so we're going to take that all away and start closer.1148

I don't want to be too close; and you want to do this a little at a time, so that you don't get what is called repetition (I'll show you that in a minute).1156

Starting out just a little bit away from it, paint a little bit only; notice how we're doing a good job here; start down here, and paint up, just kind of picking at it, a little at a time.1164

We're cloning 100% of what we source at; now, here is what happens: see these three dots?--that is repetition, because I cloned the same place three times.1178

That is a giveaway that you are photoshopping; Option/Alt, and remove the repetition; it came from right there--Option/Alt again, cloning very carefully.1192

Change your source points frequently, so that you don't get any of that repetition that I was talking about.1205

We're getting a little bit of lightness in there, so let's go back up and clone over that.1214

Down here, see, this is just a patient process; do a little bit at a time, as you move along; it won't take too much longer; we only have one correction that I see we need to make already.1219

Let's go ahead and pick at this a little bit more; we're getting there.1235

If you do this in one big jump, you are going to get a lot of repetition, and it's going to look a little weird.1244

So, you just work your way along, taking a little bit at a time; a stroke at a time is what I'm doing here.1253

We almost have it done, and there we go; it looks reasonably good.1260

Now, I can see that it looks OK, but you see right there: you can see the dark edge; what we're going to do is change our opacity down to about 20%; you'll see more of this in the next lesson on skin, but this is how it works.1266

Larger brush; we still have the selection; Option and source it, and then, at 20%, just work the edges, and see how gently, by painting a little at a time, just smoothing that edge tone (I got too much there)...1282

There we go--that looks pretty good; how about that; we have that completely finished, and it looks good up close.1300

We can Command+H, Command+D, and now we have fixed up the arm, and the dress looks pretty decent.1309

We could have brought it in a little bit more, but that's OK.1315

Now, we'll take out the branch; so we're going to take our Freehand lasso tool, feather of 1, and we're going to make a selection to protect the arm.1318

Coming over here...down just a little bit; protect the dress; I'll start from the other side and go up, come over to the arm, and we are protecting the arm and the dress from being cloned.1330

Now, you can clone outside and find similar areas: Command/Control+H, Rubber Stamp tool, a little larger brush, and you want to get similar texture.1348

Keep changing your source points, because if you don't (let's do this and just show you; we'll paint it in that area--oh, it's a 20%; I need to do 100; sorry)...we're going to paint from here and just clone it 100%.1359

Now, at first it looks OK, and you probably wouldn't notice it, but there is a duplication here.1381

This is kind of abstract enough: right here, there are those two spots: there they are, and there again, and I also missed some of the edging.1389

So, I'll take another sourcing and paint...I'm going to deselect, because that is the edge of the selection; that is a giveaway, too.1398

Fix that; and now, we have removed the duplication; there is one right there; Option, done; and there is the branch.1405

One more, and we're almost done with this thing; and there we go with the Freehand again, and we'll just protect the edge of the arm, and we're going to do Shift and pick up all of this area here; Option to get that hand saved.1416

Now, we're going to start cloning here, with this Rubber Stamp tool and larger brush.1437

We're going to take a big area off of here; Option, Source; and paint it right down here and see how that works.1442

It worked pretty well; the repetition didn't show too much.1452

Command/Control+H; we're going to take this texture, because that is what the bushes look like.1455

Paint that; Option/Alt and paint over here, and there; and let's take a look for repetition and see if we have any.1460

I don't see any evidence of it; let's go to a smaller brush and just clean up little spots.1469

Oh, I see what that is; that's outside the selection--fix that.1475

There you go, and one thing: let's get that dead leaf out of there--a little abstract look; and there you have it.1481

By using all of the tools--we used the Clone Stamp tool; we used the Spot Healing and Healing brush and selections to isolate--we cleaned this up.1489

Now, one more thing that I want to show you: let's go back and see what we've talked about already.1501

We've talked about the Spot Healing brush, the Healing brush, the Rubber Stamp tool...and let's talk quickly about the Pattern Stamp tool.1509

I'm going to open up just a blank document, and let's go look at the Pattern Stamp tool for a moment.1518

What you get here is a series of options: this paints patterns from the pattern file.1528

You have a lot of patterns to choose from; let's pick some rock patterns.1536

Here is a rock pattern, and when you paint, it paints a pattern so that you can make backgrounds.1542

Now, that is a hard-edged brush; we could pick a soft-edged brush, and up the size of that, and it would do it with a softer edge.1550

That is one way to do this; here is another one here, just for fun: let's go to Nature Patterns and pick some grass, and you paint various backgrounds.1562

You can isolate areas...it's kind of good for graphics and creating stuff.1573

Now, you can paint as an impressionistic background; let's pick some rocks again--rock patterns; I'll pick this same one we had, and we'll click the Impressionist button.1576

What that is going to do is paint it as an impressionistic art form.1589

It's kind of blurring it down to give you some blurred background.1594

If you chose a hard brush, however, it would paint it (let's do this with a larger brush) almost looking like a snake.1597

So, you have all sorts of options that you can play with, with the Pattern Stamp tool.1610

There you have the Pattern Stamp tool and a demo on basic retouching techniques, and some tips on flawless retouching: replacing grain when you use gradients; we used the gradients and the retouching tools--all sorts of different methods to do basic retouch.1615

In the next lesson, we'll deal with retouching people!1633

I'll see you back in the next lesson.1636

Hi, everybody--Mike Brown back with you once again, with another lesson in Adobe Photoshop Elements 11 from Educator.com!0000

We're talking about retouching, one of the more important and one of my four basic categories (remember: selection, correction, retouch, and manipulation).0007

Retouching is fixing all of those blemishes, replacing areas, making things clean, and looking just perfect.0017

But, the key in retouching, as with everything we're doing here in Photoshop Elements, is flawless blending in every case.0024

Now, we dealt with that with selections, and blending corrections through a selected area; here, we're dealing with small areas, and especially, we're dealing with people.0033

We're dealing with skin, faces, eyes, lips, close-ups where any mistake you make, that doesn't blend perfectly, will stare out glaringly, and everybody will say, "Oh, I don't know what she really looked like; that was Photoshopped!"0044

So, in the next three lessons--this one and the following two--we're going to talk about retouching what is the most popular photographic subject there is: people.0059

Let's get started!0070

In Retouching People: Part 1, I'm going to show you the basic techniques for retouching skin, and how to retouch eyes, teeth, and lips.0071

Let's get started right away, here.0082

Here is the lady you saw in the last example, Debbie; we're going to use her in this and the next couple of lessons.0085

Now, Debbie is a good-looking woman; she is in great shape, but she is over 40--no question about it--and we would like to see about retouching her image.0092

One of the key features, when you are retouching someone who is middle-aged or even older, is: you don't want to take 25 years off, because it will look totally phony.0104

Even if you do flawless job, the result...anyone who knows this person knows--maybe she is 50, and she looks 25--that that is totally phony.0117

So, even though you did a perfect job, it's still a giveaway.0127

The idea here is to make the retouching enough to improve the image and make the person younger, but to maintain the integrity of the original photograph.0130

Let's get started and take a look at what needs to be done.0144

We'll look at this image; and the skin on her chest is a little bit age-mottled; you have kind of texturization; we have some flaws in the skin--moles or various and sundry discolorations.0148

We have some lines under the neck that need to be dealt with; a little sagging, right in the area right underneath the chin here; we have a little change in her face, with age; we have a little sunken area around the chin, and it's out a little bit in the jaw line.0163

Let's look closer: again, we have some lines in the face; we have a lot of lines around the eyes; we have the little puckers in the forehead; and again, lines around here; the eyes need to be whitened up; the lips seem to have spread just a little bit, down at the bottom--maybe she had a little Botox, and it flattened in there, but the shape is kind of funny; we would like to alter that a little bit; she has a slight overhang on the tooth.0186

All of these details we can attack in very short order.0217

In this lesson, what we're going to be dealing with here, primarily, are eyes, teeth, lips, and the basic skin retouch.0221

Let's start off, right away, by duplicating our background layer, as we always do; you can do it from the dropdown Layer menu; you can do it from the Layer menu itself, or, as always, the shortcut: Command on a Mac/Control on a PC, plus the letter J.0229

And, we have a duplicated layer.0246

Now, one of the things that I want to mention here: these are just little, subtle tricks: in the landscapes that I used for examples for exposure and color, all the way up to this point, we always start off by sharpening the image.0249

One of the things that you must be very careful of: unless your photograph is out of focus, basically, you don't want to sharpen it with a person.0264

In this case, you see, the focus is good; you see that it's not 100% crisp; it's good, but not perfectly sharp.0275

If we sharpen the image, what is going to happen: the pores will become prominent.0285

I'll show you that, just very quickly; we'll duplicate the layer, set the blend mode for the High Pass Filter at Overlay, go to Filter, Other, High Pass; and again, we're just looking for edges.0291

You can see already that you can see (let me zoom this enough that you can see it) the pores in the skin, which means that they are going to be accentuated.0306

Look at that--if I turn it off, you see that they are softened; if I turn it on, although the eyes here are getting crisper, all of the pores and the little hairs in the skin are becoming really prominent.0315

We really don't want that; we want to soften it, not sharpen it.0329

There is the reason that, if the image is fairly crisp, you don't want to do, unless it's absolutely necessary, any sharpening on a portrait.0333

We're going to take that layer and trash it by grabbing it and dragging it up to the Trash Can, and it's gone, and we're back to our original image.0341

Let's examine; we have all of these lines under the skin (we'll deal with that in a moment); let's start off with the spots.0349

This is the first thing you want to do: spot an image, and how do you spot it?--we're going to use the Spot Healing brush.0358

We'll move the right bracket, up the brush size; let's just check that brush--we're going to pick a soft brush.0366

We'll knock it down in size; I just like using soft brushes, unless you need a hard brush.0375

All right, remember how we do this: we just paint over the area, and it goes away.0381

Just spot away; and especially on the skin here, it's very easy to do--just kind of click and drag on the spots, and all of those blemishes will go away.0386

As you begin to remove the larger blemishes, the smaller ones will start to become more prominent.0397

A lot of times, especially with middle-aged people who have a lot of character, if you will, in their skin, as you spot it, it takes a while to do the spotting; but it's just patience, and it's almost kind of Zen-like; just sit here and spot things out--just doing the little details.0406

We'll take a few of them out in here, and that will help to smooth that skin down some.0426

Let's see...1, 2, 3, 4, 5...so, I'm starting to see the little ones; as you have no big ones to look at, the little ones start popping out, and you see them.0434

I think that is going to be pretty much good enough.0445

You get the point; you see how easy it is; since the area of the skin is all similar, as long as you don't get really close to an edge, it is pretty easy to spot out blemishes.0448

We'll take a little blemish off here, and we'll start working up in the face, and take a couple here.0462

She has pretty clean skin...pretty good for a lady who is 52.0470

Now, here is a good one; you see the little furrows in the brow?--very simple--just use your Spot Healing brush, and go up, and it will just go away.0474

Be careful that you don't get any smudgy areas that show after you get done doing that.0485

See, that didn't really change the character of anything; there is before and there is after; it looks pretty good; a couple of spots around...0492

We're not going to deal, yet, with the lines under the eyes; we're just spotting.0500

That is all we're doing--to improve the skin in areas (let's see...this little scar on the chin might be a good one to go).0506

I think, in general, that is good enough; you get the idea of what it's like to spot an image.0514

Let's go back out now and take a look.0521

We'll go before and after; as you zoom up, you begin to see, especially around the neck--all of these little (let's drop that down; that is after; that is before) spots that give away age have gone away.0524

OK, there is one more right over there; that looks pretty good.0540

Let's take a look at the face one time, before and after--pretty clean.0545

OK, now that shows you how the Spot Healing brush will work on this; now, the next thing we need to deal with is underneath the eyes.0551

We're going to start right away with doing this.0562

Now, the way to do this: you're going to use the Clone tool--the Rubber Stamp tool--and we're not going to use it at 100% opacity.0564

As you lower the opacity to, say, 50%, if you take two or three passes, that is going to get it all there; it's only painting 50% of where you make your source.0576

20%--it's only doing 20%; so, what I do is bring the brush size down; I want to make sure that my brush is a soft brush (I'll select one, and you can see that it's soft by the diagram).0590

Bring it down just a little bit; now, what we don't want to do here is: I don't want to remove every trace of the lines--it would almost look like she had a face lift, and you can see that she is still not 20.0605

We want to just bring them back down, and make it more subtle, which will effectively make her get younger.0622

What we're going to do: we're going to Option/Alt, click a source, and the source--you see the area under the eye right here: we're going to source it from the cheek.0629

Not too close--right about here to go for this line; Option/Alt, click, and then you're just going to paint (it's actually too much--I had it at 100%--that was the problem--I need to make the percentage 20%).0641

Now, what you can do, since we're in the tool: you can either use the slider or highlight and punch in 20%, or just your number keys.0655

If I hit the number 2, watch the percentage of opacity; it changed to 20%.0666

If I hit 6, it's 60%; if I want 25, I do it quickly: 2,5, and there it is; but in this case, we're going to go with 20%.0670

Option/Alt, click, and begin to paint gentle strokes, and notice how it's gradually painting over the blemishes in the eye--the lines.0680

We'll make that a little bit smaller, take another source, take a little corner; we don't want to take them all away, just knock them back.0693

Around the edges, here, we'll do this nice edging, and if you go back, and we look at before and after, see how much difference there is already.0703

We can take just a little of this line--Option/Alt, and one more hit right in there.0713

That looks pretty good; she still has a little evidence--look at the eye--but maybe, right in this area here, we'll take a little more down: Option/Alt, click, and lighten that.0719

It still has a little evidence, and in the shiny corner here--see where the indentation is--Option/Alt, click; just a little bit, and a little bit to take the shininess down.0729

Now, we can also deal with that over there, and we'll deal with that in a minute.0741

Let's work our way up, around the outside of the eye, and we're going to source (take a smaller brush), Option/Alt, click; right along this shadow line, it goes right on up in there, so we get similar tonality.0745

Click, and then gradually paint on the lines and bring them down.0758

That is a little bit too light, so we'll take a darker area and paint that back in.0767

Let's come back over; we're going to take the skin up here that is clear, and work our way down the eyelid.0772

One more hit from some fairly darker skin, right in the area right at the edge of the eye, and one more time (no, I didn't like that--it was too dark on the skin--Option/Alt, paint just a tiny bit); there!0780

You see (I want to go up this edge; it's a little on the light side; darken that down just a little bit; take 2 out), there we go.0803

Now, if we turn it off, and we turn it on...right there is a little dark; Option/Alt, click, paint that just a tiny bit; there we go!0813

We turn it off (let's zoom that up so you can see it); this is original (let's go down just one time); and there is what we have done.0824

We still have some evidence of the lines in the eye; I don't like this lightness right here, so I'm going to drop to 10% and take a dark area up here and just darken that down just a little bit.0835

OK, there we go--see how much better that looks?0850

It's still a little bright underneath there; I'll tell you what I'm going to do--I'm going to take the Lasso tool, at a feather of maybe 4 so it's a little soft, and I'm going to circle...I want it to be right in that area where it should be a little darker.0853

We'll take a look at our Selection brush to see what that looks like; that is pretty good.0876

Now, we use an adjustment layer for Levels, and just darken down a little bit, right on that eye.0881

There we go: that looks pretty good.0892

We'll undo it and redo it; so, there you have this eye over here.0895

Now, let's undo it; there is where we were, and there is where we are.0900

I'm going to leave the comparison from eye to eye, so now, as we back out, if you look on this side, she looks much younger than she did when she started.0906

All right, now what I want to do right in this area (let's get the Move tool...why do I have a layer? Oh, I'm on that layer; OK--take the Move tool, because I can use it as a pointer): right underneath here, where the eye has been a little sunken, we would like to lighten it up, just a little bit, and take maybe some of those lines down.0918

What we're going to do: again, S is the shortcut for the Clone tool; we have our clone tool; let's make the brush larger; we'll source it in this light area--a nice, smooth light area; and we are at 10% opacity--let's go to 15.0944

Let's source, and just--with a large brush--let's just hit that edge a little bit; there we go!0966

One more time, right on that corner...there we are.0975

Now, we'll take it away, and we'll put it back; look at the difference between the eye on the right, over here, and the eye we just retouched on the other side: lots younger and a lot of improvement.0979

Let's go ahead and do the other eye--why not?--so that we can balance them out.0997

We're in the brush; we're at 15%; Option/Alt; just gently paint down (we're going to make it 20%--that's the 2), and just quickly work around the eye, and we're going to come up from the bottom here and work on those lines.1001

Again, we're going to do the same thing with 15% on the eye--oops, way too much; 15%; lighten that just slightly--and there you have it!1022

So, we move it out--and see how good that looks?--off, and on; the key was in using a lower opacity level when you are cloning.1039

Effectively, you are only cloning fifteen to twenty percent of the area you source; you are reproducing it, but not all of it, so it slowly builds up.1050

One of the things you have to be careful of is that granular feel; notice, it's not bad here, because we didn't do too much; there is a little bit of noise, right in this area right here from the actual camera, and it's a little bit less down there, but that's only up close.1060

It looks pretty good; she looks much better.1080

Now, we'll do that same technique: notice, right here, the deep-cut line around the smile line; that is an age line, too.1083

Again, we'll take our Clone tool, and we're going to take that Clone tool at 20% (number 2); we have a soft brush (let's get that down; come up one time); and we're going to source right (let's get the brush a little smaller) along the cheek shadow line, and we'll give one run, right up across here.1091

Option, click to source; come down here, and pass on it once; maybe one more hit right there (a little bit right in there).1114

Cut that back; and we'll take the before, looking at that smile line, and after; we knocked it back just enough that it dropped it down.1125

Do a little right up here on the top; there we go; same thing on this side, come down to the smile line at 20%, just a couple of passes--you don't want to overdo it.1134

Let's see...one more, right in this corner right here; that looks pretty good, and so we're going to take it and undo it: that is the original, and that is where we are.1147

So now, we have done a considerably nice job; I think we should put a little noise right under the eye there, so let's take the Lasso tool (letter L); we're going to hit the Return, and make it 6 pixels; hit return to get it again, and we're going to make a selection just around the area where we worked painting at an opacity.1157

We'll take the Filter, Noise, Add Noise, and we'll only add 1--just a tiny bit.1179

Command+H; I'm going to zoom this up and do Command+Z, Command+Y, Command+Z, Command+Y; I'll come up one more time--maybe you can see it.1187

Command+Z, Command+Y; just a little noise is in there, to get the texture right.1196

That looks pretty good.1203

All right, we have done that part of the face; now, let's do right in this jaw line--the same thing again; we'll just use that S for the Clone tool, 20%, soft brush.1204

Close up the Options bar there, increase it, and this time, we're going to go from this chin area and just take a little of this line out.1223

Option/Alt, click, and just run it up (oops, we must have a selection; that's right; Option/Alt) one time; twice; look at that--a nice improvement.1231

Do the same thing right here, and run it up along that chin line just a little bit.1242

We'll take a look at it: that is where it was; that is where it is; we softened that down--nice job on the skin so far!1248

All right, now, let's do underneath the neck very quickly.1255

This takes...you have to be careful with these; you don't want to make it show.1260

We're going to take this line out; so, we're doing the 20% again; we have 20%, soft brush; take that down, and you want to source right in the middle where the tonality is the same, and just paint one hit at a time, down that line.1264

It looks pretty good: move up to this one, take that down; let's move over to this side over here--Option/Alt, click and paint this left side down some.1284

There we go; now, this little sag right here--the tonality over here is nice; we'll just run that right up to the chin and take that out, almost completely, so that we don't notice the fleshy area.1297

This little shadow over here--I'm going to drop it to 10%; I hit the number 1; notice, 10%.1311

Make that brush just a little bit larger, and we'll source from down here and just try to knock down that shadow, right underneath the chin, just a little bit.1319

There we go; come down again and take that line out.1330

Not bad; now, we'll move down to this line.1336

We're only going to take half of this out, because I want to show you another way: notice, we're doing this all with the Clone tool at an opacity.1342

You ask, "What would happen if we used the Spot Healing brush?"1349

Now, that is going to do things at exactly 100%.1355

All right, I think I'm going to stop right there; that is a great improvement over where we started--let's take a look at what we have done.1361

Look underneath the chin...we'll look at the whole thing right now; we'll turn it back to the original; you see all...1369

Let's look just under the chin to start with.1376

Look at this area of the face and the chin; look at how much improved that is.1380

Now, I didn't do this line here, but look at the other lines; they are all softened down.1385

This one--I will try it with the Spot Healing brush and show you why it may not be the best, because you really don't want to take it all away.1390

Let's zoom that up so you can see it.1403

It kind of smeared it a little bit, darkly; I would rather use the Clone Stamp at 20% and just knock it back a little bit.1409

OK, so there we have that; that is how you do the skin.1420

We have done a reasonable job; I didn't get this one spot down there--we'll deal with that the next time.1425

Oh, let's do it; as long as we're here, we want to do it right.1430

Option/Alt, at 20%, and just paint that line slowly away; this one as well; again, we are not making her 20 years old--we're just taking maybe ten years off--helping it out somewhat, but leaving the evidence of what was really there.1434

All right, let's take a close look at this now.1456

There is the face; we started there: look at the eyes and the cheek lines--we took those down; and down here below, on the neck, we improved that.1459

So, all in all, she has a lot of improvement.1474

Now, there is Skin Techniques Basic: Painting with the Clone tool, or the Rubber Stamp tool, at a low opacity of maybe 20% with a soft brush, and very gradually removing blemishes.1478

That is a really good technique to know.1498

Practice will make perfection on that.1502

Now, let's do eyes, teeth, and lips.1504

I think we'll just...all right, let's go back and do this: eyes are really quick--a couple of keys.1509

We're going to take our Lasso tool (L); we're going to take a feather of maybe...either 2 or 3--in this case we'll do 2; hit that again; and we're going to make a selection of her eye.1516

By the way, you notice in doing all that retouch: again, I'm using the Wacom tablet--essential so that you can...and you notice, I'm just painting strokes; it's very hard to do that with a touchpad or a mouse.1531

We have a selection for one eye; Shift to add; and we'll make a selection of the other eye.1545

OK, let's check that out with our Selection brush; make a mask and show you; there are the eyes.1556

We're in good shape; we'll just do Select, Save Selection, call them Eyes, and save it, just in case.1566

Now, the first thing we're going to do is Command/Control+H; we're going to brighten the eyes, very simply; we're going to go to (here is where the adjustment layers really work) Levels, and we're just going to open up the eyes a little bit.1572

Now, you don't want to really way brighten the eyes, like that, because it looks phony.1586

You just want to make them brighter--watch.1593

Off, on; and that helped it a lot.1595

Now, the other thing we're going to do in the eyes--first, we brightened them up; both of them look much better; we're going to go to Command/Control, click the layer mask to reload the selection, take the Lasso tool (letter L), and we're going to remove the iris of the eye: Option/Alt, and we're just going to go around and select that, and it will go away because of the Option.1599

Go to the other side; Option/Alt; remove the selection for that iris, so we only have the whites of the eyes.1624

Now we're going to make them clearer; they're a little bit yellow and a little bit red, so let's just zoom up on this one, Command/Control+H; another adjustment layer, this time for hue saturation, and we'll just take the saturation down--not all the way to 0, but significantly.1631

I want you to see: there are the eyes: if I turn the Hue Saturation off, see--it's kind of yellow; now it's down, and it looks pretty white.1651

We might be able to whiten them up just a little more.1660

Let's go back to the Levels layer, and just a little bit more whitening in the eye--not much; just a little; there we go!1663

All right, so now we have taken her eyes from there (zoom them up to start) to there; it looks much better.1674

Now, she needs a little color in the eyes, so let's take our Lasso tool with a feather of 2 pixels; Return, and let's (oops, I got the wrong one; I want the Freehand with 2 pixels)...we're just going to circle the iris area of the eye.1686

A little overrun; Option/Alt, take that little edge out right there.1707

Shift to add, and we'll do the other eye; and now, what we're going to do is, we're going to color the eye.1711

We don't have a lot of color in it, so how are we going to do that?1720

It's very simple: this is going to work right on the layer, so go to the Enhance menu, to Color, to Color Variations.1723

We'll add--her eyes should be a little green, so what we're going to do is increase the green; we'll move down the amount on mid-tones; and we have a little green--I can see it in there right now.1731

Let's try 1, and see how that is; Command/Control+H, Command+Z, Command+Y; we can do it once again; Enhance, Color, Variations; we'll increase the green one more time, and there you have the eyes.1746

Let's turn off that; you see the green in the eyes.1763

Now, Debbie happens to have the rim around the iris; that is another one I'll teach you using another subject; so there, basically, we have her eye.1768

So now, if you take a look at the face; we're going to go from the original to what we have now--watch everything: the eyes are brighter, the lines are gone, the skin looks much better, and that pretty much gets the generalities of a basic retouch.1779

It's a great improvement already: turn it off--there is the original; turn it on--she already looks a lot younger.1801

All right, what I'm going to do, rather than take extra time: we have dealt with eyes and teeth; we haven't dealt with lips; we're going to come back and pick that up in the next one.1808

So, we have the basic techniques of retouching skin--just a quick recap on Debbie: we started right here, and we used our Spot Healing brush to take all of the skin blemishes down to start with.1819

Then, we used the Clone tool to gradually, at a low opacity of 20%, work away the lines in the face until we got a nice-looking face.1836

She still doesn't look 20, but she looks far better (let's turn these off for a moment): there is the facial change, and even underneath the neck, we still left a few of the lines to keep the integrity of the original photo.1851

There is before; and after, she looks significantly younger, but it's still the same person, and people say, "Wow, you look great today!"1866

Then, we popped the eyes with color and white, and cleaned out the color from the whites.1874

There you have basic techniques for retouching skin with the Spot Healing brush and the Clone tool and a reduced opacity, and how to retouch the eyes.1881

We didn't do teeth yet, either; I'll just go ahead and deal with that one, as well, in the next lesson, and pick it back up.1891

I'll see you in Retouching People: Part 2!1899

Hi everyone--Michael Brown back with you again with another lesson in Adobe Photoshop Elements 11 from educator.com.0000

In the last two lessons, we've been dealing with one of my four primary categories, remember?0006

Selections, corrections, re-touch and manipulation--we're dealing with re-touch.0014

We've dealt with the basic clone tools and with spot healing tools and how they work in the last lesson.0019

Just for a quick refresher, we took Debbie, who originally looked like this...and with our re-touch around the eyes, around the sides of the mouth, and in the neck area with removing the lines, we turned her into this, from there...to there, she looks a lot younger.0026

In this lesson, we're going to do re-touching people part two, and I'm going to introduce you to the Liquify Filter, which is a filter that you can do all sorts of wild things with if you wish, but... predominantly, I use this as a bi-contouring tool, or contouring something where you need a smooth or altering edge, and just maybe push it around a little bit.0048

The Liquify Filter is a bit of magic that allows you to push, pull, squeeze or bloat shapes, and I'll show you how to use it for re-touching people.0076

Let's get started!0086

Here is Debbie again, right where we left off from the last lesson.0087

We went from there...to there. 0093

Now let's take a look at her more closely, and I look at her face and you notice right along here on the cheekline...it's protruding a little bit, we're not sure if that is her complete natural cheekline, or it's a matter of age and a little flesh, but I do notice that right at the chin (right in there and right in there) she's got it a little sunken and this is what happens with age as the fat in the face begins to dissipate and the skin begins to move in.0096

I would like to take and move this back out, smooth that and maybe bring in the cheeks just a little--again we want to maintain the integrity.0124

And the tool that we use to do that is a filter, under the Distort menu, called the Liquify Filter.0134

This is kind of a magic filter but, before I open it, it is a mathematically, calculation intensive filter and it's going to, no matter where you make a minor change, it's going to do calculation across the entire image just to make sure, so the way to speed things up is this is one of the cases where you use the rectangular marquee, with a zero pixel feather, and we're just going to draw a rectangle around the face because right now that is only where we're going to deal with (is the face).0141

Let's go ahead and zoom up, and let's go to the Filter menu down to Distort, over to the liquify filter--and here you have it.0176

And on the side you have a brush size and brush pressure, we can do more or less (we can drop that down just a little bit), and here are the various tools.0185

We have one that does what is called "Turbulence", and it just kind of smears things around and makes them look a little weird.0196

We have the Twirl tool: as you hold it, notice it spinning the eye in kind of a twirling fashion?0206

We have the Pucker tool, which makes things literally pucker.0215

We have the Bloat tool that does the opposite and it bloats things.0220

We also have the Shift Pixels tool, which does a very strange effect on things.0226

All sorts of weird stuff here--this one is the Reflection tool that creates a reflection of whatever you're after...looks like it's reflecting in glass.0233

All sorts of distorts, but the primary tools that we're going to use are the Warp tool, and the Bloat tool for this work here on re-touching people.0246

It's...when you open this up next time when you're practising, play around with the other ones but I'm going to show you, mostly, the Bloat and the Warp.0259

What we want to do...we want to pull out this indentation in the chin and the way the Warp tool works is you push (see what it's doing, it's pushing inward).0269

We're going to take the brush size down and you're going to want to do this very gently because it smears pixels, and we're going to pull out this area (just a little bit on the edge line) and there we have that (just a little bit more) and we're going to take and we're going to move in the chinline...(just...the cheekline, excuse me) just a little and very carefully you notice I'm working a little at a time (I'm just trying to bring that up so you can see it, let me get that line nice and smooth) and there that looks pretty good, notice how smooth that line is right now?0283

Bring in just a little up by the ear, so it looks a little more natural...there!0325

Now we want to even up the other side, so I'm going to move the chin sunken area out just a little, and then start working the cheekline just a little (I'm just pushing slightly, very carefully adjusting this) and that looks pretty balanced (maybe just a little bit more over here) and we're going to go ahead and click OK.0331

And I'm going to de-select the...selection, and we're going to go and in our history panel (I'll zoom it up one time) look how nice that looks!0356

We're going to go...before, and after...before and, let's zoom it out now, before, and after--before, and after.0366

It's the same lady--looks like she's a little bit slimmer, and certainly makes her look a little bit younger.0383

Out, and in, and if we look at that area close, and I was very careful when I did it, we have very little pixel distortion--a little smear right here, but it looks nice and clean.0391

So that's one way that this works.0405

Now, let's take a look at another part--this is a characteristic of everybody.0407

You look at the eyes on people, and even look in the mirror at yourself you'll probably see this: her eye which appears to--it's her right eye but we see it on the left, is open more than her left eye which is on the right.0414

Human eyes just--they're not perfectly...exactly the same so what I'd like to do, it kind of looks like her eye is drooping a little bit; let's open the eye up.0428

So let's go back to our marquee tool, select around the eye area and go back to the Liquify Filter under the Distort menu, and we're just going to work on the eye and what I can do--I can either push it up, or let's try the Bloat tool, and see what happens here if we just hit it, ever so slightly.0438

Actually, you know, I'm going to cancel...de-select and I'm going to use that rectangle marquee over both eyes so I can see them both when I do this.0459

Seeing one is not going to help.0469

Now we're back to the liquify filter--zoom it up, and if I hit the Bloat tool right there...you see what happened?0471

The actual pupil of the eye is now too large, so we're going to go back once again to our Warp tool, make the brush size down a little bit, left bracket key come down to get both eyes showing, and we're going to very carefully, across the top line of the eye, just push the eyelid up ever so slightly and just open that eye up a little bit.0480

Notice how we're doing that?0511

So just very carefully--tiny motions at a time--we'll click OK, and now let's hide the crawling ants and go Command+Z, Command+Y, and look at this eye right over here...Command+Z, Command+Y and they're almost the same size right now, looks much better.0513

We could even do it a little bit more so let's go back into the Liquify, zoom it up, and let's go ahead and open that entire eye up...just a tiny bit more.0534

There we go.0552

There, now the eyes look the same; down, up, in fact that one is a little too big so we'll take it where we had it before, and so we went from...there, to there...and opened up the eye again using the Warp tool.0554

Now, what else can we do here?0571

Let's go down and look at the body.0574

Let's take the rectangular marquee tool and we're going to select that part of it.0576

Let's go: Filter, Distort, Liquify and up we come again.0581

Now the first thing we're going to do is we're going to contour her ribcage.0586

Let's take the Warp tool again and we're going to use this one all the way, and we're going to get the brush size up (right bracket) get a decent size brush, and we're going to start by just moving that edge in, very carefully, to get a little bit of contour.0592

We'll move the bust line out...slightly, and we're going to move the rest of it in--we don't need a lot, just enough to make it look good.0611

Let's do the same on this side; we want it to look very natural (bring that just a hair more here).0620

We'll click OK and Command+H, Control+H, look down at the bottom of the image, we'll zoom it up once so you can see it...there we go.0629

Look in the area around here (let me turn that off).0639

Command+Z, Command+Y--Command+Z, Command+Y, we zoom that out you see how that affected the entire image--Command+Z, Command+Y.0643

Let's do that with the history panel so you don't get covered up with that...out, in, just added a little bit of femininity.0653

Now we can do one more thing, we still have that selection--let's go back.0662

Distort, Liquify and here, we're going to try something... give her just a little bit of a bust line--increase her bust size just slightly--not distortion-wise terribly but just a little bit, just to add that glamour touch.0666

We'll just hit it...whoops...way too much.0685

Just a tiny bit...no, that one doesn't even work.0690

What we're going to do is go back to the Warp tool again and just push out, ever so slightly, just to enhance it a tiny, tiny bit.0695

There we go...in, out.0706

Let's go with the in, out...just a little bit right in there and she now looks really great.0709

So now, we've gone from there...to there...isn't that great?0718

OK, that's how the Liquify Filter works--it's under the Filter menu, down to the Distort, Liquify, and we have taken a good look at the Liquify Filter and how it works.0726

Just go in there and experiment with the other tools and see how they work for you; primarily the Warp and Bloat tools are the ones you're going to use but be careful...do them in small increments because what you're doing is smearing pixels and you may have to go back and correct things if you over-do it.0742

And there's how we use it for re-touching people.0759

I'll see you back for the next lesson..."Re-touching People Part 3: More on Skin".0762

Hello, everybody--Mike Brown back with you once again, with another lesson in Adobe Photoshop Elements 11 from Educator.com!0000

We've been talking about retouch--basic retouch, retouching skin using the Clone tool and painting at a lower opacity; in the last lesson, I showed you the Liquify filter and how you can contour parts of people's bodies.0007

Here is the finished product from the previous lesson with the Liquify filter, and if you remember, this is where we started; notice the jaw line and the neck line; we went from there to there--went from all these lines to here.0023

Debbie is looking really good right now; we also used the Liquify filter to just add a little curve to the body under there--just a gentle curve to make everything look a little more feminine, and we also used that Liquify filter to open up this eye just a little bit, to balance them out.0039

So, what have we left to do? There is a lot.0060

As you notice, with the three lessons here, retouching people properly--there are a lot of things to do: the spotting, the skin, now the one thing that we're going to do on the skin here: if you notice, she has a lot of pores and texture in the skin--it's not that nice, smooth, 20-year-old, young skin, so we want to knock that down a little bit.0067

But, before we do that, I want to finish working on the lips and the teeth.0089

Notice, she has a slight overbite on this tooth; this one is not so bad, but this one over here is just a little obvious, when you look at it.0094

Let's fix that right away.0104

The first thing we're going to do is duplicate the layer again, here; and now, we have the original one at the bottom; the one after Lesson 2, and this one.0107

We're going to take just the basic Clone tool again (that is the Letter S) and open up the Options here (we're on the Clone tool): we have a soft brush; OK; we're in good shape.0116

What we're going to do--it's the shadow of the tooth on the lip that is the big giveaway.0129

So, we're going to make our opacity at 20%; again, let's make it 25--2,5, really quickly--25%; close up the Options; make it a little bit smaller on the brush.0136

What we're going to do is, rather than clone from this direct pink area under most of the teeth--notice the tooth over here has a little bit of shine; we're going to duplicate that look under this tooth.0149

Option/Alt, click the target, and just begin painting gently across; and notice how it's removing that shadow.0163

Option/Alt, source at that same beginning spot again; Option/Alt, source again; now, we'll bring in the pink from the side; and pretty much...just with a little bit more...there you go!0172

I have one spot right there that should be a little bit pink; fix that up.0189

Now, if we turn it off and we turn it on--just that subtle change (take a look at her mouth)--you have that, and now you don't.0194

All right, what we can do also--let's try one more thing, just for fun.0203

We're going to take the Lasso tool...actually, I'm going to try something: I haven't tried this before--this is an experiment for me, too.0209

Let's go back and draw a rectangular Marquee, and let's go back to the Liquify filter again.0218

I just want to see what is going to happen here; I don't even know--I have never done this one on this particular...0224

We have a huge brush--we're bringing it down (left bracket key; coming down...); all I want to do is try to move those teeth upward, just a little bit.0231

Let's go ahead and see what happens; we're just going to push up the edge of the tooth--oh, it's working!--just taking the edge, the actual edge of the tooth, and backing it upwards just a tiny bit, so that we level out the teeth.0241

Push this edge up just a hair...and the middle; there; let's click OK, hide the crawling ants, do Command+Z, and let's go back and do that with the History brush.0262

Liquify, up, down, up; that looks really nice now!0274

There is where it was before; there is where it is; again, that worked really well.0281

There are so many tools you can use; we took the shadow out and moved the teeth up.0285

Now, the other thing I would like to do to her lips: the shape, down around the bottom here--it's a little thick on the sides--it doesn't have a nice contour.0292

I don't know if that is just a natural lip, or if Botox, or if age...0301

But, we can fix that, and once again, where are we going to go?--OK, we're going to go back to the Liquify filter again.0306

Filter, Distort, Liquify--see how useful this filter is.0315

Brush size up a little bit, and let's very carefully (a little larger) move that edge, just a little up to smooth it; take that centerpiece down; and just slide that little drop in the side of the lip upwards, just a hair.0320

That looks pretty good; and we're going to go and undo it; zoom it up; redo it.0340

It looks pretty decent, but you can begin to see--look right closely where I push in this area; watch the pixels--see, they smeared slightly.0347

We have a way of fixing all of that; this looks better, but I would like to clean the edge up, anyway.0358

Let's take the Clone tool, and this time, we're going to up it to about 80%.0364

We're going to get rid of the Options; we're going to come up; and we're going to clone just a little bit: Option, click, and just see what happens if we move up and work that edge, right along the lip line, and try to clean it just...oh, yes, that is working.0371

Just cleaning that kind of rough area--see what I'm doing; I'm going to go with a lesser opacity--take it down to about 40%, because I don't want that clean edge to look too obtuse; there we go!0394

Just gradually--I don't want to make it too clean, but want to make it look 100% believable--there we go!0411

I'm just very carefully going around that edge to clean it up just a little bit.0420

It could be how she put the lipstick on...right there.0426

OK, now we're going to go undo it; this is where it was when we started the teeth and the lips, and look at the differential.0431

There to there, and it changes her appearance from there to there--nice little job--just a very subtle change; lips out, lips in--it looks much better.0440

All right, now we're going to get down to skin.0455

OK, here we go: what we're going to do: we're going to go to our Selection brush tool as a mask.0459

We're going to paint the mask so we can see it--it's OK if it's green; we'll take the overlay down to 50-something percent, and we want to smooth the skin around the face and the neck area.0466

But, let's just do...yes, I'll do it right down to that necklace.0481

All right, here we go; we're just going to go ahead and paint the mask with a soft edge in the area of the facial skin, and just go around the outer boundary.0487

Come right down to the neck area, right down that necklace, and back up and around; we'll correct it in a minute, but let's go ahead and fill it in first.0499

OK, we have that; now, get up and look at the edging; we're going to go and make a smaller brush, and Option to remove, and we're going to paint away along that edge, fairly cleanly; I'll show you why in a little while.0515

Right there, and we don't want to get it outside; we don't want to get the necklace involved.0536

Make sure the necklace is clear; we can also clear this up later, but I'll do the best I can now.0544

Do it up around the hair, and that is pretty decent.0550

Now, go back to a selection--that is everything else but, so we're going to Select, Invert the Selection; now, we can look at it as a mask, and you see, what I have done is isolated the face and the neck.0556

All right, back to a selection; so now, we are going to take this particular area here, with Debbie worked to where we are--the physical layer; we're going to copy and paste.0571

Command/Control+C, Command/Control+V; a new layer comes in right above the original layer; if I turn it off and on, it's the same.0587

I turn everything off, and you see, I just did the face.0594

What I want to do, first of all, is: I want to put a layer mask on this mask--I want to protect any of the transparent area, or anything outside of there.0599

We're going to go to Layer, Mask...oh, sorry; one step first: I want to load the selection first--Command/Control, click, so that we have that selected.0609

Then, make a layer mask, which reveals the selected area.0623

Now, you see (Option, click): there is our mask, and we can see that we need a couple of areas--I need to paint it white, so I'm going to reverse the colors with X, and I have the brush; I'm going to paint with a brush, just a regular paintbrush--paint in white.0628

Paintbrush paints on the mask.0646

OK, nice and clean right now--Option/Alt, click; we're back.0648

Now, load that selection; go to the Filter menu, down to Blur; we're going to use Gaussian blur, and up it comes.0654

Oh, I made a mistake; here is one for you: on a pixelized layer, notice that the layer mask has the frame around it; that means anything that is affected--that you work on, like painting--will be on the mask.0666

If I click on the regular pixel layer, notice that the frame is now around the face part.0680

That is what I want to work on; that is a good mistake I made.0686

Notice, that means the mask is what is working as far as working and painting, so I click over here--anything I do will affect where the frame is.0690

On the actual layer, the layer selection is on.0699

We're going to go to the Filter menu, down to Blur, down to Gaussian blur, and you will begin to see what happens, right now.0705

See, you can see it right there; Command/Control+H; it's blurring the skin out.0713

Now, it looks like it's blurring it too much; you can go way up and destroy it, but we're going to come back, enough that it is blurred past...and you can see right over here, on the side, that I have a little carryover; that is OK.0720

All right; we're going to click OK, and what we have done, effectively, notice, is blurred the face out, and the neck; the rest of it is OK.0734

I did this so that you could see the difference, and I left this; we could have blurred that, as well.0745

All right, so you say, "What are you doing?!"0750

First, what I'm going to do is: now I'm going to work on the mask.0753

Everything that is white (Option/Alt, click) is where we see the blurred area.0759

If I paint in black now, I can reveal anything that I don't want blur on--for example, eyes.0766

So, I have my paintbrush; I'm painting with black; I'm painting at 100%, and so watch what happens now.0775

I'm going to paint, actually, at 50%, so you can see this, and we'll just gradually bring it up.0784

Notice, as I paint over the eye, it's putting black on the mask, and I am now revealing areas that would not be blurred on the skin.0789

Be patient; now we'll get the smaller brush, and we're going to go and do the eyebrow area.0804

OK, we see that; looking pretty good; let's go over to the other eye, and let's reveal that eye and the eyelashes.0810

We're bringing back by painting black on the mask; Option/Alt--see what we're doing?0820

We need to do it right in the center, so that the eyes are totally clear.0826

Option/Alt; check it; paint black right in there; and hit this eyebrow, as well.0830

There we go; now, we're going to do the same thing with the lips--bring them back by painting gently over the lip area, right out to the outside.0839

OK, and make sure that the teeth are nice and clean; let's get to the edge of the mouth; Option/Alt, click; make sure I get all of the black; Option/Alt, click.0855

I'll do a little right here, to reveal just that clean edge of nose.0868

There, basically, are the areas of the face that we would want to reveal.0873

But now, you say, "Wait a minute--it is still too blurred!"0878

The final step: taking this layer and dropping the opacity back until we just begin to see skin texture.0882

Watch: down to 77%...and when we get down to about 40%...maybe even up to 50, watch what I do when I turn it off; there is the original skin, right there--all of that texture.0893

I hope you can see this on your screen; and when I turn it on, you can see texture, but it has smoothed that skin out.0910

I want it to be believable (let's even drop it to maybe 40%--there we go); we'll turn it off and turn it on, and even around the eyes, it's a little smoother now.0919

That is a little too much, still; let's drop it into the 30s--off and on; you see skin texture, but the skin looks much smoother.0931

Let's look at it at the neck area; Undo and Redo; there you have how to soften skin texture by taking a separate layer; copy and paste; blur it; paint back on a layer mask the areas you want to be crystal-clear; and then pull the opacity back until you get the desired amount.0941

Again, I want the integrity to be maintained on this shot.0969

So now, we have taken it, and we have gone from: that is the original Debbie, to: that is where we fixed the skin and Liquified; that is where we did the lips, and that is where we did the skin.0974

Now, we have a pretty nice-looking change; we went from there to there, looking at the neck area.0989

The only other thing I would like to do is make one last mask, for exposure only.0996

Let's do a Levels; we have our white mask (oops, I had a selection active; that is the problem; do that again--I deselected the selection)--Levels with an overview, and what I want to do is paint on the mask.1004

I'm going to show you one final trick here: we're going to paint with the paintbrush at 100% opacity, and paint on the mask in black.1020

We will use that backslash--remember the backslash?1033

Now, we have no mask, so we don't see it; but notice, the eye went gray; so now, we can paint with the red area and see what we have right here.1038

We'll take the bright area of the neck and just go ahead; we'll do this very quickly.1048

Paint that; and that looks pretty good; now we'll come up, and I want to clean out that piece of jewelry; Option (oops, I want to go and reverse the colors--sorry), and I'm painting out because we're painting on here.1057

We got that back; that's fine; all right, let's backslash out and look what we have done to the mask.1075

But now, we have masked it and left everything else; we want this area that is black to be the selection; very easy trick here.1082

To invert the mask, do Command on a Mac/Control on a PC, the letter I, and you notice that the mask flips.1093

That is it--so now, let's go to Option/Alt, click, Command/Control to load the selection--or we don't even need to do that--excuse me--we have the mask; sorry, I lost control.1103

Let's bring back the Levels; now, the mask is only revealing the neck area, so if we darken it just slightly, notice how the color comes up, too.1115

Remember, exposure affects color; and there--we have now adjusted the brightness level and brought it down on the neck.1126

So, we have now done teeth, lips and skin texture; one final trick for you--there is one more.1136

This one, I want to show you on this particular image here--it's unretouched, but I just want to show you how this works--it's kind of cool.1149

Let's see; maybe I can do this on Debbie...yes, I can--that will do this!1158

All right, one of the things I see--her cheeks are probably high, and it would be nice if they were a little smoother; it would look a little younger.1166

So, what we're going to do is: we're going to make a blank layer, right above the face.1173

Click the layer--there is your blank layer; I'm going to go to the Edit menu; I'm going to do Fill Layer, and I'm going to fill it with 50% gray.1180

I click OK, and now we have a layer that is 50% gray; I want to get it on the top, so that none of those exposure controls affect it.1190

And you say, "What are you doing?!"1202

All right, Blend mode: remember the Overlay mode that we used for High Pass Sharpening--anything that is brighter than 50% gray is bright; anything that is darker is darker; but neutral gray--50%--does not show at all.1204

Change the Blend mode to Overlay, and you can see nothing; but you can still see that it is gray.1223

Now, we're going to take our Burn; we're in Dodge tool; the Burn tool darkens; the Dodge tool makes things lighter.1229

What we're going to do is zoom up, and on this layer right here, that we just created, we're going to make a pretty big brush, and we're going to kind of smooth this out, right here, to darken the cheeks down so that they expand just slightly.1239

We have been working mid-tones; the exposure will make it 15%, and we'll just gently (notice how that contoured)...1258

Do a little darkening, just on the cheeks themselves, just to add a little texturization right down there.1269

There we go; if I turn it off and I turn it on, we get a little effect in the cheek.1280

Very interesting...so you can add contouring.1288

I think I want to brighten that up a little; it's just a little too dark right there, so let's go back and make that this one, at 15%, and just lighten that up just a tiny bit--there we go!1291

So, off and on; it just added a little depth to her skin tone; and there you have a non-destructive way of contouring parts of the body by adding shadows or brightening up.1306

Let me show you one final way; we're going to do it right here on her.1321

We'll add a blank layer, Edit, Fill the Layer with 50% gray, change the Blend mode to Overlay, go to the Burn tool, and we're at 15%, and simply by hitting right there, the cheeks get a little darker, and we can add some blush on the cheek, up at the top, because as it gets darker, the color comes up just a little bit.1326

Drop a little shine off of there, and maybe a little shine on the nose, right in there.1351

We turn it off; we turn it on; notice how that changed things?1357

If we look at the layer itself normally, there you see where I burned and made it darker than neutral gray by burning the gray.1362

That is why, under the Overlay mode, you see a little evidence of color and contour on a portrait.1373

In this lesson, we have wrapped up the retouch on people with more techniques for retouching the skin, teeth, and lips.1382

A lot with the Liquify tool; we did a little bit with cloning, once again, and the texture--the skin texture adjustment--we made by cutting and copying a piece and blurring it using the layer mask and bringing down the opacity on that layer mask to help us.1391

Let's zoom that up so we can see it; turn it off; turn it on; and it very subtly softens the skin out.1417

All these techniques--and non-destructive contouring at the end by using a layer of 50% gray with an Overlay mode, and using the Burn tool or the Dodge tool to add a little color and shape to the skin.1425

All of these--I would suggest that the last three lessons on retouching people...that you go back and review them a couple of times, because it does take some practice to learn how to do this.1441

And again, it is best with a Wacom tablet.1453

All of these little tricks of the trade on how to use the very simple tools: we used the Spot Healing brush; we used the Clone tool; we used the Liquify filter primarily, and we used a little bit of blending with gray, and that is it!1456

All of that to do more retouching, skin techniques, teeth, lips, skin texture, and non-destructive body contouring, all in Adobe Photoshop Elements 11!1473

Hi, everybody--Mike Brown back with you, with another lesson in Adobe Photoshop Elements 11!0000

We have discussed how layers work; we have discussed how the Layers panel works; I have shown you adjustment layers; we talked about layer masks--all of this to allow you to isolate additional areas and allow you to add and subtract non-destructive editing to improve your photographs.0005

In this lesson, we're going to take a look at how we use layers to create photo composites.0023

Now, a photo composite can be, actually, a couple of things.0031

If you have--let's say--you see ads all the time: in newspapers and magazines, on television, on the Internet--where someone is taking several elements--they could be photographs, type, or graphics--and they put them together to make an advertisement, or something that is pleasing, or even a work of art.0035

But, obviously, it's a combination of multiple elements.0053

A true photo composite is two or more elements put together to make a finished product that looks exactly like it was only one photo, and you can't tell that it was done.0058

Let me give you an example to start with: here is one that you have seen before.0071

Let's consolidate this to tabs...here is a picture that I took of some friends of mine; the original photo was this shot right here, and you can see that it's a nice photo.0078

But, it certainly doesn't have the pop and depth of this shot right here.0090

This is where you have to have mental visualization, or as I call it, "seeing digitally."0095

The more you do this, the more you will understand it; you need to make sure, when you are making a composite, that size, lighting, perspective, and color match are all correct; otherwise, it will be a giveaway that it is not.0101

Now, in this case, the lighting and everything is from the right; and if you look at the clouds, you can see that the right side and tops of the clouds are brighter than the lower left.0116

So, the clouds themselves are lit by the sun from the upper right, just the same way that this image was.0128

If I had had a picture of clouds that was lit the other way, all I would have to do is flip it.0137

But, it would have been a giveaway if the lighting were different.0142

In this case, let's show you how good it looks; we zoom it all the way up, and look--even the stubble of his beard and the fine hairs under here, the Refine Edge dialogue box took care of, so that we can see (look at this) right through the hair on his head; the hairs on her head--even the little fine hairs were picked up by the Refine Edge, and you can't tell, even under that intense magnification, that this is not one photograph.0146

But, by using a photo composite with another background, we improved our image dramatically.0177

That is what you can do with a photo composite.0186

All right, so the thing is: again, you have to do size, lighting, perspective, and color match; and let me describe that.0188

Here is a specific image I have here, and another one that I have here.0199

I was out shooting pictures of flowers, and I took this shot; it's a pretty nice shot--it's OK--but when I was editing through, I thought, "You know, it really looked good in the camera, but I really would like to have another item over here that would complete the composition more dramatically; this big item at the lower right over here overpowers the red flowers--it just needs something for this spot."0206

So, the first thing: I was walking around, and I spotted this rose, and I thought, "That will work!"0233

Now again, this is visualization: I was looking for something that the light was coming from the upper right to the lower left; I happened to shoot this in the same garden on the same day.0240

So, the time of day and the color didn't really matter--they matched up.0252

I recognized immediately that, if this flower was pointing in the other direction, and right here in the picture, it would fit.0257

I went ahead and shot it, and first of all: we were talking about dealing with lighting--in this case, the light is the same.0268

When I'm talking about the lighting (let's do it up here): for example, if I had shot this image at about 2 in the afternoon, and went and got this flower just before dark, it would have been yellow-red because of the late sunlight.0278

Even if the shadows were right, the coloration and the color temperature would have been off; and the way I could have corrected that was to go into Camera Raw and balance the color temperature up to match the other image.0294

In this case, they match; but you have to watch that--let's say you were compositing that sky that I composited in on the other one; let's take a quick look at that again.0308

If that sky was dusk--late afternoon--it certainly wouldn't look right here with hot sunshine.0320

So again, you have to be very careful on matching it up, so people...people who don't know anything about photography or art will still instantly recognize that something is wrong if things don't match up in a photo composite.0326

It's because we are so used to looking at good photography all the time--your brain is just attuned to it, and you know, "I don't know what is wrong, but something is."0341

That is why you have to be so careful.0350

All right, so I have this; and the other thing is size--the first point I was talking about; let's take a look over here, Image, Resize, Image Size; this is a 20-megabyte image at 180 dpi.0352

Our flower, which was taken with the same camera (obviously), is 20 megabytes at 180, and the flower itself is a little bit larger than this image.0367

I shot it with the same lens; I just moved in a little bit closer.0380

You want to make sure that the elements that you are bringing in to your primary image (which, in this case, is the background image) are at least of equal size and resolution to this original background image.0384

If you go on the Internet, and were to download a 1-megabyte small file of this flower here and bring it in, it would be so tiny when it comes in--you size it up until it's the right size, but the resolution and the quality level would be so low that the flower would degrade really badly, and certainly would not match up in quality--another giveaway.0400

So, I made sure that the flower was slightly large, because if you downsize, you're not going to lose the quality--it's only when you upsize.0425

Keep that in mind, as well; so there is your sizing that you have to keep in mind--a little practice, and you will understand that.0434

Perspective: I shot both of these items at the same (let me see if I have one other one here; I don't--I know I can find one more I want to show you really quickly--this is a really big file, but I'll show you how perspective works)...0442

Red Mercedes, no; Red Camaro--there it is.0461

You also need to make sure that your perspective matches; in this particular image, here we have a professional composite that I did for a car company, and this actually is made up of...these four are the elements that I did for the logo.0466

But here is the original car, shot at a dealership; and the original background (let me show it to you very quickly--I'll copy it and move it all the way up to the top of the layer stack): it was actually facing in the other direction, just like the flower is.0484

But you notice, when I flipped it, that the lighting matches the car.0510

It's coming from the right, just over the hill here--see the shadow on the back side--so the light is going from upper left to lower right; the car itself is upper left to lower right, so it matches, and the perspective--it's the same lens.0518

This is shot with a slightly wide-angle lens; I made sure that I shot this image with the same lens, so that it wouldn't look out of place.0534

All right, let's go back to our composite; now, we have our flower; we know that we can flip it and move it in and resize it, so now we need to do that.0544

Let's get started!0554

We have now dealt with, also, perspective and color match.0556

Just practice, and you will see how that works out.0560

All right, creating the composite: the first thing is creating a flawless element edge, and move a layer from one file to the other.0563

So, here we have--and let's see if we need to do anything first; let's do the whole artistic game...I like the shot; a little too much dead space on the lower left, so let's crop this to start with.0571

Quick crop; bring it up just a little bit; bring it in just a little bit; it probably can come right in...we can even come in to there; that would work just fine; up just a hair more, even, and accept that.0585

Pick our History panel; we went from there to there; that looks much better--we cut down on the dead space, notice, at the left side.0599

But now, we need to fill the right side, and we have a little problem at the top; I'm going to go ahead and retouch this right on the background, because I know I will never change it.0607

We'll use our Clone tool; up the thing; let's check the options: opacity is 100%, soft brush--we're good; so we're going to source; Option/Alt, click down in the greenery, and paint up in here to just copy areas in.0616

Option, Control, and change the source a little bit, so that...even though that is blurred out, we have a little repetition, so I'm going to take that blue piece out, start down here, move over a little bit more...start with this bush and come around...0634

That seems pretty good; I think I want to take that red piece out, too--I'm just a little a little caught by that; I don't want to see it, because I'm going to put a rose in that spot.0652

There we go; that looks clean, but now it's obvious that all we need to do is bring in another object.0662

Now, we can duplicate our background: we're ready to go; Command/Control+J just in case; let's go back to the rose.0669

We need to get the rose selected and copied into the other layer; there are two ways to do the transfer from layer to layer.0676

I'll show you how to do that: the first thing we're going to do (we did this in the selections--I showed you--but I'm going to show you another trick): we're going to duplicate the layer (Command/Control+J, or Duplicate Layer--go under the Layer menu, Duplicate Layer), and this layer I really don't care about, so we're not going to use adjustment layers; Enhance, Lighting, Levels.0685

All I want to do is make the flower more noticeable on the edges, so that when I cut it out or when I make the selection, it's a lot easier.0711

I'm just going to brighten the whole thing up: notice how this edge looks better--I don't care about the other part.0720

Contrast a little bit; brighten it up just a little bit more; that looks pretty good.0727

Go to our selection tool--Quick Selection again--it's perfect for this.0734

Brush size down just slightly (left bracket key), and look how it just snaps right out to those edges, because we enhanced the edges: look!0739

When we did this once before, we had problems at the bottom, but by changing the exposure on a duplicate layer, we have a perfect selection, right away--it saved us time.0749

Dump the layer into the Trash Can; now we're ready to go.0760

Now, there are two ways to do this: let me go to the Window menu, Images, and we will float them all so that you can see the two ways to deal with this.0764

There are our two images, and we have the selection made over here; I can do...one thing is to take the Move tool, and it comes in around the selection, and just click and drag it over, and drop it onto the other file, and it just duplicated the flower that was selected, right in the other file--pretty quick, huh?0772

That is one way; we'll undo that; the other way is the way we did it before, and that was with the selection active--the crawling ants, Command/Control+C, go to the other file, Command/Control+V, and paste.0798

Either way works; sometimes, if you have several files, it's a lot easier to just click and drag, and away it goes.0811

All right, back to the tabs; and we're going to deal with this image right here.0819

Now, the flower is in, so "What do you want to do?" you say; all right, we need to flip the flower, so we're going to take this layer and go to the Image menu, Rotate, Flip Layer Horizontal.0826

Voila--we have the lighting; you can see right now that the lighting is the same for both objects--a pretty good start.0842

Now, let's turn off everything else and see that we have a problem: remember, we need to create a flawless element edge, and you can see (as you saw with the feather in the other example for feather)--we have a little bit of fringe that is background from the other layer when we made the selection.0850

Now, the way to get rid of that: we select the flower; then, we invert the selection so everything else is selected; then we soften the edge and move it (remember how we can expand or contract the selection with the Refine Edge) inside the flower a little bit (that is the selection of everything else), and just delete the outer rim.0872

I'll show you how that goes.0897

Select; first we need to select it--Command/Control, click, and we'll invert the selection right now.0899

If we go to our Selection brush tool as a mask, you will see that the flower is protected; everything else is selected; so now, if we move this selection edge inside the flower and delete, it will just cut the edge off.0906

All right, so let's go ahead and do it.0924

We'll go to the Select menu, down to Refine Edge; we're viewing it on white so we can see what is going on here.0926

Now, normally I would feather this 1; I want to feather it 2, which makes it slightly softer, because as I mentioned, we're going to delete that outer edge, which means that, when you delete, it will take that soft edge and push in a little bit, which will take the actual feather of 2 and cut it down a little bit.0936

OK, let me demonstrate; we'll feather it 2; watch the edge come up as I type in 2; you see, it softened the edge, and you can see that little bit of contamination, now, because of the soft edge.0956

So, if we move it...we're expanding the selection of everything else, so it pushes in, inside the flower--you can see that right now.0970

So we see the dark edge, and we see clean pink for the flower right there, so we click OK, and now you can see that the crawling ants (let's just zoom it up again) are now inside the flower, and all of the contamination is off in the...basically, the transparent area, which is also the selected area.0983

All I have to do...I'm going to hide the crawling ants (Command/Control+H; the selection is still there) and just hit delete, and watch what happens.1010

Look at that!--and I'll hit it a second time, and it cleaned it up twice, and now we still have a nice, smooth edge, but look--the flower is perfect.1020

Let me go ahead and back that out; you see the dark edge the first time I deleted it; the second time pushed it in just a little bit further, and now we have a perfect edge, flawless, on our composite element that we brought in.1033

How about that--that is pretty cool.1049

All right, so let's turn these back on, and now we'll go on to the finish.1051

We're going to size this now: select it, Command/Control, click the thumbnail, Image, Transform, Free Transform, and we'll just size it down.1058

Now, in Elements, you know that you don't have to hold Shift; you notice, the aspect ratio is holding, and we'll just go ahead and move that flower.1070

Let's make it a little smaller--that looks pretty good; position it right here (let me zoom that down just a little bit); let's rotate it just a hair.1079

OK, move it up just a little more; that looks pretty good, right...still a little too large; bring it down just a little more; ah, there we go.1091

Perfect; we'll accept that and deselect, and there we have the flower.1105

And you say, "It still looks phony!"--patience.1111

What I'm going to do is: I'm going to put the rose behind these red petals.1116

Interesting; it's floating on top, and there is nothing else here; how am I going to do that?--really simple.1125

Highlight this layer; back to our Quick Selection tool and make the brush a little smaller, and let's just select this group of red flowers, right here.1132

They're very clear, and there we have it; so we have selected more than what is covering the rose, so I'm going to Command/Control+C (copy), and when I paste in a new layer, it comes in above the active layer.1144

I don't want it below the rose; I want it above; so I'll highlight the rose layer, Command/Control+V, turn the rose on; and you see now, if I turn on or off--there is the flower, but once again, when we pasted, we have a little contamination around the edging.1159

So, we're going to fix that: we're going to load the selection, invert it just like we did before, go into Refine Edge, feather at 2, move the edge inward just enough that we see the edge of that flower, click OK, delete it, deselect; and now, you see--look at that--a perfect edge around that.1181

If we back out, the rose now resides right behind the flowers.1206

I don't like something here; I don't like that--let's go to the background; let's go to our Clone tool, quickly remove this item here; there we go--now it looks perfect.1210

The only thing I want to do is just another little touch; I'm going to move that rose a little bit out; it's tucked in behind there a little bit--right there; rotate it just slightly, and maybe--yes, that is good.1224

Now, one thing to make it stand out a little bit better (because the pink rose is almost the same color as this cluster): let's take the rose, Command/Control, load the selection, make an adjustment layer for Hue Saturation...and we're going to use the Colorize command, which desaturates into a singular color.1243

We up the saturation and change the hue; so we'll just flip the color of the rose and make it a yellow rose--a kind of yellow-orange.1266

It's a little bit over-exposed, so Command/Control, click the layer mask to load the selection of the rose; one more adjustment layer for Levels, and we'll just darken it down, just a little bit, so that it looks pretty good.1275

There we go, and there you have a photo composite that, when we zoom it up, the edges of the rose are perfect; the edges of the red flowers are perfect; that rose looks exactly like it was really in the image, and now we have a really good composition, whereas before, all we had was that.1293

Paste in the rose, change the color, and put it behind the other flowers.1318

There you have a method of making a photo composite, and in the creation of the composite, we created flawless edges by cleaning off the decontamination.1323

That is one of the most important lessons in this particular lesson.1334

Move, from one image to another, the layers by clicking and dragging or copying and pasting; and all the fine details of finishing up a photo composite so that you get a flawless, finished image that is made up of more than one image, but looks like a singular photograph--all in Adobe Photoshop Elements 11!1338

Hi, everyone--Mike Brown back with you, with another lesson for you in Adobe Photoshop Elements 11 from Educator.com!0000

In this lesson, we're going to take a look at how you create type.0007

In Photoshop Elements, type is extremely useful for graphics, titling--whatever you want to do that puts type on it--you can do it right here in Photoshop Elements by creating type layers.0010

Right in front of you: this title page was created in Photoshop Elements; we have one graphic element, but we have type layers.0022

That is what these layers are, right here, and in this lesson, I'm going to show you how you create it, manipulate it, and have fun with it.0031

All right, we're going to go over these various features, so let's just get started.0038

We'll come back, and the first three we're going to deal with is the Font family: Font Style, Font Size, and Leading.0042

Let's take a look at an untitled page; you can start by laying your type in either a fixed paragraph (which is adjustable) or just by yourself.0052

The Type tool is over here in the Toolbox, under the Drawing tools at the lower left.0063

Here are your options; the options--standard type is horizontal type; we have vertical type; this is just a type mask; it just makes the selection, and you can fill it with something; this is type on a selection, which you can make, and you can have it follow it around; type on a shape (which is one of these custom shapes); or type on a drawable path--rarely used; we'll talk about basic type today.0069

A font family is the actual look of the letters for this particular collection of alphabet and numbers.0096

If you click on this little dropdown button here, you see: here are all the ones I have in my computer, and right now, we're looking at the Helvetica family.0106

The style of a type family is--in this case, for this particular font--light, light oblique, regular, regular oblique, bold, and bold oblique; we'll leave it at regular.0117

The font size is the physical size of the letter in points, and you have a dropdown menu that you can select preselected ones, or you can simply select and type in your own; let's go with 45, and click Enter, and that would be the type size.0130

You can lay it down one of two ways: click and drag for a specific paragraph (and if I just type in here, you notice, it just stays within that paragraph), and you can resize the paragraph, of course, by first of all accepting the type; and then you grab a corner or grab a side; you can stretch it (you're supposed to be able to stretch it...come on) and adjust the sizing of that paragraph.0147

I don't particularly use paragraphs that much, so we're going to go ahead and delete that; I make my own unless I'm working on a presized page.0179

Let's go back to the Type tool again, and let's just click; and now, it allows me to type.0189

I'm going to type "This is an example of creating text in Photoshop Elements 11." Accept.0197

Now, it looks pretty weird (I'm going to use my Move tool to move it down); that is because the size is 45 points, so let's drop the point size down to about 14, and it's off the page; that's all right; we'll highlight, Move tool...and there we have it!0220

"This is an example of creating text in Photoshop Elements 11."0238

Now, go back to the text tool: first of all, I need to--if you want to get back the text that you want, you can double-click to highlight, or you can take your text cursor and insert it right there--see the line?--that means that it's there, and now I can just go right to here and delete, and come back up, space, click; I have the cursor in place here; I'm going to go and delete one, and hit Return, and it will drop down to another line.0242

So, you can change it by inserting and modifying anything you want.0278

Creating...how about "All types of text"--and I would like to have that come down, insert, delete, drop, insert, delete, move, accept; and now, I have a nice little group of type here.0283

Let's go back to the Type tool, and this is Helvetica; that is the font; I can change my font family by clicking here and going to another choice.0303

It looks the same; let's go to one that I know is different--that is another one, right there; let's go to ArtBrush--that one you will definitely know.0317

Art brush; that is a different font family down here; the other way to do that is to highlight inside the Font Family box--notice the blue line--and just use your up and down arrow keys to scroll either up the alphabet or down the alphabet, and just look at the various examples of font families until you find one that you would like.0325

In this case, I know I want to use Helvetica as an example; we'll go back to Helvetica.0355

But, that is an easy way to do that.0362

Now, font style: notice, it says regular; we'll click here; for this font family, I can have light (notice the thin type); regular; or bold; I also have the option of bold oblique, regular oblique, or light oblique.0364

Let's change this to another font, like Optima; that is a different type font family, and for this particular font family, we have Regular, Italic, Bold, or Extra Black, which is another one.0385

So, different types of styles; some of them have hardly any styles at all; let's take a look at Minion, and for Minion, you only have these four: Condensed, Italic, Bold, and Bold Italic--that is it.0404

So, depending upon the particular family, you will get different amounts of styles.0418

The point size, right here, is the physical size of these letters in points.0426

Right now, it's 14; let's go to 24, and up it comes; I'm going to move that over a little bit, which gives us a perfect example of (maybe I'll make that a little smaller: 24--let's go down to 18)...it fits in...move it over just a little bit; there we go.0433

Now, you see: underneath the point size is what is called leading.0452

Leading comes from the original printers, the monks that created printing and printing presses.0457

They would make the letters in cast lead and put them in a tray, and then, of course, press the paper with ink on those lead letters to make the pages.0462

The separation of the lines of type was with bars of lead; the wider they were, the wider the spacing between the lines.0476

Leading is the spacing between the lines; right now, it's at 22; if we drop it to 14, you notice: there is no space at all, and the text is now overlapping itself.0486

So, we need to come down to probably at least 18; it's still right here on the y's and the l's, so I would say 22 would be a good number.0499

Oops, I used--I do this a lot--that was the font size; 22 for the spacing and 18 for the size; there we have a good look to it.0511

You can do this also, by the way, with the leading: notice, the cursor, when you come up over the word "leading"--it's the scrubby.0525

You can go up or down by simply just clicking and dragging, right or left.0533

All right, let's get that size up there better; there; that is the font families, the font styles, the point size of the type, and the distance between the lines.0542

Color, click, and pick; and that is all you have to do, and the color changes.0557

Now, next to these boxes, you see three alignment options; notice that the type--when I just did this without a paragraph to constrain it--as I come back, it's aligned left; if I just go and delete, or hit the Return button (more type for you) and click Accept, I have it still oriented to the left.0563

This is center orientation: it moved it in the layer (I'll just use the Move tool), and notice: now, it's all along a center line.0594

If I go for the right alignment, now it's on the right edge; left--on that edge; so you have those three options.0603

We'll leave it this way; back to the Type tool; those are your alignment options.0612

Now, if I (I'm going to change this back to black so it's more readable) either double-click on the icon in the type layer--notice, my type is all selected, and these boxes are now accessible.0619

I could have also done this by putting the cursor right next to the first letter--it's flashing--click and drag, and now I have also highlighted my type this way.0634

Oops, I wanted to do that...got away from the Type tool...0647

These boxes are now available; this is what is called faux bold.0653

Faux--F-A-U-X--they are created by the computer, not by the actual font itself.0659

Let's change the font from regular to bold oblique, and let's select it, and now I'll hit the bold, and watch the text: it becomes more bold!0665

Notice, it adds a little more; the computer is adding that artificially; and the italic--notice, it's now more italic.0679

So, you have options of altering the type a little bit beyond the choices on the styles.0685

Underline or strikethrough; we're going to leave those alone, and we'll just click Enter, and there you have that.0692

Now, we have gone through--very quickly--let's take our check marks--the font families (that is the style and shape); and the styles are light, regular, bold, oblique, and things outside the font; size is the size of the letters; leading is the space between the letters; color--obviously; alignment is left, center, and right.0701

Let's talk about orientation and warping of type.0729

Let's go back to that now; now the orientation--the reason that looks a little choppy--I need to get it up to 50% to see it at smooth.0733

Let's actually make this 13, and take the 22 down to about 16, and now we have a nice, clean type look.0743

All right, the orientation: this little button right here--this is horizontal type; it will immediately switch it to vertical type if you wanted that, for whatever reason.0754

Now, the other thing we're going to do: anti-aliasing smoothes the edge nice and clean (let's bring it up); it's not really that jagged; it would be if I take the anti-aliasing off--look at how jagged the edges are.0765

I put it back on; notice: off, on; it tends to smooth almost like a feather, but it's just enough to take the jaggedness out of the edge; there it's off; there it's on; it gives you nice, smooth type.0780

All right, now, if I select this again with the Text tool, I have the option (notice this button here)--it's this arc; I'll click that; you can warp type.0796

We have several styles available; just starting with one, you can arch it (arc or arch--different ones); go like this; horizontal distortion; click OK.0813

Let's move that over; in other words, you can add a really dynamic look to your type by using the Warp function.0825

There you have everything that lies within here, with the exception of one, and here are all of the styles that you can add to your text.0833

They are also over here, under the Styles menu--the same exact thing.0844

The only gain that you get over here is that this little gear allows you to adjust those settings.0851

Let's go over here now, and I'll show you how that works.0857

We're going to take Helvetica; we're going to take it, probably, at a fairly large 48 points; we don't need to worry about the leading--I'm just putting it a single line of type.0861

Click; there it is: "Death Valley, California"; it's a picture in Death Valley; we'll accept that; I think I can go larger on the type size--let's go to 60 points.0874

There we go; actually, let's go to 66; I like that; take the Move tool and move it down over to the left here, just a little bit; let's look at the layer that's on top.0890

Now, we're going to look at the type; the first thing I want to do is warp the type, so we're going to pick (I did this before)...I'm going to pick Flag.0901

It just kind of waves the flag; and I can adjust the amount of bend, more or less; we'll bring it back, just to a subtle one.0913

I kind of like that; that is pretty good; so we have that, and I can change color if I want, but I'm going to leave that alone.0920

I'm going to show you a couple of tricks: I'm going to start with one--if you want to add a texturing, or something of your own that is beyond what is in the available ones that I'm going to show you in Styles, you have this option.0928

I'm going to open on the Desktop, and I'm going to open Parchment; here is a texture that I have of my own, and I'm going to do Command/Control+A to select all, Command/Control on a PC, C, to copy; go back; I'm going to paste it in (Command/Control+V), and there is a new layer.0944

I'm going to do Command/Control+T, for Transform, and I'm going to make that thing larger--larger than the type, and I'm going to accept it and move it up so it covers the type.0967

All right, and now you're wondering, "What in the world are you doing?"0984

We have our type here, which is just basic type at the moment--flat, kind of no character; I would like this type to look like that parchment, and it's so easy.0989

You have a type layer; you put whatever texture or pattern you want in a layer right above it that covers the type--it could be the whole image, for that matter--it could be larger than this.1001

Take your cursor; hold down the Option or Alt key, and move it between the type layer and the texture layer, and watch.1010

You see, it changes to a solid and black circle; so what it's going to do...and click right there, and you see the icon with a little downward-facing arrow; what happened...1019

I'll do this the other way; I'll unclip it and clip it; and what it does is take the layer above and fit it into the layer below, which, in this case, happens to be a text layer.1032

Now, you see that Death Valley (let's even make that a little bit larger--let's go with 70 points--oops, I'm on the wrong type layer--my fault--70 points; it should pop up; let's go with 75; there we go)...1045

Now, you see that it's sticking out to the right, so what we're going to do is take this layer with a Move tool and just move it over.1065

You see the boxes moving over; so it's behind or over the entire wording.1072

We're good; oops, I went too far; there we go.1079

Now, we have added that; we have other options that we can do, as well.1082

Let's go back here, and let's add some styles.1088

We're going to do this through the Effects menu styles, rather than in the Type styles.1094

Same thing--it just has a better control over here.1100

We have Bevels; let's start with beveling the actual type; here is the Options; Standard Round Bevel--I'll double-click that, and look--now the type is three-dimensional.1103

If we click on this gear to the right of Bevels, which you don't see over here (you don't have that option)--we click on that, and now we have options for the bevel.1114

We can change the size; a little bit there changes it--bring it down; a little flat; right there seems very good.1126

We're OK; we'll take that; now, let's go with a drop shadow, and Standard Drop Shadow seems to be the one here--we'll double-click that, and there is a drop shadow.1134

Hit the gear, and we can adjust that, as well; I can make the size a little softer, move the distance out, change the lighting angle--any light angle that you want--and we can also change the opacity so it gets a little lighter.1146

There we go; this size is a little too soft; let's move it over there--I like it like that.1163

Now, you have added more dimension to it (up the size just a little bit here); there--now, we have three-dimensional type with a drop shadow.1172

Now, there are so many other things you can do; let's go back to the Layers, and what you see is: every time we did one of those, notice the little Effects button.1183

If I double-click, there is our style.1192

I'm going to take and unclip this top layer (and it's gone), and turn it off, and now we have it--it's the red type.1196

Let's go down into the type layer and do the effects from here; and let's take a look at patterns.1206

We have all of these options for patterns; it's a lot easier to see them if we go to the Effects menu and go to Patterns here; they're larger, and you see them all laid out.1219

How about a brick wall pattern?1232

There, we put that in; if we don't like that, let's go with this one instead; and that is kind of interesting; how about a stroke around the letters; we'll just do a simple stroke right there.1236

Then, we'll hit the gear, and the stroke is 10 pixels; let's take it down to about 6; that looks pretty good.1254

Click OK; you have all sorts of options; let's just see--we'll put them all out here in front of us: let's see what we have.1264

Let's try one more...oh, I want to see what this looks like; let's double-click that one; I don't like that, so let's go back and look at our layers and what effect we just put in there that I didn't like.1273

Glow, cancel; we're going to have to take that one away right there.1286

OK, so there you have all sorts of options for making it; let's go back--one more thing I want to do is change the bevel up a little bit; there we go.1293

Wow, that looks pretty cool.1305

All right, so there we have several ways to work with type.1306

Let's go back; orientation and warping to change the look and the way the type lays out, like that; we also have clipping a photo texture or pattern---you can do that with a photo texture or pattern to the object; that is what we were doing here before--Option/Alt, click between, and you get that on there.1311

Finally, adding a layer style to the text; now, once the layer style is on, all you have to do is double-click the Effects button, and--if you wanted to turn off the bevel, just undo it; turn off the stroke; turn off the drop shadow; and so on and so forth.1334

There you have how to work with text and create type in Adobe Photoshop Elements 11!1354

Hi, everyone--Michael Brown with you again; welcome back to Educator.com's Adobe Photoshop Elements Beginning and Intermediate course.0000

In the previous two lessons, we've been talking about the value of quality; we've talked about light and color.0008

All of this--applying to my mantra, "Garbage in, garbage out"--always start with the best quality you possibly can at anything you do; do the best you can at every step along the way to get the best-quality finished product.0014

In this regard, we showed you how to set up your camera to take the highest-quality technical image from the resolution and sharpness point of view; we also talked about what light is and how it changes under different circumstances; we've talked about color spaces, which are the ranges of color that are available, both to set in your camera and to work with in the computer in Adobe Photoshop Elements.0028

If you remember, in the camera there is RGB, the wider color space, and there is SRGB, which is the native color space of your computer, but it has less color in it than RGB does; RGB is the better one to start with in the camera and to use if you're going out to printing; but if you're going to the Web, remember, you want to use the smaller one, SRGB.0060

The final two pieces of the equation to get everything right are white balance and monitor calibration.0085

White balance is making sure it's neutral color in the camera or working on it in Photoshop Elements, and monitor calibration is making sure that you see the best image right on the monitor.0093

Let's get started with this.0105

What is white balance? It's the attempt to correct an image so that the colors appear natural to the human eye.0107

In your camera, you have white balance presets, made by the manufacturer, to attempt to correct for different color temperatures of light that occur with different light sources and conditions.0115

First, let me talk about some of the conditions that there are: there is noonday sunshine, nice and clear--that is what neutral light is based on--a noon sunshine, about 5500 to 6000 degrees Kelvin.0130

Everything else is trying to balance to that.0142

If you're indoors with incandescent light bulbs, they are down around 3000 degrees Kelvin, so the light is very yellow-red.0145

If you're shooting in shade outdoors, what you're going to encounter there is that the sun is not your light source, primarily; the light is from the blue sky, so it's a very blue image.0155

Now, the brain and your eyes naturally correct, because of experience, any light source, so that you will see it as though you feel that it is natural.0167

But that is a white balance correction by your brain.0180

Let me show you a couple of examples of the different lighting situations.0184

Here I have five images that I shot; let's go ahead and open those up into Camera Raw.0190

This demonstration will only apply with the raw images; if you shoot jpeg...I have to select them all first...there we go...if you are shooting jpeg, or if you're importing images from somewhere else--Photoshop or Photoshop Elements corrected images--you will be using color corrections within the program, which we will talk about.0198

Right here, I'm going to demonstrate the different light sources.0227

Here is an image...by the way, all five of these images are the same shot, shot on a tripod, at the same time of day; the only difference is that I set the white balance for the different presets to show you the differences.0231

This one is set for neutral daylight--and it is noon.0247

If you will notice, the color temperature here is 4950 degrees; it's just slightly down on the warm end, but that is approximately 5000 degrees Kelvin.0251

If we look closely at this image, you see that the whites are very pure white when they're in the bright area; in the shadow, we see a little blue--that's what I was talking about--the shade area.0262

The foliage on all of the plants is a nice, rich green, with a little yellow that's very natural.0275

If we look even closer, at the street, you will see that in the sunlight, it's a nice, neutral gray, and it's maybe a little harder to see, but over here in the shadows, there are blue tones to it, which is what you get--you can see it on the building back in this corner back here; see, that's kind of the blue tone?0280

That is what you get from shade, so the neutral light right here is what we always want everything to balance to.0300

The second one I'm going to show you--I shot it with the tungsten correction.0308

I shot the same shot here, but with the tungsten white balance correction--now tungsten, remember, is a light bulb; it's like a flame or your incandescent bulb; it's down in the very yellow-red range, like 3000 or so degrees Kelvin.0314

So, it's going to be a very yellow image if you don't correct it.0329

So, what do you think the correction would be for a very yellow image? The opposite color of yellow is blue, so it would be a heavy filter of blue to balance that light to this neutral one.0334

Here is a neutral day shot with a tungsten white balance setting; and, lo and behold, of course, it's very, very blue, because that's the correction that would be applied to compensate--but this wasn't yellow, so it went very blue.0346

Notice, that balance is assuming that it was 3000 degrees Kelvin, so if we take our color temperature slider--this is a color temperature correction--and we run it up to about 5000, which is where the other one was, look what we have--a nice neutral image just exactly like the original one!0361

It should actually be more like 52 or 5300--right about there.0384

That's better...and once again, now we're back to the white and gray, and even the shadows are a little more neutral here than they were on the original one.0390

I'll show you the difference: this was the filter to correct for the 3000 degrees, very blue to correct for the yellow, and this is what it would look like if it was neutralized--perfect!0400

We'll give one more example--open shade; you're not being lit by the sun; you're being lit by the blue sky; so it's going to be very bluish.0414

The white balance preset would be the opposite of blue, which is yellow, to counter the blue; and so here is the shade, shot in neutral day; see how yellow it is?0424

That is the compensation that the camera is giving: look in the shadow areas here, which would be very bluish, right there, and on the street, which is neutral; it's imparting a lot of yellow--notice, 7750--to compensate for what would be approximately 4000 or so.0437

Once again, to get it back to the neutral, you will see what it has done; here is the 5000 degree Kelvin again; about 5300; nice and neutral.0458

The filter was for 7750; that shows you what the presets are doing inside of your camera.0470

How does the white balance apply in Elements? The primary correction that you make is to neutralize the color, and I showed you, just now, in Camera Raw, with the color temperature slider--you can correct it.0484

This is the same thing as the presets are doing inside of your camera.0495

That shows you what white balance is all about; it's very critical; when you set your camera up, make sure you're either on auto white balance or the correct preset for the situation that you're shooting.0501

It may not work perfectly, because these are just nominal choices by the manufacturer, but we can correct them inside of Photoshop Elements.0514

Now, let's talk about monitor calibration--the final link in the chain--making sure that this screen that you're viewing this lesson on is giving you accurate color.0522

To create accurate color, your monitor needs to be calibrated for neutral color.0532

Make sure that other monitors see your files accurately; if you're working in situations where you're sharing the files with other people to work on, you need to match your monitor to theirs; this is called a color profile.0538

Monitor calibration is a whole course of study; calibrating and matching to other ones is very complex; there are lots of opinions on the best ways.0553

Right here in the corner, this ColorMunki calibrator by X-Rite Corporation is one of the reasonably-priced calibrators that works very, very well.0561

What you do with the device is, you stick it on your monitor, and it measures the light, and it has its internal calibrations, and it actually is working with software that you install on your computer, and it will adjust your monitor to a neutral calibration per that device.0570

Then, you have your corrected calibration.0589

You have a monitor profile for your monitor; if you want to match to someone else's monitor, you take that same calibration device, and you have it put on their monitor, or if they use the same company's device, it will work equally, as well.0592

Then, they have a calibrated monitor: when you send a file that you do on your monitor over, the profile for your calibration that you set with the ColorMunki is embedded in the image; and if someone else has a calibrated monitor by the same device, it can now open that up; and internally, it will recognize that it needs to be corrected to that monitor; and it will impart the changes so that, on their monitor, your image looks the same.0611

Sounds complicated; it is kind of complicated; but, in most cases, a simple way to calibrate the monitor and match to your printer: most of us, primarily, are using our own monitor and printer.0644

We're not dealing with a lot of other people; so, I have an easy way to calibrate a monitor and to match up to a printer that will work for you 90+ percent of the time and give you fairly accurate color.0658

Let me show you the Mike Brown method for calibrating your monitor and calibrating it to your own printer.0669

If you're going to calibrate to other monitors, I suggest that you may look into an external device.0675

All right; here we go; let's calibrate your monitor.0682

Calibrating your monitor and calibrating to your printer: a lot of stuff here--we will go over it, and it's pretty simple.0685

A basic monitor calibration method with PC monitors and Macs: For PC users: Go to your Control Panel; type in "calibrate display color" in the search box; this is the hard part--follow the simple instructions that will help you set neutral gray points and give you a neutral color.0691

That is it; you have now made a color profile for your monitor; there are several steps involved--don't worry about that; if you get confused, at the end of this lesson, under the quick notes below, you will see a slideshow with step-by-step, showing you the actual pages on calibrating your PC monitor (I'm going to show you how to do the Mac).0716

Just click the appropriate link and follow the instructions--that is it!0739

For Mac users: I'll show you how to do this--it's very simple: Go to your Apple; go to System Preferences; when they pop up, click the Displays; click Color; click Calibrate; when the box comes up, make sure that you check the Expert Mode--this gives you the extra options for more precision; click the Continue to begin.0744

You're going to get a series of these pages, with an apple against a lined background.0774

The left side square is trying to make that apple the same tonality as the background; you just adjust it up and down until the tone tries to make it disappear.0780

On the right side, that is the color, and you move the little adjustment to try to make the color inside the apple be neutral--and there are 1, 2, 3, 4 of those...5, and then you set your target gamma, which is the standard 2.2; then, you set the target white point, which is D65, 6500, or Use Native White Point; click Continue; Continue again; title the calibration; and now it will be saved, and you are done!0790

There are all the calibrations that I have made, listed in here; you can click to have whatever one you want, and you may see the color change as I click from one to the other; that is based on different settings over different periods of time--how the monitor actually changes.0828

That is how you do the Macintosh user's system; so now, your monitors are fairly accurate--not as perfect as an external calibration device--but close enough.0844

You should recalibrate your monitor, PC or Mac, every couple of months, because as it ages, the color changes.0856

Now, a basic method to calibrate your monitor to your printer so that you get accurate color in your printing...0864

First, calibrate the monitor: we just did that.0872

Then, print an image of some picture that looks accurate to you based on the calibrated monitor; just print it out.0876

Put that print under a good daylight light source: you could do it under the sun at noon, but it's better to, if you're going to do it indoors, go to a window where the sun is just not directly on the image--not getting the blue light, but getting most of the sunlight.0887

That is OK, but the better way to do this is to get a 5500 degree Kelvin light bulb; you can buy these at a photo store, and that will give you accurate daylight.0904

If you can't do that, just get a new--and I mean new, because the color changes as lights are being used--new daylight white light bulb; not the new efficient ones--a regular daylight light bulb.0916

You will see in that image, when you are looking at it, that it's either a little dark or a little bright; the colors should be fairly accurate; printers do a good job of managing color today.0931

What you're going to do--your monitor calibration should have clean color, so all you need to do is match the exposure of the screen that you're looking at, right here, to the print on the table, under the light source.0944

In other words, the print may be a little bit dark; so what you're going to do is adjust the brightness only of your monitor--not the color; the brightness only.0957

You have your brightness controls; run it up or down until that matches the print.0969

Then, make another print; and that is all you have to do; that one adjustment should make them pretty close.0975

What you will do now is leave your monitor at the brightness you've changed it to, that gives you the correct exposure print, and that is what you're going to work with.0984

That is it!--you have technically made a profile of your monitor to your printer.0996

This is kind of empirical, but it works really well; unless you have specific professional needs, this will work very, very well for you.1001

So, we have my "Garbage in, garbage out" mantra taken care of, in quality level, from the light coming into your camera, the image coming out of your camera, the image going into your monitor, correct white balance, monitor calibration...1012

We are now ready to get started learning all that you need to know to enhance, correct, and create great stuff with Adobe Photoshop Elements.1029

I'll see you back in the next lesson!1039

Hi, everybody--Mike Brown here again with another lesson for you in Adobe Photoshop Elements 11 from Educator.com!0000

At this point in the course, if you have been following the course and gotten this far, you have pretty much learned almost every technique and feature that there is within Adobe Photoshop Elements to basically work on and enhance your images: selections, corrections, retouch, and manipulation--my four basic categories.0007

In this lesson, we're going to play a little bit here, and I'm going to show you the whys of the three different ways to create black-and-white photo.0029

I think I briefly dealt with this in a couple of lessons in the past, but we didn't attack it as a specific lesson.0040

There are three different ways to create a black-and-white: there is the grayscale mode, which just removes all of the color information from the image; there is the Desaturate, using the Hue Saturation dialog box; and then, there is the using Convert to Black-and-white, which you may have seen before, under the Enhance menu down here.0048

I'm going to show you a couple of examples to talk about why the Convert to Black-and-white is better than the other two.0071

Then, we're going to take our best conversion, and we're going to play with it a little bit; we're going to use the Colorize feature, which I have gone over before; it's pretty easy to use--it kind of makes an old-time look, and you can do other things with it.0080

I'll show you how to add a vignette, and stroking the border to come up with a finalized, pretty cool image, like this: with a stroke border--you can see a little vignette in here; and here we have a really nice desert scene that has that kind of old-fashioned look to it.0092

All right, so let's go ahead and get started here.0111

In the lesson on converting to black-and-white, this picture here--I took it this morning on the way here to the video studio, because I was thinking about which images would best portray the differences between the three methods of converting to black-and-white.0114

One thing: if you happen to be color-blind--or those people that are: red-green colorblind interprets reds and greens identically the same--so they all become the same shade of gray.0133

So, in most cases, if we just desaturate an image that has red and green, you will just see overall flat grays; so, we're going to take three different ways at this point.0150

The first way I'm going to do is to go to the Image menu; we're going to go down to Image Mode, and we're going to go to Grayscale.0163

What Grayscale does is just physically takes every pixel and converts it to a black-and-white.0171

As it says, changing modes can affect the appearance of layers, flatten the image (we'll go ahead and flatten it), and discard all of the color information; and here you see a perfect example of what I was just talking about.0179

This was a vivid (we'll undo that--Command/Control+Z)...you can see: the flowers are vivid; the oranges are vivid; their greens are really nice; Command/Control+Y, and now we have an image which is almost a "Where's Waldo" for the flowers--they have disappeared, because the red and the green, as you can see, have exactly the same tonality--the only thing that sets the flowers apart are the little white spots within them--it's very hard to see; no dimension--a very flat image.0192

So, the Image Mode, Grayscale, doesn't work, really, that well for a black-and-white conversion.0223

If we take a layer here, and we apply an adjustment layer for Hue Saturation, and we just take the saturation level with the master and desaturate it, now it works a little bit better, because, if you look at the flowers carefully, the red color of gray is pretty much the same as the green, but it did interpret the shadows a little better, so that there is some definition here indicating that those are separate flowers.0231

But, it doesn't really pop that much.0268

What we're going to do is: we're going to just call this layer here HS B and W; so those two go together, right here; we're going to take the background layer, now, and we're going to duplicate it again.0270

Command on a Mac/Control on a PC, plus the letter J, and I'm going to name this one Convert to Black-and-white.0285

All we're going to do: we're going to turn off those other two layers, and we're looking, now, directly at the Convert to Black-and-white layer.0297

To convert this, we go to the Enhance menu; we'll come down to Convert to Black-and-white.0305

Up comes this dialog box; I find--you can see already, if I don't do anything (I just pull the box aside): look at the snap in the flowers.0312

Now, the greens are darker; you can see that the color red--the gray for the red--in the flowers is lighter than the greens, all throughout the picture, so we have much more dynamic now than we had before; the flowers already stand out.0323

Here is the dialog box; it kind of looks similar to the Variations dialog box; again, I'm not really pleased--I like what they are doing, but I wish they would have full size, side-by-side; it's sometimes hard to see.0339

But here, we can really see the effect, and the way this works is pretty simple: there is your before and your after dialog box--you can always reset, if you're playing around with the sliders.0353

This is where the Convert to Black-and-white sets itself apart from the other two methods of creating a black-and-white.0364

Notice over here; we are able to individually change red, green, and blue channels and snap contrast.0373

That allows us to lighten or darken, individually, the red, green, and blue channels to get some snap.0383

We also have presets that are in here; right now, we're on the Scenic Landscape, and it looks pretty good as it is--I don't think I have to do much.0390

But, I'll show you the other ones: here is what Infrared is--it kind of reverses everything--kind of a weird look; I'm not really that pleased with it.0397

Newspaper: again, now there is the conversion where the greens and the reds are pretty much the same gray color, so you kind of see the flowers, but it doesn't jump at you.0407

Portraits are a little bit flatter, but again: notice, in the flowers, it's darker, but the reds...and go over to the greens...a little bit of difference, but again, it doesn't stand out.0420

We're going to skip the Scenic Landscape and go down to Vivid Landscape.0431

It just (and if you look here--see what it did) pumped the reds and brightened them up dramatically.0435

Let's go back to the Portraits; notice how the sliders change for each one: Infrared--green is up, blue is down--it just snaps them.0442

Urban Snapshots: not that much different from the other choices; again, the red is darker than the green.0449

But then, we go to the Scenic Landscape, and you see that the reds are up, the greens are down a little bit, and the blues are, and there, your flowers snap really well.0458

So, we're going to click OK, and now we're going to compare the Convert to Black-and-white, and we're going to turn on the Hue Saturation layer with its adjustment layer.0467

There is the differential.0479

The red gray and the green grays are the same; but, if we go to Convert to Black-and-white (and you have the ability to play with the sliders--I'll show you this on another one), see how much better that works than either of the other two methods--going grayscale or desaturating--a really cool tool.0481

All right, so now let's play with it for a little while.0500

Let's go over to this particular image, right here, that I have; we'll duplicate the background; Command/Control+J.0504

Now, you know that we're going to do the Enhance Black-and-white; I've already shown you that that works better than the other options.0512

So, let's just go ahead and do it on the duplicated layer; Enhance, Convert to Black-and-white, and here we have our options.0518

We have a Scenic Landscape; let's see what a Vivid Landscape does; I like it--in this case, there is the Scenic Landscape; there is the Vivid; and I'm sure that the blues dropped.0527

Let's look at the blue channel: Scenic...actually, the reds and greens dropped; the blue went down a little bit, but predominantly, the red went up and the green came down, just a little bit.0538

What I would like to do is adjust the green up a little bit to see if we can lighten some of this dark foliage.0551

Let's move it over to this side so we can see, because this is the area we're looking at.0558

Let's take the green; you have to be careful with these sliders...they are pretty gross moves in terms of--a little motion will give you a lot, so just kind of slide them gently.0563

We get a little bit; we're seeing it already--see how that green is beginning to come up?0578

Let's come up just a little bit more, and again; there we go!0582

Let's compare that, now, just looking at the green areas to the right of the image.0587

I'm going to go back to the Scenic Landscape; it went down; and so now, we'll just pump those greens up just a little bit more...0593

Oh, it was the Vivid Landscape--excuse me!--and we were moving the greens up.0601

Coming up; coming up; coming up a little more; even a little more there; I kind of like it.0606

Oh, it has gotten way too hot--way too hot; knock it down, take the blue down...blue down even further; let's get some dramatics.0615

OK, that is pretty nice; I like that just about the way it lies.0627

So, we're going to go ahead and click OK; and we have gone from a color image that looked like image that looked like that, to a black-and-white image that has a pretty dynamic look to it.0632

Now, one thing I can see that we can do: this is the way we're going to tackle it: we have a pretty good black-and-white, but it's a little bit dark over in this landmass area, so let's go ahead and take our Selection brush as a mask, and right bracket key to up the size, and let's just paint over (that's green right now; that's OK) this section, right in here, just generally; maybe a little back in this shadow area; that is fine.0644

Now, we'll come back to our selection; remember, we invert it because we are masking the area we really want to have as a selection.0674

So, we just do Select, Inverse--there we go--just to show you; now, everything else is masked out.0683

Let's go with a Levels adjustment layer for exposure, and lighten that stuff up, just a little bit, over there.0690

See, there we go; it's coming up pretty nice.0699

OK, and we'll just turn that off and turn it on; we have a little snap there.0704

Now, let's take these rocks and pull them down just a hair; so, we'll go to the masking again and up it, and let's just paint right over that bright rock, kind of in that area there.0709

That is pretty much good enough; we're not really killing this thing.0721

Select again; Inverse to get the selection (oops, I didn't get it to take) of the rocks, and once again we'll do a Levels.0725

What we're going to do is darken that down just a little bit, open it up, and darken it down there, just a little bit--maybe snap that contrast--there we go!0738

That looks pretty good; turn that off; turn it on; we just have a little bit of a difference in there.0749

I would like to darken this corner down, just a little bit, up here--just for a foreground dimension.0754

We will take that same brush and just paint over this foreground corner greenery right here, turn it into a selection, go to the Select menu, and invert the selection, so that we now have just that little bit of plant work.0760

One more time we will take a Levels (everything has been Levels, you notice), and we will snap the contrast on that--there we go!--and lighten it up just a little bit, and maybe just pull that down.0777

Now, we have changed it from a little flat gray--just given it a little more presence; that looks pretty decent!0792

We can accept that, and so, we pretty much have our image the way we want it now.0799

All right, so the next step: now I'm going to show you...let's go back to our title, and let's catch up with where we are.0804

We talked about the Grayscale mode, and you noticed that when we removed all of the color, it became very flat.0813

Desaturating had a little more snap, but the reds and greens were pretty much exactly the same tonality of gray and didn't snap.0819

But then, when we used Convert to Black-and-white, it has...with the presets and the sliders, we can separate the reds from the greens--brighten the reds or darken the reds and reverse on the greens and the blues.0829

Now, what we're going to do is: we're going to start by colorizing this image that we have just done here.0841

Let's go back to that, and all we have to do is put an adjustment layer for Hue Saturation on top, and we don't have to do anything with the sliders--just hit the Colorize button.0847

You notice, what happens is--notice, the sliders are dead center; as soon as I hit Colorize, the Hue goes far left, and the Saturation drops.0861

So, what we're going to do is take the saturation down a little further and bring the hue into that kind of an old-time vignette kind of a sepia-tone color; right about there looks pretty decent.0871

Notice how nice that looks?0885

So now, we have our colorized version; we can always turn that off as a black-and-white.0888

We have gone from a color to a black-and-white to a sepia-tone; now, we're going to add a blank layer on top, and I'll show you a really easy way to make a vignette using selections, feather, and the Refine Edge dialog box.0894

We're going to go to our Marquee tool; take the elliptical Marquee, and I'm going to hold the Option/Alt on a PC, and drag from the center, and that will create an oval.0913

You can see the crawling ants, and we'll try to make it exactly the size of the image.0926

When you get this where you want it, you want to release before you release the Option/Alt key.0934

Now, see, we have set it; now I can release the Option/Alt.0943

Don't take your finger off the Option/Alt first, or it will just jump over.0946

So now, I can take my arrow keys, and I can come down a couple and over a couple to center that crawling ants in there.0951

We can see what we have done; again, we'll just go to a mask, and see: we have a perfect oval in the center.0961

Go back to the selection; but we don't want to darken that center section; we want to darken the corners.0968

But first, we need to soften this oval; so, with the selection (and we have gone over into the Selection brush tool; we'll go to the Select menu, Refine Edge)...and you can put as much feather in this as you want, but I have done this a lot, and somewhere around 200 to 250 is a good number.0976

You can play with it wherever you want; we'll just put...let's put 225--right in between.1000

You see how nice and soft that has become, but it's a little too far in, so now we're going to use the Shift Edge to expand the selection outwards.1007

Oops...I got...all sorts of things happened here.1017

I want to shift the edge outwards; notice how it went out?1024

I want to shift it out; not too far out; not too far in; about like that looks pretty good--we'll click OK, and that is going to convert to the selection.1027

But, once again, that is the selected area in the center; so we need to invert this: Select menu, Invert.1036

Since we went to all this trouble, let's go to Select, Save Selection, and we'll call it Vignette 1, just in case we have to do it again, and there we have it.1045

Now, all we have to do: we have this blank layer sitting right here--we're going to set our foreground and background colors...1055

Let's just go to the Gradient, first of all--which we're going to talk about in another lesson coming up--and let's see what we have for gradients.1065

We don't have one that we want, but we can set one very quickly; this will give you a preview.1073

We're going to set the left side at black, and we're going to set the right side color at black.1078

Now, we have a black-on-black gradient, and we're going to only do this at a lower opacity; remember how we were doing retouch on skin to remove wrinkles?1087

Fifteen to twenty percent is what you use on your clone tool.1101

In this case, we want to build up a soft vignette, and we don't know exactly how dark we're going to need it, so we'll take about 20% opacity.1106

Take the opacity slider here, and drop it right down to about 20%; there we go.1114

Everything else is fine; we're using a regular, linear gradient; we're going to do Command on a Mac/Control on a PC, the letter H, hide our crawling ants, and it doesn't matter where you click and drag; just click and drag.1121

You can see that the corners came down; we could use a little bit more, but I don't want to go that much, so let's take the opacity down, this time, to about 12 or 14, and we'll click and drag again.1134

There we go; maybe that was too much; undo it; let's go back and change that down to about...just under 10; hit it one more time; there--that looks pretty decent.1147

Now, we have a nice look for our image; it looks very nice.1158

The only thing that is missing is a border, so we're going to put another brand-new layer on.1163

We're going to do Command on a Mac/Control on a PC, the letter A to select all (see the crawling ants all the way around the outside).1170

Go to the Edit menu, down to Stroke or Outline our selection, and we're going to do this in black, and I'm not sure how many pixels I need; it's a pretty high...let's try, arbitrarily, 21 pixels, and see what it looks like.1176

Click OK; it's calculating; and that is a little thin--we'll undo that; I think we need a little more, so instead, let's stroke it 28 pixels.1195

Click OK, let it think, and there you go--that looks pretty decent.1207

There you see--we started with the colored image; we converted it to a black-and-white; we put 1, 2, 3 adjustment layers on this of Levels, with layer masks.1213

Then, we went to the Colorize feature to adjust it into a sepia tone, put on a vignette, put on a border--and we have a really, really nice-looking photo here; I like it.1230

Let's go back to the title; so there you have just some creative work with colorizing an image after you have converted it to a black-and-white; adding a vignette; and stroking the border--giving you some really fun things to do with the Convert to Black-and-white method, and then sepia-toning with colorizing an image, and enhancing it with a vignette, a border...1243

All of this really made a great image in Adobe Photoshop Elements 11!1269

See you back for the next lesson!1273

Hi, everyone--Mike Brown back with you one more time, with another lesson in Adobe Photoshop Elements 11 from Educator.com!0000

In this lesson, we're going to talk about two tools that we haven't discussed prior to this, and they are the Gradient tool and the Paint Bucket tool--somewhat similar--laying down colors for various reasons.0007

Under the Drawing collection of tools, right below the Brushes tool, you will see the Paint Bucket tool, and to the right of that, the Gradient tool.0023

In previous versions of Adobe Photoshop Elements, they were grouped together under a single tool, and you would click, and they would fall, kind of like here with the Selection tools, together.0031

But now, they are separate in Photoshop Elements 11.0043

For the Bucket tool, we have these options down here; you can either work with colors (it's going to lay down colors and you have Blend modes for them), or it's going to lay down patterns (for which you have all sorts of choices of different kinds of patterns and textures).0047

Color or patterns: now, you have an opacity choice selector here; you also have a tolerance slider, and again, your Blend modes; you can sample all layers, contiguous color, and anti-aliasing to keep the edges smooth.0067

Let me show you the basic and obvious way you would work with a paintbrush, just blindly--the basic methodology.0086

You have a foreground color--that is what it's going to work with; we have the Paint Bucket; we're going to do it in a normal mode, with an opacity of 100; and you simply click, and it fills.0096

In this case, I have left it on pattern, so it filled with a pattern; if I clicked over here with the paint, it fills with a color.0108

Obviously, if we had changed the opacity and clicked, it would have been a lower opacity.0117

Just your basic filling tool; you can also do that with the Edit menu, Fill Selection--basically, you have the same thing; you have different options of colors you can fill with, Blend modes, and opacities--pretty much the same thing you can do down here.0123

All right, so that is the basic way of using it; let's take a look at some other methods of using the Paint Bucket tool.0140

First, let me go with the Golden Gate Bridge shot that I have right here.0148

Let me change the foreground color to kind of a sand tone...this is yellow...that is more like sand; we'll click OK.0154

Now, if I fill with the Paint Bucket tool again, with an opacity of 100%, I'm just going to fill it--that is what happens.0167

However (and, by the way, there will be a lesson in the Filters and Blend modes, so you will begin to understand these), these are your Blend modes; this group here starts with darken and does exactly what it says; it darkens--everything that is darker than 50% gray gets darker.0178

Over here for Lighten--everything that is lighter than 50% gray gets lighter.0201

The Overlay down to Hard mix increases contrast in various degrees; overlay is kind of your median; soft is less; and then they get rather harsh.0206

Difference and Exclusion do some weird things that I never figured out; and then you can fill with hue saturation--color, like we're going to do right here; or luminosity.0217

So, if we take this at 100% opacity and fill with color, watch what happens.0229

Surprise--another way to make a sepia-tone, if you will: we filled this entire image with this foreground color, and therefore, it turned it into a sepia-tone effect.0237

Now, you're saying, "What good was that? We have other ways of doing that."0251

Let me show you something else we can do here; let's make this just a little warmer tone--right there; now, let's just say, for example, that this beach here--I don't like the kind of dark brown; I would like to lighten it up a little bit.0255

That is going to be time-consuming, to get my perfect selection around the whole thing; so we can use the Paint Bucket, and we'll paint, just like we were doing with the retouch tools--with the Clone tool--painting skin at a lower opacity gradually builds it up.0271

So, let's start with maybe 30%, just for fun, to see if it works; we can always change that by undoing.0291

If I did this, as I said, at the full tolerance, it fills the entire image--you can see that.0299

Let's up this so you can see what is going on; let's go to 57%, zoom it up a little bit, drop the tolerance down to about 135, and I click the sand.0305

You can see that it went all the way up with that contiguous color, into the sky--too much.0316

We'll bring the tolerance down to about 70, and I click, and wow--lo and behold, if you look over here, it just got a little too much in the water.0322

Let's back it out and drop that tolerance just a little lower, and click, and there we have the entire sand.0334

I'll undo it and redo it; it's pretty subtle; undo; redo; and I'll show you how I did that.0346

There is your Tool Options; we have an opacity of 57%--I'll add the opacity up so that we can see it better; a relatively low tolerance; at a Blend mode of color with contiguous check, which means it's looking for areas of color; anti-aliasing to smooth the boundary; and I clicked.0357

You can see it right there--that it just filled up the entire beach area with that tolerance; and if we drop that down to maybe 40 and do it, we just got a little bump in color without ever having to make a selection, by filling with the Paint Bucket tool at a mode of color and a low tolerance and opacity--and contiguous check; kind of cool.0376

There is another thing you can do with that.0402

Let me show you one more thing you can do: we're going to go to this beach scene; we'll switch over to the pattern, and what I'm going to do now is make a new layer, and I'm going to take this pattern that I have chosen right here--kind of a texture--colored paper--and I'm going to take my Paint Bucket tool at 100% opacity and a big tolerance--it doesn't matter, because I just want to do it--and I'm going to actually fill this normally and click.0404

You have, now, a texture fill; you can see that; and you say, "Why did you do that?"0440

Well, here is how we could have done this over here, but we're going to do it up here, instead.0445

The same Blend modes are up here on this layer; we're going to take the Blend mode and change it to Overlay, and if you take a look at the image, look what we have--a texture that has shown up.0449

Now, it did affect the color, so we're just going to lower the opacity level to maybe about 40.0463

Look--the image is pretty much the same, but as I zoom up, you can see that we have created a texture.0471

Let's bring that up just a little bit more; it actually zapped the color just a little bit in the image, which is kind of nice--warmed it up, and added a texture, like it's on textured paper.0480

There are a lot of things you can do with the Paint Bucket tool: playing with the Blend modes, textures, patterns, and color. 0494

And, using--like I said, over here where we used the Golden Gate--if you use opacity and tolerance, you can actually use it to fill with color--kind of cool.0503

All right, so there were some examples of ways to work with the Paint Bucket tool.0513

Let's get back to the title--oh, I just did; that was really good!--I clicked with the tool on, and that was that.0520

All right, so that takes care of the Paint Bucket tool; so now, let's switch and take a look at the Gradient tool.0528

There are a lot of uses for gradients.0536

This is your basic Gradient tool; let me bring up an untitled document, right here; leave our Blend mode--we still have the Blend modes; we still have opacity; we also have a transparency; Dither is something I'll talk about in a moment; and these are your five different types of gradients that we can lay down.0539

Over here, you see the current gradient; and right here, in the box, we're in defaults.0560

If you click, there are all sorts of different gradients; we'll get into that in a moment.0567

When you are in the default, the upper left corner is foreground color to background color; you see red to black--you see it shown right here.0571

If I click and drag on a linear gradient, it just makes a linear gradient from red to black.0581

The longer I drag, the more gentle the blend; the shorter, the harsher the transition.0588

That is a linear gradient.0595

A radial gradient--it doesn't matter which way I drag; it goes out in all directions from red to black, and basically makes a circle.0598

So, if I go with a really long pull, you get a very wide circle with soft edges; if I just pull really shallowly, you get a little spot that is soft.0608

That is a radial.0620

This one is called an angle gradient, and I have never used it for anything other than demonstration; you click and drag, and it starts along that line, with the foreground color, and goes in 360 degrees around, back to the line, with the background color.0621

I'm not sure what you do with it; I really don't know; it's probably for graphics.0640

The next on is reflected; if we go in the middle, and click and drag upwards, it goes from red to black and flips to the other side and does the same thing for you.0645

The last one is the diamond: click and drag, and instead of going radially in a circle, it comes out as a kind of a star diamond.0656

Again, if you click and drag short, you get a tiny one.0665

Those are your five different types; we'll go with the linear for the moment.0669

OK, the Dither check mark: I want to talk about that for a minute; we're going to come up, and I'm going to try to demonstrate this.0673

Sometimes, it doesn't work.0683

We're just going to drop a gradient, red to black.0685

You see, it's nice and smooth until we get way, way up; it's a perfectly smooth gradient.0689

If I were to uncheck the Dither and do the same thing: we zoom up--it's supposed to do the other thing; it's very hard to see; sometimes it doesn't work.0698

The whole idea of the Dither; I can't show it--it doesn't seem to want to show--and that is great; when you lay a gradient down (I'll just explain it), it lays down in lines.0710

They shift in their color, from red to black in this case, and they don't blend very well.0722

Sometimes, you can actually see the lines as you're looking at the gradient.0729

By doing Dither--it incorporates a blur and a little noise that blends all of the lines in, so that you get this perfectly smooth look.0732

In earlier versions of Photoshop Elements and Photoshop, they didn't have that, and so you had to actually take your own gradients and blur them and add noise yourself.0744

But now, you get this perfectly smooth gradient.0753

All right; leave the Dither checked.0756

Transparency allows you to see through a transparent gradient.0760

All right, that shows you the basic Gradient tool and its options; now, let's look at the Gradient Editor.0764

Let's go back to the untitled, back to the Gradient, and click on the Edit button.0774

This is the Gradient Editor, and this is how gradients are made; you can construct your own or use all of these presets.0782

The defaults are here; you have color harmonies; you have a different set of those; you also have simple, almost like filters--photo filters; special effects; and I'm going to show you one by clicking on this one, right here.0791

What you see here--the checkerboard--indicates transparency.0805

We have bars of red with transparency in between; we're going to go and click that; we're going to take this one and drop it back and click and drag.0810

You see white simply because it's transparent, and that is what is underneath.0821

If we took the Paint Bucket and filled with a pattern, and then go back to the gradient with the red and white and drag across that, you will see red with the see-through to the background, if you will, which was the texture.0827

It will show you that that, in truth of fact, was a transparent gradient.0846

All right, so let's go back to our defaults, and let's talk about this Gradient Editor and how it works.0853

Here is your gradient color shown here; there are two types of gradients: solid and noise gradients.0860

Noise gradients just do some really weird, weird things; I sometimes really don't know what they would be used for.0866

See, it's just a pattern of lines, almost like one of those scanners.0876

It might be useful for graphics.0881

90%; let's go with a greater roughness; there you can see it--it just becomes an abstract pattern of whatever the particular gradient that you have is.0883

It changes...it's kind of weird.0897

We're talking mostly about solid, regular gradients.0898

The left side to the right side; foreground to background; it is identified by location--notice, 0% is the left side, and when I click on the right-hand one, 100% is to the right.0902

These little items--these icons you see--squares with a little triangle--are called stops.0917

They are the positions where you set color or spacing.0923

At the bottom, across the entire bottom of the Gradient Editor, is color stops; notice that the left one is red; when I click on it, the little triangle goes from white to gray.0927

Notice that the other ones are white; the active stop is the one with a gray triangle.0941

You see that, also, the color is shown inside the stop; and to change the color, you just click on the color, set whatever you might want, and click OK; and now it's a purple color.0946

If we click on the right side, we see that the color is black; we could make that a gold if we wanted to; let's go right up to a gold-yellow color.0959

Now, we have a purple or a hot pink (let's make that a little darker purple...there we go); so now, we have gone from purple to gold.0972

We click OK, and there you see it in there; if we click and drag, you have a purple-gold gradient.0983

All right, back to the Editor; now, if I click on any stop at the bottom--a color stop--you see, in the center, a little diamond; this is called the color midpoint.0992

It shows you where--in this case, it's a simple gradient of two colors; between those two colors, this is the point of 50% color of this color and 50% color of this color.1006

If I drag that over to, let's say, 25%, now (and you can see it in the color range), the yellow does not go to 50% until way over here, and the purple is right here.1020

So, if we click OK and I drag this thing from top to bottom, you will notice that the gradient midpoint, right there, is now at 25%, rather than in the middle, because we changed the position of the midpoint--the color midpoint.1037

All right, we'll move that back, and you will notice that the location is changing; the location is going to go back to...I'll just type it in at 50% and click OK, go back over here, and now we have the 50% point back to normal.1061

Those are the color stops.1079

On the top side, we have opacity stops; if I click on this one, there is no color; the opacity is 100%; the location is at 0.1081

I click on the other one; notice that it's the gray triangle; it's at 100%, and 100% opacity.1093

If I scrub it back to 0, notice what we get; we get transparency; so now, we have a gradient that simply goes from purple to blank.1099

If I back this one out, white, and click from left to right, we have purple going to white, because that is what the bottom is; and you can see the transparency right over there.1110

Now, let's create a different gradient.1125

Oh, by the way (and I'll show you what we do to do that), let's go back to the opacity of 100%.1130

Again, you can change the stop up here for the opacity midpoint, as well as the color midpoint.1135

Let's make a 3-color gradient; all you have to do to add a stop (either top or bottom) is simply click.1142

There is a new color stop, and right now it's at 50%, and you notice that the midpoint stops--the color midpoint--are between any two stops--now there are two of them.1150

We can adjust those independently, as well, but I'm going to leave that at 50% for the moment.1162

We have purple, red, and yellow; over here, the opacity is 100; the opacity is 100 here; we really don't need to add an opacity stop, because it's just 100% anyway.1168

What I'm going to do here is click and drag, and we have created a new gradient with three colors.1182

But, they are not even; notice: this is 25%, 50, 75%--most of it is red.1191

What we really needed to do--if we wanted even colorage, you need a third and a third across here, for each one of these.1199

I'll click on the purple, and a third of the way across the entirety is actually two-thirds of the way between these two, so we'll take that point and move it to 66, OK?1207

Click over here; move this one back to 33%, because it's going from the left, and now you see even purple, red, and yellow.1220

Click OK; let's go back to white; click and drag, and notice: even bands of color.1231

All right, you see what happened; click on any stop--we just repositioned the color midpoints.1239

That shows you how to do that; and you can also click on top, put in an opacity stop--and let's drop that one down to 0--so now, we have purple, transparent, and yellow.1247

Go back to white; click; drag; purple, white (because it was transparent to the background color, which was white), and yellow.1261

That is how you set your stops and how you adjust them; we can take that stop and drop the opacity scrubby back to 100, and we have that.1270

Let's go ahead, just for fun, and create one more gradient to show you how it works.1279

I'm going to go with a full rainbow.1285

We're going to start with the color at the top--we're going to start with red; click OK there; we'll put another stop at 20% of the way; OK; and the next color down should be some purple, so we'll do that.1287

We'll put another one in at 40%, right there, and the next color should be blue; we have blue.1307

We'll move this stop over to 60%, and that one should be kind of a greenish color; we'll just go straight to green.1319

Then, we'll put a new stop in at 80%, and that color should be yellow, and that is the way it should stay.1330

We're just going to move them, just slightly, to spread it out.1344

There we have...we need a little more red, so let's just stretch it over a little bit more this way.1349

I'm doing this visually rather than mechanically; and there you go; we'll click OK; there is our gradient.1358

We're going to click and drag across and see what we have; and we have ourselves a rainbow.1364

That is how you work with the Gradient Editor.1371

Now, you can save any gradient that you do; we'll put a name in this, and we'll just call it Rainbow by Mike.1373

We'll add it to the presets; create a new gradient preset, and when I click the current presets that are up, notice: at the tail end of the list, we now have a new gradient that we have created for Rainbow.1384

Very simple--that is how you work with the Gradient Editor.1399

Oh, one other thing: if you want to remove stops--let's say we want to go back--just click on a stop and pull it away.1403

Notice, I just pulled them off, and now we're back to the two-gradient; do it on the other side, right back to the beginning...and we have created a red to yellow.1412

All right, that is how you work with the Gradient Editor.1422

We have talked about the Gradient Editor now; let's talk about the Gradient (whoa, I just put one in there--that is cool) Map feature.1427

Now, this is very cool; I'm going to pull out this particular shot, right here.1440

What the Gradient Map does is an adjustment layer right here.1447

What it will do, I'll tell you very quickly: it will convert any image (in this case, we have just this one layer) into, by default, a black-and-white, by turning...the darkest colors in the image will be black and the brightest colors in the image will be white.1454

For example, let's use the Golden Gate one right now; we'll go under the Adjustment Gradient Map, and I have it at the red, but let's go ahead and change that back to our Gradient Editor.1474

Again, we'll go from black to...move the stop to the end; change the color to white; click OK; click OK; and notice what happened.1488

It took the darkest colors in the image and made them black, and the lightest colors, white--basically another way to create a black-and-white or reverse it.1501

But here is where the Gradient Editor becomes kind of fun.1511

Let's open up this one that I had before (where is...there it is, right here).1516

Let's go ahead to the Gradient Map feature; and notice what happens if your gradient is different than black and white.1527

It will, again, still go from the darkest to the lightest, but you get these really strange effects sometimes.1543

Look at what we have done to this particular image here; let's go back to that one, and see what happens when we do this with our rainbow.1552

Let's reverse that; we can go in here and change the opacity and see what that does to our image.1560

Look--look at this; with a rainbow effect, and an opacity right there, of about 10%, we have taken that image and added a kind of an unearthly look to it.1568

Let's up that just a little bit more; and there you have a semi-coloration methodology.1573

That was with a rainbow, no less.1589

Let's pick some special effects ones; don't save; let's try this one, and click OK, take the opacity back to 100%; wow.1591

That is weird; so we'll just back it out at the opacity level, and what did we do?--did we worsen it?--oh, my!1605

Look at that; it toned down the colors now.1616

So, you have all sorts of things that you can do with that; and, by the way, you can use Blend modes to work with this, as well.1620

I just blended it as per color, rather than straight on the other end, and what we have done is a semi-desaturated look that makes this look much more like we're in the moon; it's not quite a black-and-white.1630

Gradient Maps: again, use your Gradient Editor to create things that take the darkest colors to replace the darkest, and the lightest to replace the lightest, and change all sorts...1645

Ooh, I like that one; let's see what happens with that; we'll drop this one back, and let's make it color; wow, look at this!1659

It's coming in, and as I drop the opacity, we have just a kind of a tonality over the whole thing.1669

Let me take a look at the Golden Gate and see what happens if we do that one.1677

Still black-and-white -- I'm starting to play.1683

Anyway, you get the idea of what the Gradient Map does--a really interesting tool to work with in applying effects--and you can do that, by the way, with a layer mask, as well--to just mask out areas.1687

Which leads me to the final point in this lesson--on gradients for layer masks.1700

Pretty simple; here is that beach shot we had; let's get rid of the other layer; we'll just have our traditional beach shot.1706

I'm looking at this, thinking, "I would really like to add some pop to the sand, and maybe a little bit to the sky, and I don't want to work too hard."1713

The first thing I'm going to do is take a Levels adjustment overall, and I'm going to darken down the sand--I'm only looking at the sand, by the way.1722

There is a little bit of snap to that, and I kind of like what I have in the sand.1741

Forget the rest of the image for a moment; watch what happens: the sand looks pretty good, and you say, "What are you doing?"1746

Well, I have a layer mask; it's blank; let's just go to the Gradients.1751

Let's set our foreground color black and white; let's go to the defaults; let's take the black-and-white; we want to be at 100%, 100% black-and-white, and all I have to do is create a gradient inside of my layer mask.1757

I'll click and drag up; it's going to go from black to white; and look (oops, I went the wrong way; go from black to white down, because we want to reveal)--all we did was affect the sand by creating a gradient on our (let me try that one more time)...1777

Just get it a little closer like that; and there it is; let's see how that looks.1801

There is a gradient right there, and if we want to darken the sky, let's just go ahead and make another Levels layer and darken the sky (just looking at the sky, by the way--don't be looking at the contrast; we'll go really crazy).1808

There goes the sky, and there we are, and now I'm going to run my gradient the other way, like that.1821

Start it a little bit up farther; there we go; and so there, we have a more powerful sky and a more powerful bottom, simply by laying down, very quickly, two simple gradients.1828

I didn't even have to make a selection on the thing, and it was done.1844

All right, so there you have a lesson in the Paint Bucket tool (oops, I just put the gradients again--I'm having a wonderful time here); the Gradient tool; the Gradient Editor, where you create your gradients and save them; the Gradient Map feature, which takes an image and turns it into whatever your foreground and background color--darkest becomes foreground, lightest becomes background; using the Blend modes; and using the gradients for layer masks--all of this in Adobe Photoshop Elements 11!1848

Hi, everybody--Mike Brown back with you one more time, with another lesson in Adobe Photoshop Elements 11 from Educator.com!0000

I have now taught you most of the tools, techniques, and features that you need to do almost anything you want to--images and graphics--and now, I'm going to show you some cool examples of different things, so that I can stimulate your creativity and show you how you do these cool things, using all of the basic techniques and tools that we have learned in the past.0008

In this lesson, I'm going to show you how to create a three-dimensional recessed photo frame; there it is right there.0030

You see, we have an image, and (I'll zoom it up) you see that the image is recessed below the matting board around it, and the mat board is a textured mat board with a little bit of color on it, and it is also framed, as you can see, in a three-dimensional beveled frame, and it's a signed image.0038

It looks really cool--very simple to make; there is one or two tricky uses of selections here, to get this recessed effect; that is, there is no button for this; I'm going to show you how to do that.0059

Let's go ahead and get started!0073

The first thing we want to do (let's get our layers back) is get just the image; so, we'll take the layer with the image on it, Command/Control, click, and that selects the image.0076

Command/Control+C to copy, and what we're going to do is: we're going to create a new, blank file (Command/Control+N).0087

A tidbit: when you copy an item into the Clipboard, and then immediately you go to Command/Control+N to do a new, blank file, it will assume the dimensions and resolution of the object in the Clipboard.0096

When you do it from scratch, with nothing in the Clipboard, you will get a small file that you can make anything you want, size-wise.0112

We could here, too, but what we want to do is make it fit the image, and it automatically did that.0118

So, if I click OK, there is the same size as the image; Command/Control+V to paste, and it's exactly the right size.0123

I'm going to consolidate this to tabs, and there is our image.0132

The first thing we want to do is: we want to create (let's go in to find the file) the mat board and the shadow recess.0136

So, what we're going to do is: we're going to take our background layer and duplicate it twice.0147

Now, I want to make sure we have the mat board, so we have to increase the canvas size to get that mat board.0156

There are two ways to do that: you can do it the traditional way, which is Image, Resize, Canvas Size (which I prefer because it's more precise); there is also another way, and I'll show it to you.0164

Take your Crop tool, and instead of cropping in to make an item smaller, we'll crop out, which will increase the background.0176

All we're going to do: take the Crop tool; no restrictions; click and drag, and if I were to just pull on the Crop tool like normal, I can make the box go anywhere--it's free to roam.0185

However, if I hold the Shift key down, it will go either in or out, maintaining the proportions of the image; but you notice, it starts from the opposite corner; it moves where you pull it.0198

We want it to go out uniformly; so, I'm going to go in one time, down on the size, do it; hold the Shift key and you Option on a Mac/Alt on a PC; grab a corner; and notice, now it pulls uniformly from the center.0212

So, let's get it out to the sides; look about where we want it; that's about fine, right there; now, we're going to click inside of that Crop box and move it down until the sides and the top are approximately the same--there we go--and a little excess on the bottom.0227

This is the normal way, from the artistic, dynamic point of view, that you frame an image.0247

You don't frame it with the same distance all the way around the mat; it becomes very static; you move it up to have just a little dimension.0253

We'll click OK, and it comes in with the background color, but that is all right; we'll default with D, and we'll flip them, and Option/Alt, Delete; there we have the mat board.0261

Now, that was one way to do it; I'll show you the other way, which is the way I usually use.0274

We'll go to Image, Resize, Canvas Size, and what I'm going to do--normally, you could type in the width and height you want; I just want to increase this--maybe (let me look at the actual image size of the image)...you want to go about 10% of the image, so it's going to be about an inch and a half, top and bottom, right and left side.0281

Notice, it's 15 inches; so I'm guessing around an inch and a half.0302

Image, Resize, Canvas Size; by clicking the Relative box, all you do is type in...an inch and a half on each side is a total of 3 inches, so we type in 3 at the width, 3 at the height, and it will split that equally.0306

There we have an inch and a half all the way around our image.0323

We need a little more on the bottom: Image, Resize, Canvas Size once more; constrain it by clicking up so it will only go down, and click the Relative away.0326

I could do the Relative...no; you want to just add it to the height.0337

I want to go maybe three-quarters of an inch; let's just go seven-tenths of an inch; 18.7, click OK, and it just increased it.0343

We got pretty much the same thing that we did by using the Crop, but we know that these are exactly the same width--top and sides.0353

All right, now we have our canvas, and what that actually did is made these transparent, and I don't want that, so Option/Alt, Delete, Option/Alt, Delete again; and that will put the white.0363

We have all-white copies of our background; we're going to move these two to the very top.0381

The objective here, right now, is: we have our mat board; we now want to put the recessed shadow in; and this is the trick that I figured out how to do in here; there is a different, fairly easy way in Photoshop that does not work in Elements, but I have made it work for you.0387

What we're going to do is, first, knock these two blank layers out to the picture size; Command/Control, click the image, and we have the selection, and select one of them; delete; select the other one; delete.0404

You can see by the checkerboard you see there; we have knocked them out.0416

Now, we're going to take the lowermost image, and that is the one that is going to have the shadow on it, and it will block out by the top layer to be just fine.0420

We're OK; we're ready to go.0431

Now, we're going to go (let me zoom it up once or twice, so we can see the corners)...let's go to the Select, Refine Edge menu.0433

I have set the Refine Edge at green (by the way, to change the color on the overlay, Option/Alt, click the overlay thumbnail; where color indicates masked areas, you can select any color, and I'm going with a very high opacity here, because I want to show you as the shadow creates itself).0441

Now, this is where--remember feather; it softens the edge by the number of pixels you type in--outward and inward.0460

In this case, we're going to be utilizing the fact that feather goes inside, instead of outside; watch.0471

I'm going to take the feather; watch the edge (let me zoom it up one more time so you can actually see this); I'm going to feather it about 36; notice that the feather of the selection itself, not the masked area, came inwards; that is half of the selection.0479

What we're going to do is: we're going to shift the edge in just slightly, just a little bit right there.0497

OK, now we have our shadow area, and we need to apply it.0507

We'll click OK, and the selection, you will notice, is of the image; we want to select the mat board underneath and make the shadow come out from there.0511

Select Inverse, and now we have the mat board selected; let me show you what that looks like with our tool.0524

You can see that the mat board is selected, and it feathers out into the image a little bit, which is exactly what I want, because I want to fill with black in the selection, and that will be the soft edge.0533

Let's go back to selection, and let's zoom it up so you can see it.0549

What we're going to do now is: we're going to make a gradient, except it's going to be a little different.0554

It's going to be black on black--notice: black 100%, white--the foreground and background are both black, and I'm going to work this; if it's 100%, it's all black.0560

I could do this with fill, but it's the same--taking a gradient--a new trick on gradients; if the foreground and the background of the gradient are both the same, and you click and drag, you are just filling with that color.0570

So now, by clicking and dragging, I will fill with black at 20%.0587

Let's do Command/Control+H, and click and drag on the second layer.0592

We're beginning to see a little; click and drag a second time, and a third time, and even a fourth time, and there you go: now you can see that (let's go down here, where you can see it)...let's go one more time; there you go; even one more, we can do--there we go!0599

We have a really nice, recessed shadow; notice how that is coming out underneath the image.0618

What we really did is: there is the layer; we did nothing more than drop a gradient across the selection of that framework, and it was a soft edge and allowed it to come out, and when we turn on the one above it, it hides it and becomes a shadow.0625

An interesting trick--nobody is going to teach you that one.0643

There you go; now, we have recessed the image; let's take this layer and add texture to it.0646

Let's go to the Paint Bucket tool, and let's paint in a pattern--let me see what the textures are that we have here; I want a nice, uniform one...I think the one I'm going to try is Weave...4...200x200; I can't decide: this one or this one?0653

Let's try this one; we can find the other one as we go along if we want to try it.0681

We'll load the selection of the frame (Command/Control, click); that is where we're going to drop our pattern; we're going to use the Paint Bucket.0685

Now, we're going to drop it at about 100%, and the mode of blend is normal--we're just dropping the texture, painting in a pattern.0693

Drop it, and there is the texture; I don't like it--it has a lot of repetition--so let's go back and pick this one up and try that.0703

That, too, didn't work really, really well; let's go over to this one and try that one; I think the other one was a little bit better.0715

Let's take it back to maybe 80%, so that...there we go!0725

Now, you see, we have a texture on the mat board, and as we come up, that looks pretty good.0730

All right, we have a texture.0740

Now, all I want to do is tint that texture; so we're still on this layer, taking the Paint Bucket now, and we'll use Paint instead.0742

Traditionally, (Command/Control+H), when you are making a mat around a photo, if you want a (you either do it in gray or white...or black) colored mat, you want to pick a color out of the image that is not the main color.0752

If we did this in that reddish pink, it would detract from the image--it would just spread out in your eyes, going all over; but your eye goes down the hall to that painting, so what we want to do is highlight that layer, take our color picker tool, and pick maybe this nice little sand color.0768

There is the foreground color; go back up to the mat, and now we'll take the Paint Bucket, and we'll fill (which is the same thing we were doing with the Gradient--black on black--but we just have our color, foreground color); and let's put 20% down on the textured mat.0788

A little bit came in--not much yet; let's go a little more.0809

Let's try one more time.0812

That seems to be a little too much; I'll undo, and there we have a nice, gentle...just a little bit of color.0815

Let's put a Levels layer on that now; we'll pop the whole thing.0822

Adjustment layer for Levels, only for that mat board; let's brighten it up a little bit and snap the contrast...there!0828

That pulls--remember, exposure affects color; it helped the texturization a little bit, and now the color looks pretty good, too.0837

Look at that--now we have a colored, textured mat, recessed above the picture.0846

The only step left is to do our frame and put some signature on it.0852

Let's go to the background; let's go to Image, Resize, Canvas Size, and we're going to do Relative again, maybe (let's see; that is 18 inches) six-tenths of an inch; so let's go 1.2 inches relative--that is six-tenths on each side--and let's see what that looks like.0860

It came up; that is a reasonable-sized frame; it's rather narrow; let's go a little bit more.0884

Canvas Size; let's go with an inch and a half, 1.5, 1.5, click it, and there--that is nice; three-quarters of an inch all the way around.0890

We have increased the size of the overall image now.0902

We're going to duplicate that background layer, and again, move it up to the top.0907

We want to knock out from the mat board in; but the mat board, you notice, is just a frame; so I'll show you what we'll do.0914

Command/Control, click, and it loads that--that is the outer edge we want; we just need to fill in that selection.0923

So, go to the rectangular Marquee; Shift to add; click and drag, and make it one solid selection for that entire area, Select Inverse, and now we have just the frame up on top.0931

We're going to do the same thing--another knockout; we're going to invert it, and knock that out, and now we have the frame on the outside.0947

Let's invert the selection again, and we're going to fill it with black.0957

Make black the foreground color; Option/Alt, Delete, and we could actually stop right here.0961

But, we're going to take it a step further; let's go ahead and use an effect.0969

Let's go to our Layers Effects; and you have all sorts of options, as we went through before; we're going to go with Bevels.0975

Let's zoom this thing up so you can see it, right on the corner.0983

Let' see what happens; we have several choices--let's double-click the first one; that is kind of modernistic; I kind of like that, actually.0988

It's a conventional frame, but I like it.1000

We could have gone with a curved edge, but let's go ahead with this bevel; I like that.1002

But, I would like to have the bevel accentuated a little more, so now, we'll go back to the Layers; and notice the little Effects sign that came in next to that layer.1008

If we click on that--double-click--there are your style settings for a bevel.1016

Let's zoom it up again, and we can increase the size of the bevel--notice how it's coming up on us now.1022

Now, we have a really nice look; let's change the lighting angle a little bit--I want to try to get--there we go!1031

Get just about 45 degrees; click OK; zoom it down; and look what we have.1039

We have a really nice frame with beveled edge, and you can see the lighting on it.1047

Let's take the layers away, and so now we have the one I did before; I had a rounded one on; in this case, the one we just did here--we have a really nice textured mat; we have the recessed image; we have the frame.1052

The only thing we need now is a signature!1069

Let's bring the layers back up again; let's go down to the frame, which is...we can retitle this as Textured Mat, and title this as Frame; OK.1072

So, let's take the Textured Mat layer, and let's put a type layer right above that; let's just hit the type.1091

We have our Type tool; Helvetica Oblique--we'll just leave it where it is, and let's go ahead and zoom up, and once...1100

Remember, a layer comes in right above the layer that you are working on; so, I already have a Levels layer; I'm going to go above the Levels layer.1107

We just click, and there is our type layer.1118

Let's go to Photography, and By, and we'll accept that; and it's a little small, so let's go back to our Type tool, and let's up the type size to 20.1121

We need to do the same thing with our leading to separate them; that looks pretty decent.1138

Actually, we could go a little bit bigger; let's go to 27, and 27, and there we go--that looks pretty good!1145

Actually, let's move it over; let's take the Move tool, and I'm just going to use the arrow keys to just move it over a little and up a little bit, and that looks pretty good right there.1154

Now, all I need to do is add my signature, and I have made a (let's see if I can open it this way: File, Open Recent)...I actually signed my signature, a long time ago, and digitized it so I can always use it as either a brush or as something on any page, or an item, or whatever you want to do.1165

So, here it is; we're going to use the black layer; I'm going to go to Select, Load Selection, and I have two selections, and there is the one for the black: Command/Control+C to copy; Command/Control+W to close the window; and now, we'll zoom it down a little bit.1190

Command/Control+V to paste; it came in rather large, so let's just go ahead and readjust it down so it's about the right size and shape.1208

We'll accept that, and I'm going to drag that layer...1227

Now, see what happens; when you're trying to work with a type layer, it's very hard to grab the layer, so what I'm going to do is (that signature...it needs to see it)...what is happening is, the cursor is seeing below it.1231

So, we're going to move this also with the arrow keys; it's just very hard to grab a type layer when it's above an object layer.1249

This will just take a moment to get it over here.1259

This thing looks pretty cool, doesn't it?--we have a really nice frame; we have a mat that looks wonderful; I like the recess; we could actually even put a stroke on that edge, but let's not get too complex on this whole thing.1263

Moving the layer down, maybe I can grab it, now that it's down here; there we go.1275

I'll put that in place, and let's Command/Control+T, and let's make it just a little bit smaller, so it fits right there.1280

Accept it, and there you have the entire finished product!1295

Starting with the photo, adding the mat board, and, with the trick that I showed you of taking two frames for the mat; taking the bottom one; making a selection of the mat; and feathering it inward and filling it with black--let me duplicate that layer, so you can see exactly what we did with it.1304

That is what we did with that layer; that brought that little shadow look, which is blocked by the textured top.1328

Then, we added the increased canvas size again, used a layer effect for bevel--a particular choice of bevel from our Effects choices under Bevels, modified it to give ourselves a nice frame look, and then signed it.1335

There you have how to make a 3-D photo frame.1356

Just as a reminder of all the things that we used, that you all have known already: Canvas Size (a different way to do canvas size--we also did it with Crop this time, which shows you a second way to increase your canvas size--you crop outward, rather than inward); we used Selections as usual.1360

And, we used feather to get that nice, soft little shadow, if you will; Refine Edge dialog box to get the feather; Gradient tool to drop down the black; Paint Bucket for texture and color; we added text and a bevel, all of this in Adobe Photoshop Elements 11!1382

Hi, everybody--Mike Brown back with you one more time, with another lesson in Adobe Photoshop Elements 11 from Educator.com!0000

We're down to playing around with stuff and showing you some things that are left after learning all of your basic tools and techniques.0007

I'm just creating some cool stuff; some of it that can be done with one button; some that you have to think a little bit; and there are a lot of options for stuff that you can play with, and come up with your own creations by multiplying and putting all sorts of things together.0014

We're going to look at the Filter gallery; we'll look at Effects; and just kind of talk a little bit about manually doing stuff versus one click.0030

Let's start, right away, with the Filter gallery.0038

Let's take this image right here; I have duplicated the background, so that we at least can have the things apply directly to that.0043

Up to the Filter menu: now, here are all of the available filters, under this list.0051

You notice that we have used the High Pass filter many times; blur filters are over here; and all of our artistic brush strokes, distorts, all of these are listed here, but they are also under the Filter gallery.0058

Right now, you can see that we have one that came in right away: here is our image under the Texturization; here is one called Mosaic Tiles; and you can turn it on, and now we can see what we have.0077

We can adjust the tile size--larger or smaller--all sorts of things that you can do.0094

Here are all of the ones available, under here.0101

Again, in the list, we have these with the little...let's see what the Texturizer does here.0104

We have a canvas; let's scale it up a little; let's actually scale it down...see why I'm not getting any...oh, there is our canvas!0110

Scaling and relief; we don't want that much relief; there you go: there is one way to turn your image into a canvas.0119

Let's go from the top right on the lighting, change it a little bit, and let's take a look at that.0129

Let's click OK, and there is your image with a texturized layer.0135

Now, if that is too much, the reason that we duplicated it--take your opacity and just pull it back some, because the one below it doesn't have it; and there you have a canvas for your image--a picture on canvas--kind of cool.0142

Let's go ahead and delete that layer and duplicate a new one; let's go back to the Filter Gallery again and see what we have.0159

Let's try Craquelure, and see what that does, instead.0169

Wow--that is interesting; take the crack depth in; crack brightness, crack spacing...we need brightness to be higher...just giving you the idea of what these are, and that you can play with them as much as you want.0174

That is kind of interesting effect; I like that.0190

It's a little dark, but we could change the exposure.0193

Let's go up to Stylize; that one is only used in sketch--these are all in black and white.0198

We'll turn off the Craquelure right now, and let's go with (by the way, this is always going to work in your foreground color; so the foreground color is black right now) Bas Relief, and see what that does on this image.0204

Turn it on; there we have pretty much a 3-D effect; let's go with smoothness and see if that changes anything; I don't like that; I don't like it; how about top right lighting again, and see what happens here.0221

Now, we're going to show you an interesting thing we can do with this one.0239

Let's back it out; there go; OK.0244

Now, we have that one; let's go ahead and click OK; now we have a layer that has it; you see, it's the underlying one.0249

So, what we can do here: let's see how Blend modes work.0256

We try an overlay; wow, look at that; that has kind of made a slightly offset 3-D effect; let's go with soft light.0260

It offset it a little bit, so if we take our layer and we use the Move tool on that layer (I'm trying to center this pretty much where it was; there we go--that is a little bit better; we would have to crop a little bit); there is one way of a little 3-D effect, right there.0273

Let's can that layer and duplicate it again; let's go back and take a look at the gallery one more time.0308

You get the idea; this can create almost anything that you want--there is a notepaper effect right here; there is photocopy; that is interesting--I want to see what happens if we do the photocopy.0313

This one is kind of cool; all right, I'm going to snap the darkness and contrast as much as we possibly can; we're going to click OK, and let's do a blend on this one to see what happens.0327

Now, here is a trick: I'm going to something--again, these I'm playing with--I'm going to take my Magic Wand tool at a high tolerance, and click white.0343

It got almost everything; that is kind of cool.0359

So, what I want to do is: I'm going to delete the white.0362

Notice, if we turn it off, all we have left here is a black-and-white; so we turn it back on, and it's...0369

What I should have done...let me do that again; I'm going to do Select Similar, so that it gets every bit of the white in there; now I'm going to delete it, and all we have left are the black edges--look at that!0377

Now, if we blend this as an overlay, what it should do is give us a little bit of contrast.0393

That's kind of interesting; let's try darker--we're just playing with Blend modes here, to see what happens.0405

I kind of like the higher light; let's go with overlay.0411

Now, you see, the black edges are in there; but if we drop our opacity back a little bit (there we go), we kind of get this accentuated look.0417

Let's do that; turn it off; turn it on; we got a little bit of contrast out of it, and we can put that back in, even--oh, look at that--it snaps it up to make it kind of a semi-surrealistic image.0428

So, that is another type of look that you can do using the filter gallery.0441

Let's try one more: Command/Control+J; let's go to the Filter Gallery one last time, and there are distorts--let's add glass, just for the fun of it.0448

There you have glass, and the amount of distortion, smoothness...you can go up or down; brush strokes: artistic...all sorts of things you have--options here.0462

OK, so that gives you an idea of what the Filter Gallery does--just play with them, apply them; you can (let's see...ripple...)--one at a time, you can probably make multiple layers with them and play.0474

That is the Filter Gallery.0492

All right, so let's go to...let's see; we've taken a quick look--it really wasn't--it's very simple; you have a few sliders; you bring them in; but the key is, once you bring them in, play with your Blend modes.0494

In fact, I'm just going to go ahead and add a category here--Blend modes--we'll talk about those a little bit right on the fly, right here.0506

Here is a modification I need now to increase my canvas size; I'm going to go down--probably 3.6; take this; put it white; Option, Delete; and now, I have fixed the title up for us.0521

So now we have that; let's look at some Blend modes.0538

Let's take the Long Beach port; let's go with an artistic...let's go to the gallery again.0543

Now, you notice, artistic brush strokes--distort, sketch, stylize, and texture--are in here.0555

But, we also have brush strokes, noise, render, and other; some of the filters are not in the gallery--just mostly the artistic filters.0562

So, if we take--Graphic Pen is kind of cool--I like that; let's do the light/dark and get it up like that; I don't know what this is going to do; we'll click OK.0576

Now, Blend modes: you have all of this list, and it looks rather daunting; but we have one--you notice the lines separating the categories.0591

Darken--this is the first one in the category--darken, the dark color, are all blends that darken the image.0604

Lighten--they all lighten the image.0614

Overlay through Hard Mix all do various levels of contrast; so Darken, Lighten, Contrast...these do some weird things that I have never--wow!0618

How cool is that?--look at that right there; we used a Blend mode on a black-and-white layer; wow, it just shows you--there is a black-and-white layer that we added from (which filter was that that we used? I'm not even sure)...0630

Let's try the Exclusion; I don't like that as well, but the Difference looks pretty cool, and if we take the opacity level down...no, we want to leave that one alone.0646

There is a really interesting effect, right there; these two Blend modes are kind of weird; you can see that--they're just surrealistic.0658

Then, these are color: Hue Saturation, Color, and Luminosity--it's only how the image's color affects the other.0666

They're pretty simple; so you play with--if you like the Darken, play with the other Darkens.0672

That's all you need to do--mess with it.0677

We'll go right back to the normal on that one, and I was going to say, as you drop opacity, I want to see what overlay looks like on this one.0679

There we go--overlay is contrast, and right there is your contrast, too; if we go to 100%, and we back it out so it kind of blends in with the original image--look what we have done; that is kind of cool.0688

Look at that--we have these brush strokes in over the real image in a minor percentage, and we have taken this image and kind of made it into a very cool artistic, surrealistic realist-ing, using another filter and using our Blend modes.0704

Darkens, Lightens, Contrast, weird and different, and color--play with those; it gives you filters; it also gives you the Blend modes.0725

We have looked at the Filter Gallery (let's go on top here with the brushes); we looked at the Filter Gallery (oops, where are we--why am I doing this? size, 100%, normal red brush); we looked at Blend modes; now, let's take a look at some effects.0740

The effects are right next to the layers here; now, we have filters, and here are your filters here again--these are one-click filters.0764

Let's try (oops, I didn't want to try it on there) it on here, and see what happens.0773

Wow, what was that?--Neon Glow--I think the Neon Glow is also up in (let's see if I can find it--artistic...)--there it is, right here.0781

The same one, different choices--better choices: what you have are a series of filters here; let's see which ones they are, by name: Watercolors, under Painting...all of these are one click, so that you don't get the option of playing with it.0794

If you take any of these filters right here--all of your filters--if you take them to the Filter Gallery, you get a choice; if you take them under here, you get one click at whatever they give you.0809

Styles are the things you do--bevels, drop shadows, glass buttons, things for graphics.0823

Effects: here we have several--these are one-click.0829

Let's take this and make a vintage photo out of it, double-click, and there we have (let's see what we have for layers on this--yes)--that turned it into a rather strange-looking image.0834

That is kind of interesting, but here is where the blends come back, and the opacity: if we just take this and pull it back to a specific minimal blend, just so you get some sort of a blend of realism and surrealism--so you play with your blends; play with your opacities...0853

Let's go back to that one; I didn't really like that, so let's dump that out of there.0873

Dump that one; Command+J, go back to the Effects, Vintage Photo, Monotone Color.0878

Well, here is a one-click to turn it into, basically, sepia tones.0886

Remember, however, that we can do that with far more control by taking our layer and going to an adjustment layer with Hue Saturation, Colorize; and you can adjust the hue to whatever you want, and the amount of saturation.0894

That is the better way to do it, because you have 100% control over colorizing your image.0916

Let's go back again; so the Monotone colors--you understand what that is already; an Old Photo versus a Vintage Photo; let's take a look at this and see what it did.0923

It's calculating a little bit here; oh, it put a texture behind it and made it a high-contrast black-and-white.0937

We can do that same thing; here, you have no option, right?0945

So, what we'll do here with this layer is: we're going to take Enhance menu, Convert to Black-and-White, Vivid Landscape, Urban Snapshots, Newspaper...there we go, right there.0950

We can do that; we can go very quickly, and put in Levels, and snap the contrast, and brighten it up; so there you have your high contrast photo.0968

A texture--we'll just add a blank layer; we'll go to the Paint Bucket tool; we'll go to our textures and patterns; let's go with a nature pattern, just for the fun of it.0981

How about...I'm thinking...rock patterns; why not?0995

We'll take this one right here, and we're going to fill at 100%, and we'll just fill the layer up, and we'll do Enhance, Color, Hue Saturation, and change the hue to something more pleasing.1000

Change the Blend mode to overlay and drop the opacity back a little on this layer; drop the opacity back a little on this layer; and you come up with all sorts of effects, which emulate this kind of old-time effect all by itself.1018

So, I'm a purveyor of manual--now that is what we're talking about--manual versus the one-click methodology.1038

If you just want to do something very quickly and come up with something that's different--this is the Pencil Sketch; one click; done; but when we go back over here, it's done; you have no other options.1046

You can do these manually, in the Filter Gallery, as well.1061

We'll undo that back here; let's go up to Miscellaneous Effects--what do we have here?1064

There is your Craquelure again, right there; I can see that; this one here--Fluorescent Shock--hmm...what do we have?--single click--it's interesting.1071

But here, we did it on this layer; let's duplicate the layer and go back to that effect and do it again.1086

Go back to the layers; it flattened our image, so we have no option on dealing with this one.1099

What we could do is this--here is a way to deal with that: Command+A, Command, Copy; so we now have the image on the Clipboard.1105

Now, we can go to the Effects; double-click on that one, and it's (where did it...why didn't it do it?)--there it is.1114

Back to the layer: we have one--now we'll just paste.1132

We have our regular layer on the top; double-click the background layer to make it into a different layer; put that effect on top; drop our opacity down a little bit; and there you got a much more pleasing, dynamic image, by doing a manual methodology.1135

So, you can take the effects, make sure you have a second layer, go back, and blend it--kind of cool, huh?1154

All right, so the background--we'll duplicate that again; go back; you get the point here--just play through what is the frame methodology.1163

Faded Photos--that is our color fade again; oh, I was going to show you how to do a color fade.1172

It's really simple; if we double-click here, we get a fade from black to color, and you notice that it faded that one layer.1179

Well, we can do that a different way ourselves, by taking this layer, turning it into a black-and-white (we'll just pick the Scenic Landscape--that's fine); we have a black-and-white now.1189

We'll add a layer mask--it reveals all; take our Gradient tool; we want to preserve color on the bottom and black-and-white on the top--actually, I would like to go the other way.1202

We have the mask; let's just click and drag from the top to the bottom, and there is exactly the same effect.1216

All it was is a layer mask on the image.1224

Let's go the other way, and we'll let the sky be nice and the rest be black-and-white.1227

There you have another way to do the same, exact thing manually--just realizing that something as simple as that was nothing more than a gradient.1233

Let's show you one more; let's get rid of that; duplicate that one; go back there; and this one is a radial effect.1244

You notice, it's color in the inside and black in the outside; remember (here, we'll go back and get rid of that one; we'll use this one) our gradients?1254

We'll just do it radially; it's that simple.1264

We'll add a layer mask again; reveal all; and we'll click in the center, and go to the outside, and (oh, I know what I did wrong; I wanted to convert this first to a black-and-white--sorry--we'll take it, black-and-white) now with the layer mask, we'll click and drag, and there you have it in the center (or we can actually drag it further and get more of it).1267

Color fading to Black-and-White--that is exactly the same thing as these.1298

So, these are pretty simple, OK?1302

There you have layer effects; back to the title--we have looked at the effects, and some of them are really cool if you want to do just one-button stuff.1305

You have the option of taking the one-button or doing it manually.1317

It's very simple stuff; just remember--layer masks, and blends, and working with Blend modes to adjust them, and manual versus one-click.1323

That is your call; if you like the one-click effect, and it's good enough for you, try it.1332

If not, go back to manual; try to figure out what they did by looking at it, and re-create it yourself, so that you can work with multiple layers and blend them together to get better effects than just the one-click.1338

By the way, let's go quickly over to the Guided Edit, just to finish this off with.1353

I want to show you that there are more photo effects over here: the Old-Fashioned, low-key, lo-mo effect--this one is actually kind of cool.1360

Let's pull up this image right here (why is that so stretched?--interesting), and we'll go ahead and click on the lo-mo effect; click the button to give the lo-mo effect.1370

There you have a change; this is one that is kind of cool, that you might do; and let's go ahead and throw a vignette on it.1393

There you go--now there are a couple of one-button effects that I'm not sure how that was done; so that is really cool.1401

Let's go ahead and take it, and let's go back to the Expert menu and see what we have.1408

That just worked on that one layer alone with a one-button click.1417

So you can see that, with the Guided Edit, there are actually some very cool ones that are in here that are really usable.1420

Between the Filter Gallery and (let's go back to Expert) the Effects tab with all of these options you have here, and even over in the Guided Edit for one (I really like that one--don't you?), you have all sorts of options for creating cool images using filters and effects in Adobe Photoshop Elements 11!1430

Hi, everyone--Michael Brown back with you again; welcome back to Educator.com's Adobe Photoshop Elements 11 course!0000

You have learned all of the tools, techniques, and features, and ways to modify, adjust--selections, corrections, retouch, and manipulation--to make your images great, make composites...all sorts of options for that.0007

In these series of lessons, now, I'm showing you some creative ideas to stimulate your own personal artistic vision.0023

In Adobe Photoshop Elements (and Photoshop doesn't even have these), we have options to create items: prints--just standard printing, but photo books, greeting cards, photo calendars, collages, CD jackets, DVD jackets, and labels--kind of cool.0030

The Create menu appears in here, in the Editor, as well as in the Organizer.0047

What we're going to do here (in this lesson and the next lesson): it's a two-part lesson on creating a photo book.0055

Photo books are high-quality books that you can put on your coffee table; if you are a professional photographer or a graphic designer, you can actually make a portfolio that you can utilize to help you in your work.0063

These books are super quality, so it really helps you.0094

In this lesson, we're going to talk about preparing the images that you want for the book, creating a new album in Organizer, and arranging the images in the order that you want (you don't have to do it perfectly, but by arranging them in Organizer, when it loads them up in the template, it will be generally what you want and save you some time--you can actually modify it within, once you get them up there).0099

We're going to talk about photo book basic layout options--again, there are a series of templates that are available.0103

You get the one that is the closest to what you might like, and you can modify it and customize it as you go.0112

And, we'll take a look at the Photo Book workspace.0118

Let's go ahead and get started, and let's go over to the Organizer.0121

Now, the first thing that you want to do is to get all of the images that you want to put into the photo book, put them into a separate folder somewhere, and then you want to import them into the Organizer.0125

Now, here is the folder that contains all of the images that I have selected, that I might use for this photo book.0138

The reason I have made (and you're going to need to make) an album--same images--is that you can open these images in Editor, but for the photo book, if you want to arrange your images in an order that you want them to appear in the book, rather than the order that they are in the folder--if you click and drag an image, you get this "No" icon: you cannot adjust and rearrange the order of the images in a folder.0145

That is the physical image, in a folder, somewhere on your computer.0176

What you want to do is: you take the folder and create an album--and you remember how to do that in Organizer--the plus sign, New Album; highlight the images, drag them in, put them wherever you want to...0182

I have already created an album, last night, for this lesson, and here are the images now.0192

Remember, these are not the actual images; they are proxy thumbnails that are connected to the images in the folder in your computer.0197

Here they are, and I have already prearranged them pretty much in the order that I want.0205

Let's see if we can change or modify any of these.0211

For example, I might want to take this image here and use it as my headline image; it's a gorgeous image.0215

I can rearrange it simply by grabbing the image and dragging it.0226

Notice, the plus sign allows me to move images; now, it's the first image in line, and it's a lot like this one, so I'm going to change the order here, and these look pretty good.0230

This one, perhaps, I would move--no, I think I will leave it that way.0242

Scroll down; I'm looking in here; here is a composite that I may not want to be part of the photo book at all.0246

So, I can do this (and here is something--just a reminder about Organizer): I'll highlight the image, and I'll hit--on a Mac, Delete; on a PC, backspace.0255

The selected item will be deleted from the catalogue, and it said, "Also delete from the hard disk?"0267

I don't want to do that; when it says "Deleted from the catalog," that means from the Organizer; it will take it out of this album, as well as out of the folder, but it still resides in the computer.0273

I'm going to go ahead and click OK; that one disappeared.0290

I want to show you: down in the folder, you will not see that orange rear view of that Corvette, but it's still in...0293

And I'll show you: Import from Files and Folders, and we'll go down here, and let me show you--let me find the Corvette; there it is, right there; there is the thumbnail.0303

If I get the media, it comes back in.0314

Go back to the Organizer, and I'm going to put it...it's in that folder now; it should be...let's put it in the folder, right there.0318

We take a look; now we go down in the folder, and there it is, back in, but it does not reside in this album.0328

Just a reminder on how you delete images.0338

So now, we have the images generally organized, and what I'm going to do for the original example here is: I'm just going to select a few images.0341

I'll highlight the first; we'll do all of these landscape images, just for the fun of it--3, 5, 7, 9 images.0350

Now, you have your images highlighted right here in the Organizer; we won't go back to the Editor, because we don't want to open up the images that are in the Editor for Create.0358

The Create button here will open up these images; if I do it over in the Editor, only the images that are open in the Editor will come in.0368

So, we're here in the Organizer and have our images highlighted; go to the Create button; go to Photo Book; and it's going to think; here comes the photo book template page.0379

On the left side, we have sizes available; Print Locally means you're going to print it on your computer.0391

I really don't suggest this at all, because all of these albums, as you see going through--they're printed on both sides.0396

You're going to have to flush print pages that can be two-sided printing; then you'll have to figure out how to bind them yourself...believe me, unless you own a bindery, this is not what you want to do.0406

Here we have one of the outside vendors, Shutterfly, that has worked with Adobe, and they are represented right here in Photoshop Elements.0418

They have three sizes available: 8x8, 11x8, and 12x12; we'll go with the 11x8.0427

That is what it's going to look like; there is the binding quality--absolutely super job stuff.0433

It doesn't cost a lot of money.0439

You can save your photo book out as a particular type of file; that is what you do anyway; if you choose another vendor, you can send them the same file, so you don't necessarily have to work with Shutterfly--but they do a great job, and their prices are good.0440

All right, so we have selected the size; Auto Fill with Selected Images (that is the images that we have in the Organizer); automatically, they require a 20-page book if you're going to do it, so the number of pages autofills with a minimum of 20.0458

If you have more images than that, you can add pages to it as you go.0475

Or, to start with, just type in your own number.0480

So we have that: now we're going to pick a theme, and let's click here, and see--it shows you what this particular book is going to look like in its layout, and we have a whole series of themes here.0482

Now, for me personally, as a professional photographer, I would utilize the Monochrome: watch--it's clean; it's white or black with the images--that is the way a portfolio should look: perfectly clean for presentation.0495

But, in this case, just to show you how we can change things around, let's go with (what was the one for family--let's see how that looks--is it clean?--it has a bunch of stuff on it; let's try to find a designer...modern...see what that one looks like; designer casual...) Designer Modern; let's just try this one; it's OK.0511

We're going to go ahead and take that and click OK.0539

Now, it's going on to the Internet; you need to be connected to the Internet, because it's downloading this template from Shutterfly; and there you have it.0544

What you see right now is the title page, and you see all of the various pages that have been filled.0554

Notice, the first three pages are filled, and the remainder are blank templates that you can fill later.0560

All right, so what we're going to do first of all: this is the general layout; this is the workspace, now, for Photo Book.0567

Let's take a look at it: on the left side, we have a Zoom tool, Hand tool to move things around, the Move tool to move the specific layers, a Type tool--just your basics.0576

We are in the Basic mode right here, and we have Advanced mode, and it's showing the safe zone--notice the little blue lines--this is safe for printing.0586

You always want to have a little extra outside for trim, because it might shift ever so slightly.0598

So, when you are doing layouts and graphics, this is traditional that you have a safe zone; it's kind of nice to see it, but we can turn it off for the time being.0606

In fact, you can see that the frame for this particular layout--notice, the line runs through it--so this needs to be sized down anyway.0614

All right, so we'll leave that on; you also can go from page to page by hitting the arrows or clicking on the pages, so you have that option.0625

Zooming is zooming this in or out, or typing in the zoom that you want.0634

We also have the option of looking at pages, different layouts, and graphics; this is how we customize things.0641

You can order, save, and close; and I want to show you, in the Photo Tool Bin: right now, you see the collection of images that we have here, and it is showing the open files.0650

This one is open, and the title is open in Editor; if we click on the dropdown, you can show the files selected in the Organizer, and there are our images that are residing now in this particular layout, and we have more than this--but you see that we have the scrollbar, and there is another line for the images that are in there.0663

You can also have the option of opening up any of a number of other albums to add images to this particular photo book.0688

We have the option, here, to show a grid, and that is pretty much it: the Photo Bin, Tool Options, Undo/Redo, go back to Organizer, and print directly from here.0703

We have taken a look, now, at preparing your images; why you need to create an album so you can rearrange them; and how to rearrange your images.0715

We have looked at the basic layout options and, generally, the Photo Book workspace.0725

That wraps up Part 1 of this.0732

Come back in Part 2, and we will take and work the photo book around to get it the way you would like it and show you how to output it.0734

I'll see you back in Part 2!0742

Hi, everyone--Mike Brown, back with you once again with Part 2 of creating a photo book in Adobe Photoshop Elements 11!0000

In Part 1, we talked about how to get all of the images that you want to use for a photo book into a specific album, so that you can drag them around and arrange them in the general order that you want to have in the photo book, so that you save time.0008

Then, we went under the Create menu in the Organizer and dropped down to Photo Book, and we opened up the box that showed us our choice of themes and the sizing, and we created a basic photo book.0026

That is where we took it to, and stopped at the end of Part 1.0045

In Part 2 here, we're going to talk about adding, adjusting, and modifying images to your existent template; customizing the appearance of the photo book by modifying the page layouts, adding frames and graphics to make it your book, and then saving and printing.0049

Let's go ahead and take a look at one, here.0066

This is one that I had previously set up with more images in it, and we're going to play with that.0069

Here we have the basic layout; we're not happy with it--it's just what it is; we'll change that as we go.0078

We'll deal with it--leave the frames and the background and the type for the moment.0085

We'll just get the pictures the way we want them.0089

All right, there are all the 20 pages; you will notice I didn't have them all; if you want to fill up in a blank page, we'll go to the Photo Bin, and these are all selected items that I have, and if they're not in that particular group of selected images, you can also go to any other of the albums that are in here, and draw from that to add images.0092

But, right now, let's just take a couple of images here; let's drag and drop, and I have a photo that it adds.0118

Then, I'm going to put three more photos over here: here comes one--it doesn't matter the format; we'll show you in a minute what happens here; here is two, and here is three.0128

So, the images are in--now what do you do, when the images are in?0142

I'll show you--it's very simple: what you want to do is highlight the image by clicking on it; Control on a Mac/right-click on a PC, Fit Frame to Photo, and now it's quite large, so let's zoom it up and get that corner.0146

Size it down and move it into position; we still have to size it down further; it's maintaining its proportions; remember, we could rotate it if we choose, by the corners, but in this case...actually, I think I'll leave it a little off-kilter; that is kind of cool.0165

We have it the way we want it; now we just click Accept, and now it's sized with a new picture.0184

Now, we go over to this side, and let's start with this one right here; again, highlight it once; we'll do the Move tool--Control on a Mac/right-click on a PC, Fit Frame to Photo, and we come up with this.0190

We're going to resize it down just a little bit; I kind of like the tilt, but maybe a little more rotation right there; move it up into the corner; Accept.0205

That is the second picture; pretty easy, huh?0216

Click the third one; Control on a Mac/right-click on a PC, Fit Frame to Photo, make it smaller, right about there; make it a little bit smaller on that (oops, I didn't want to make it distorted, so we'll click away, click back, and get the corner).0219

Come up properly; there we go; all right, that is fine--this one is now a little bit too large; take that; rotate it a little bit; bring it down over here.0248

Put that in the middle...I'm just kind of designing this as I go; take this one in the back; Control on a Mac/right-click, Fit Frame to Photo; now it's a big one.0261

We'll zoom that down and bring it down where we want; rotate it around; make it smaller yet; put it over here; that works.0272

This one is too large.0286

Bring it down; rotate it even a little bit more; we're getting them--this just takes time, to play with it.0293

Rotate this a little bit.0301

Bring it down; now, one thing I would like to do is: this image (first, we want to move it over just a little bit)--I would like to have it on the top of all the other ones, so Control, click, Bring to Front--notice that it now resides on top.0307

We're going to take this one and move it in a little behind and up, like that; Control, Fit Frame--we realize that that is off.0327

Drop it down a little bit, and bring it to the front--so now it's on top.0339

Now, I have these three staggered the way I want them, and we're ready to go.0347

That is how you play with your images.0351

One click on the image allows you to size it, rotate it, and move it.0353

If we go back to the cover, let me show you something else; on this one, we're OK; title page--go to that.0359

We can not only resize the image--one click, resize that and move it and accept--if we double-click the image, you get this Zoom that allows you to zoom the image itself within the frame, so you can crop and change the dynamic.0367

Then, click and drag that; notice how much more dynamic that is.0389

We will accept that; OK, so that is how you play--one click to move around and resize the combination; double-click to work on the photo separately.0393

Now, we're going to go to the Type tool; this is our standard one right here.0405

I would like to change the color and font, so we'll highlight the Type tool, click on the type layer, and click and drag to highlight it.0412

The first thing I'm going to do is change the type to white, and then I'm going to go back, now that I have it that way, click and drag here, and I'm going to change it to Optima, the text that I particularly like.0420

There is Optima, and I'm going to make that oblique, and make it a little smaller--let's make it 25 points--and that looks pretty good.0438

Let's make it bold oblique, and click OK, and move it right over to the left side here.0450

I think the image needs to be moved just a little bit, maybe right to the edge; I didn't do a great job of positioning these layers.0460

OK, that is good; so that shows you how you move your images and how you work with your type.0469

Now, to replace an image, like I said, it's very simple: open the Photo Bin, find a different image that you might want to put in, and (let's see where one is...right here) just drag it up and move it on top.0477

Again, Control on a Mac/right-click on a PC to fit the frame to the photo, to make sure you have it.0498

We can make it a little bit larger; Accept; move this one down a little bit; make it just a little bit larger and overlap the two of them.0506

Take this image here, Control, click, Bring to Front, and there--we have replaced photos and readjusted our arrangement.0518

Now, that takes care of how you move the photos around--pretty simple stuff.0530

Now, we also have the layouts that you can actually replace a single page; let's go to another page that we haven't dealt with, here.0534

Here we go...this one.0548

To start with, we have an extra image in here--two images out of there; so I'm going to click and delete that, and that will remove it.0552

Then, I can move this one over and that one down; but I would like to change the layout of that, so here we have choices of layouts for different things: total layout of a page, one photo, three photos, and two photos.0561

Let's go with horizontal, side-by-side.0575

Click, drag, drop; and now it has rearranged that to give us that particular look.0581

So now, we can highlight a photo; Control, click; Fit Frame to Photo; move the photo down if we don't like exactly that layout; make it a little smaller.0590

You can change the layouts, and then you can do more modifications.0601

Fit Frame to Photo--I always want to do that; and move it up and over; move this one a little bit down; this one needs to be just a little smaller.0607

You can set it up with a 2-photo layout; then, you can modify it--so, you can change the page layouts.0617

Now, this one would be changed out, too; but let's go back to our pages and go to one that we liked.0624

Here we go with the action shots.0632

All right, so now, I want to change--we have moved the photos around, changed the layouts of the photos, and sized them up; we're good.0634

Now, we want to change this background and these frames--we don't like that.0643

We're going to go to the Graphics button: this is the basic Graphics that came with this particular template.0647

We're going to go to the Advanced mode, and that is going to open up all of the available graphics that we have to work on this particular image.0656

There is the Layers; I want to go to the Graphics.0666

Come on; here we go--look at this; now here is just backgrounds, and let's start with backgrounds.0671

I'm going to scroll down; I want to show you something, though, right now: notice, this background is just the background, with no little corner blue triangle.0678

If the corner shows, you need to be connected to the Internet.0687

If I wanted to change out for this background, for example, I'll click and drag it over; and what it's doing is: it's going to the Internet to find that asset and download it.0691

When it downloads it, it will replace it to a tabletop checkerboard; that is not what I really wanted, but that is what the blue triangle indicates.0704

Let's go down to a more apropos background for this particular book.0713

We'll just click and drag, and it's going to turn it into a nice, gray gradient.0722

We have all the backgrounds; and now, let's go to frames.0729

We're going to scroll through the remainder of the backgrounds; again, you just click one--let's go to another page.0732

Let's go back to our pages, and let's go over to this page here of the...it's changing the colors on the background in the other page.0739

We're up to this page now; let's go back to our graphics, and let's go find something that might be appropriate for pool players.0751

Let's see what we can find.0764

Just something a little different; oh, I kind of like that--that old plate; that looks kind of cool; click and drag that one in.0771

It's bringing that one down from the Internet, as well.0779

So, you can have different pages with different backgrounds.0782

Oh, I like that a lot; wow, that is very, very cool.0786

Now, we have our background; so let's go scrolling down past the backgrounds, into frames.0789

I'll do a couple of frames here.0795

Here is one for a 35 millimeter; I don't like that one; here is a 4x5--as you go over--4x5 transparency: click, drag, drop on the image--and it will change that frame into something that looks like film.0799

We'll just go ahead and do that to all three of these; and see how easy that was to change the background and change out the actual frame.0815

But maybe, we could find a frame that would be cooler; let's go with just this black edge--a simple, clean black edge.0826

It's not wide enough, so we'll go with this one; that is a little better.0837

We'll put the black edge over here; see how easy that is, to change those all out?0846

Let's go back to the pages, and go back to this particular page right here.0850

Let's go find some frames!0857

We're almost done with this thing; you get the idea--you can go play around.0860

Let's see what we have here.0863

This is a download asset; it looks nice--take that; take that; and now you can see that what we have done for this particular thing is put a little drop shadow and a black edge against a nice silver-plate background.0866

We'll go back to our pages, and now, when you finish up your book, let's just change the title page, and make that one look a lot better.0885

We're going to go back to the graphics, go down to...let's find that silver background; I kind of like that (I know I'm taking a little more time here, but you get the idea of what we're up to; where did it go?--there it is); bring this background in.0894

We'll go and change it; for the cover one, we'll do this and put a little wider frame on it.0916

There you have it--and now, we're going to have to go back to our type; let's go back to the basic mode; go back to our Type tool; highlight this; and we're going to change it to black; click OK; and there you have it.0926

Now, the last thing we're going to do is: we're going to save it out as--I'm going to do Modification 2, in the project format; this is the format that any of the outside vendors will print.0949

We'll save it, and it's saving all of the pages; it will take a moment; and then, all we have to do is get this thing printed.0964

You can either print it yourself--which I don't necessarily recommend, especially with something as complex as this one...0975

As soon as this finishes saving, which it should do just in a moment here--there are a lot of assets--it's done, so there you have it.0983

We have gone and (let's finish this up) added, adjusted, and modified the images.0995

You can do the image; you can rotate and size; you can take the individual image and zoom it up and down by double-clicking; customize the appearance by changing and modifying the page layouts, either using a new page layout that you drag in, or doing it yourself; adding frames and graphics and backgrounds; and saving and printing your photo book--a really cool thing.1001

I know this lesson ran a little long, but I wanted to make sure you understand how to do this.1024

It's fairly simple once you practice it--just adjusting images, getting them in, and creating yourself a really, really nice piece of art that people will really take a look at and be very, very impressed--all through Adobe Photoshop Elements 11!1029

Hi, everyone--Michael Brown back with you with another lesson in Adobe Photoshop Elements 11 from Educator.com!0000

We looked at how to make a very high-quality and impressive photo book that can be printed by an outside printer, such as Shutterfly, and give you a super-quality piece that you can use either as a gift, as a coffee-table book, or even better, as a promotional piece and your portfolio--because the quality of the book itself sets the stage for the quality of the images you have within--a beautiful way to do it.0006

Another way to represent yourself is to send out or give away calendars; so, in this lesson, I'm going to show you how to create a photo calendar--also a very nice gift.0036

We're going to go over organizing your images for the calendar, calendar layout options, the Calendar workspace where you are actually going to set this up, adjusting and modifying images, and customizing the calendar's appearance.0047

This is virtually the same procedure as doing the photo book, so if you have already gone over the photo book lessons, it is still worthwhile doing this lesson, because it's a review of some of the techniques, and it burns it into your memory and makes it much easier.0061

Besides, a calendar is very cool.0077

Let's go and take a look at how to create a photo calendar!0079

Let's go to the Organizer, and here is my folder for calendar pictures; I have 14 pictures that are in here, and if you remember, in the folders, you cannot rearrange the order of the images--you would have to have them set up already in a proper order.0083

These I would like to rearrange; so what we need to do is take these images and turn it into an album, where you can shift things around.0101

There are two ways to do this: in this case, we have all of the images we want, so we're going to select all of them.0109

You can click on the thumbnail and select the first one, Shift, click, and select all of the other ones; and now, they are all selected.0118

Now, all you have to do is click on the + icon for the album, and go to New Album, and you will see that (since they were selected prior to doing that) they are already in the album.0127

You title it, put a category, and click OK; you see, I have one all up, so we can do cancel.0139

Instead, we'll show you the other way: if you don't select them in advance, do the + sign, New Album, and now it says "Drag and Drop Items to the Bin."0145

So, you'll highlight the first one; Shift, click to highlight them all; go into a thumbnail; click and drag the group; and now, you have them in.0154

Either do it in advance or do it after.0163

Again, name them, select a category, and click OK.0165

I have, at this moment, an album with 12 images in here; I want to add one more image.0169

There is an easy way to do this: go to your folder with the calendar pictures, and this particular item here--the vertical shot of the California lighthouse--I want to add it, so (you don't have to go through the importing process--you already have it in the folder) just grab it and drag it over until the bar highlights the Calendar Photos album.0179

Release, and now we will go to that photo album, and look: it came in at the tail end.0201

All right, we need to do a little bit of adjustment here.0207

Now, the very first photo will be the title page--the opener of the calendar--so I'm going to leave that one there.0211

January is right here, and it's snowy; February, March, April, May, June, July--I would like to put this one in about May or June; the flowers are out, so we'll go with May.0217

April; January, February, March, April; May flowers; we'll drag it over, and you notice that, in the album, we can reposition all of our images.0228

Let's see if everything else looks pretty good; yes, we're fine.0237

OK, so now we have our album ready to go with the items we need for the calendar.0241

We're going to select them in advance; click the first one; Shift, click the other ones; we have them all selected.0248

Go to the Create button; we'll go down to Photo Calendar.0256

It's going to come up with the Calendar Layout page: we get to pick the starting month and year--in this case, I'm going to go ahead and put January 2014; we're ready to go.0261

You have one option, Print Locally: these can be printed on your desktop printer--how cool is that?0273

You get two-sided paper, and you can actually print your own calendar--or you could go to an outside printer, such as Shutterfly, and have them do it, as well--a little more costly; this will work quite well.0279

Here we have our themes--pretty much the same themes--almost identical to what you saw in the photo book.0293

We're going to go ahead with this Designer Modern: I'll highlight it; you get a quick preview of what it's going to look like.0300

It's a single image per page, and we like that; we can change the layout, no problem, as we go along.0307

All calendars can be printed on your printer.0314

Autofill With Selected Images--that is why I selected them in the album first; we'll click OK, and it's going to think for a minute here; it has 14 images to load up inside that particular layout.0316

There it is; it's already done.0331

Now, it's started; you will notice that this image is magnified too big, but that is not a problem; it came in with a bounding box, and I think that the frame is too close to the upper edge; so I'm going to grab a corner, reduce the size of the image and frame together (notice, they are both moving in tandem), click inside of it, and I'm just going to reposition that right to here.0333

That looks pretty good; and I will click the Accept.0359

Now, I want to make the picture reduce the size to get inside there; so I'm going to click with the Move tool outside of the bounding box (to make it go away), then double-click inside, and up comes this Zoom icon.0363

Notice, the bounding box is now outside the actual picture size; so I can take it, and I can zoom it down until it fits, and I'll click Accept with that.0379

We can also, now, reposition again; if I double-click one more time, by the way, you can reposition the image.0392

Notice, I can move it over this way; I think I'm going to move it just a little to the right, so that I pick up...not too much; I need those clouds.0399

OK, that looks...I can come down a little bit...right there.0412

Now that I have the image where I want, I'll just click outside of the bounding box...click Enter--excuse me; and there we go!0416

We now have our image in a frame on a background.0424

We're not happy with the background or the frame; no problem.0426

We're going to deal with the title: let's go to the Type tool, and I'm going to pick Helvetica type--a nice, clean typeface.0430

I'm going to do bold oblique, which is kind of interesting, and that will be fine; close the Tool Options; click to highlight the text box; drag to highlight the initial type; and "MB Productions 2014 Calendar."0441

MB Productions...we'll click Accept, but it didn't give me the typeface that I wanted, so I'm going to go with the Type again, move this up so I can see it, highlight the type, and click and drag, and change Myriad Pro...0466

It didn't take the first time; we'll try it again--Helvetica Bold Oblique; we got it.0490

Click Accept, and we have that; click outside.0497

Now, you see the other text box--you can either create one or you get one; we'll just highlight it, and hit the Delete (or Backspace on a PC); delete the selected layer; yes.0500

Now, if I wanted more text and there wasn't one, you just click and type, and you have a new text box.0511

OK, so that is how we do the text.0518

I want to rearrange that positioning; let's just go ahead and center it; so I'm going to take the Move tool, click, and click inside the bounding box, and reposition the title, and there we go.0520

Now, we have this page.0536

Now, with the calendar as well as the photo book, I suggest: as we go along, save your work, because you don't want to be going down here 5 or 6 pages and have something go wrong--a crash, a power failure, or something.0537

We'll go to the File menu; we'll go to Save; and when you try to save the first time, you get the Save as dialog box.0551

You notice that the format is automatically Photo Project format; this will save all of the work that you have so you can reopen it and adjust it if you want--or send it to a printer, and they can deal with it.0560

We'll call it MB Productions 2014 Calendar, and we'll save it on the Desktop, .pse (Photo Project format); we're good.0573

We'll go ahead and include it in the Organizer, so we can open it from there, and click Save.0587

Now, from here on (it will take a little while, because it has to save all of the pages)--as you resave, if you use (remember what I told you about Save and Save as)--if you do Command/Control on a PC, S, to save, after the first time (the Save as dialog box) it will automatically save over itself.0593

Once again, as always, I would recommend highly that you go to the File menu and use the Save as dialog box, so it can remind you of everything.0617

This thing is still thinking; it's just taking a couple of moments here; it should be done pretty soon...0626

Now, we have saved the work that we have, so we have a basic calendar in case something happens.0630

Now, we're going to move on.0636

We have our title page--that is right over here; I want to move on down; most of the other pages are pretty similar.0637

Let's just review one time: we're going to take this particular page, and it came in with a bounding box on both the frame and the image; I'm going to make it a little smaller and re-center it, just like that; it looks pretty good; click Accept.0645

I also want to change the size on the photo; click outside and double-click inside, and you will get the Zoom, and now we're going to zoom it down until that image is about the correct size.0664

Let's move it around and see if it's any better to the right or to the left.0679

I kind of like it over here; just pretty much like that looks pretty good.0684

We'll click Accept, and you're going to move ahead; I'll just do Command/Control, S, because I know that...no, I won't.0691

I have told you not to do that; I won't violate my own teaching.0700

Go to the File menu, Save as; there it is; Save, Replace, and it should save fairly quickly, because it only had to modify that one part.0704

See, I caught myself; always use the Save as, just in case.0717

All right, click outside; let's do spacebar, Hand tool; check that out; it is January--we're good.0722

I'm going to go ahead and (we're going to do this, obviously, for each one, but) I'm going to move down to the May page, and we'll have that come up.0728

This was a vertical image, so what we want to do here is: let's first look at our options for layouts and see if we have a single page...there is one photo vertical, right there; let's see what else we have.0737

Let's try that; we're just going to do one portrait; I'll double-click it, and it will change that layout page.0754

Now, you see that what happened is it rotated the image, so what we're going to do is Control/right-click on a PC, and we're going to rotate 90 degrees to the left, and there it is.0762

Now, let's go ahead and zoom it up, bring it down, click inside, and we'll drag the entirety over.0777

I want to make it a little bit smaller overall, because it's still just a little bit large.0785

That looks pretty good; should I offset it?--no, I think I'll keep it in this case; we'll just make this a highly symmetrical calendar.0791

It looks pretty good; we'll click Accept; I'm going to click outside, and then double-click inside again, and I want to make sure that I get as much of this image in there...0799

You notice, we're going to zoom it in until it fits.0810

There we go--that looks pretty good; we'll accept that.0816

Now, that shows you how we fix an image that was vertical.0820

Remember, what we did is: we did Control on a Mac/right-click on a PC; rotated to the left, and that rotated our image; then we went ahead and resized it down by double-clicking on the image; and you get the zoom and zoom it to where you want it.0826

I'm going to going to do (I almost saved it again) File, Save as; I'm going to save it the same; include it; Project format; Save; Replace.0844

This will only take a moment--it was a very small change.0855

There we go--so now, that shows you how we deal with the layouts.0857

Let's change the graphics on this thing: let's go back to the pages and move up to the top.0862

By the way, I could have just gone backwards and forwards with the arrow keys from page to page; and of course, I can zoom up and down here; I prefer the Command/Control +/-.0869

We have Advanced mode, as well, which gives you all of your Toolbox and a limited selection of other items; I'll show you that in a moment.0881

Basically, it looks the same.0890

Go back to the Basic mode; all right, we are on the title page now.0892

I would like to change out the frame and the background.0896

Let's take a look at what we have on Options on graphics.0900

Now, we're in the Basic mode; that is why you see the Advanced mode button.0906

Notice, we only have three choices for backgrounds, one choice for frames, and just a few graphics.0910

By the way, for graphics, if you want to embellish, click and drag, and it comes over in there; with the bounding box, you can make it smaller; move it over in the corner; rotate it if you wish; and then you have some little swooshy item in there.0916

As a graphic...I'll just leave it there--why not...oh, I don't like it.0936

I'm going to highlight it and click Delete; do I want to delete it? Yes, I do.0940

OK, what I would like to do is change out the frame and the background; but we don't have a lot of options.0945

So now, we'll go to the Advanced mode.0950

What this is going to give you is the access in the Graphics panel to every graphic that can be included from Photoshop Elements itself.0954

It's loading them up right now.0965

It's taking a little while to load them--there are a lot of them; there we go.0970

There are the pages, and we'll click the graphics; there we go.0973

If you remember from the photo book, we have all sorts of backgrounds; we have all sorts of (get down to it) frame options, and also the graphic embellishments that are down here below--all sorts of things you can do.0977

We're going to start by changing the background (let's scroll it down); I want to make this a completely clean calendar.0993

There is a white background, so I'm just going to double-click it, and it should load it; or I can click and drag it; there it goes.1000

Oh, that is white with little circles--I didn't want that; I couldn't see the circles; let's just go down to find a nice, neutral color.1012

There is a blue gradient, the gray gradient...I wonder what that looks like.1022

Double-click, and it loads it.1031

Remember, if you see a blue triangle in the corner, that asset does not reside within the computer; you need to be connected to the Internet, and it will go out and find the asset.1034

Let's just do that with this gradient blue; I'll double-click; it's downloading it from the Internet, and it put it in there.1046

That's a little bit obtuse; let's go with a gray again.1054

OK, I'll just leave it at that for now; and now, we need to do the frame, so let's go on down from the backgrounds into the frames.1060

There we go: I'm going to take a black frame about this size right here.1070

Double-click, and it should...there it goes; and it changed the frame.1075

That is interesting; that is very interesting; we'll delete that.1087

Ah, I know what I did wrong; I made a mistake.1097

It loaded the frame, but it didn't know where to load it; this is one that you may have happen to you.1100

What you want to do with the Move tool is highlight the frame, and now, if you double-click the (where is the black frame again?--there they are) basic black...double-click, and now...1103

See what happened there (and this is a good thing I made that mistake): if you don't highlight the framed photo, it will add a separate layer that doesn't replace, but just adds another frame.1122

So, you saw what we did; I'm going to undo that; we go in with the Move tool and highlight the frame-photo combination (see the bounding box).1133

Now, double-click the frame that you want, and in it comes (we'll just click away), and there: we replaced the background; we replaced the frame--it looks pretty good!1142

All right, so that is how you do the graphics; I'm going to do one more time File, Save as, and the same thing: .pse, same place, same format, include in the Organizer, save, replace; and it shouldn't take too long.1152

There we go; it has a couple of saves; there we are.1169

All right, so let's go to the title page.1174

Let's take a look at what we have done.1181

I showed you how to organize your images by making an album and rearranging the pictures in the album the way you want it.1185

The Calendar layout options: pick something that is OK, and it's better to go into the Advanced mode for the layout options--there are more choices.1193

Remember, you can always change it later.1205

The Calendar workspace: you notice that we worked on how you adjust the images and how you adjust the frame-image combination--just click once on the frame; then you can adjust the entire thing.1207

Let's go back to the calendar itself.1220

Remember, if I click on the frame, I can now drag everything the way I want it.1224

If I click outside the frame, and then double-click inside on the image, I get the Zoom box, so that I can adjust the image.1229

Let's go back to the title page again.1241

That is how you work in the Calendar workspace.1246

Adjusting and modifying the images--I just showed you how you modify the frame with the single bounding box; double-click inside to work the image.1249

Customizing the calendar appearance--let's go back to the calendar again.1258

Remember, if you go to your graphics, you can change layouts, as well; remember, we did that--we took our page (let's find the page that has that on there).1262

Back to the pages; scroll down; there it is, right there; we'll load that up.1271

Remember, this was a big image squished in a horizontal frame, so what we did is: we went to the layouts, found a single frame, and readjusted it; and you can rotate your image by holding down the Control on a Mac/right-click on a PC (it's hard for me to say), and rotate right or left.1275

Now, you have the image oriented; double-click on the image again; zoom it to size; click outside; and now, you have it the way you want it.1296

Let's go back again to the title (there we are), and customizing the calendar appearance--the final thing that we did.1303

We'll go back one more time; and remember, use the Advanced mode; go to the graphics; you will see that you have a gazillion options.1318

That is actually the Basic--we're in the Basic; you see that--there is just a little bit.1327

When you see the Advanced mode button, you need to click to go to it.1332

Now, still working on the layers: click the Graphics button, and there are all of those gazillion choices for backgrounds, for frames, and for embellishments.1336

Let's say we wanted to...let's find an embellishment for this page, just to close this off with.1348

What do we have that looks interesting?--Not a palm tree at the ocean side!1354

Maybe just a little graphic...oh, I like this; this is cool.1361

What is that, a gold bush? Fine.1369

Let's--I'll get crazy; we'll do a Christmas gift: so we double-click the Christmas gift, and in it comes; and I can make it larger, and we can put it over in the corner; click OK.1372

Now...I know it looks really bizarre; it is.1388

We click OK, and now we have a little Christmas gift ornament in the side.1394

So, there, with that funny little finish, we have all that you need to know about creating a photo calendar in Adobe Photoshop Elements 11!1401

Hi, everybody--Mike Brown back with you again, with another lesson in Adobe Photoshop Elements 11 from Educator.com!0000

In this lesson, we're going to look at a very cool feature in Photoshop Elements, and it's called the Photomerge feature.0006

It is under the Enhance dropdown menu at the bottom.0014

You have different types of Photomerge.0017

The most popular Photomerge is panoramas, and then we have group shots and scene cleaners, which are the same but opposite.0019

If you take a scene, and it has an intruding object--say it's a monument somewhere and somebody walks into the scene, and then you take another one, and there is somebody over here, and then you take a third one, and there is still somebody in the wrong place--you have people in different spots, but you can't get the perfect shot--you can take the group shot and tell the computer which objects to add or subtract from the scene to make the final scene perfect.0027

The scene cleaner...group shot--you are adding pieces; scene cleaner--predominantly you are taking them away; but basically the same.0058

Then, we have panoramas, which is an extremely popular method of shooting these days, where you shoot a sequence of shots that takes in a wider range than you can actually get with your camera.0065

We stitch them together in the computer to make a singular, beautiful panorama.0076

Then, the fourth one is shooting exactly the same shot for exposure; if you're shooting on a bright day, and you have bright, bright highlights and dark, dark shadows and mid-tones, you shoot a range of exposures: underexposed, right on, and overexposed, so that you have good exposures for all three: highlights, mid-tones, and shadows.0080

Each one of those is going to be right for one part, but not for all.0103

In Photomerge, you put the three of them together, and it merges them by exposure, rather than by object or content.0107

Style Match is a really fun feature that we will close this lesson out with, showing you how you can play with it and come up with some creative ways of making your own cool looks very easily.0115

Let's talk, first, about panoramas, which are really an extremely popular thing.0126

First of all, I want to talk to you about four tips to make sure you get your images correct for the program to align and blend, or "stitch," as we call it.0133

Now, the first thing: here is a camera; hold the camera steady without any change of tilt or rotation relative to the horizon for each shot.0148

You are shooting a series of photos that run in an arc; you want to make sure that the camera stays level throughout that arc--you don't want to have it tilted like you see here, and then the next shot the other way, and the third shot...so that they are kind of haphazard.0159

You want to make sure that the arc is smooth.0176

Ideally, you would put your camera right on a tripod, and it would stay perfectly level, and it would do nothing but rotate around itself, and all shots would line up perfectly.0179

If you don't have that option, I will show you a couple of ways to do it in just a moment.0190

What you want to do, first of all, is hold that camera steady.0198

The second one is: you want to overlap each image in the sequence by between 20 and 50 percent.0204

This is so that the computer has enough points of reference from each overlapping photo that it is easily able to align and stitch it.0212

Let me show you a couple of examples, just to talk to you about exactly what I'm referring to.0222

Here, I'll just open these two images, right here.0232

These are two of a series of six in the panorama.0237

This is the very center image, with this sailboat, and if you will notice, at the right side of this image, just past this post, is the tail end of this blue boat, which you see right over here.0240

You can also see this boat; you can see objects; you can see just the shadow and the edge of the pillar; notice, if I move this over, there is the overlap, right there--and you see how much I gave it so that the computer can see this reference point, it can see the end of this boat, it can see this blue boat back in here, it can see the stack--it has all sorts of points from a good amount of overlap--probably about one-third of the image, which is somewhere in between the 20 and 50.0253

That is the way you want to do it--overlap your images so that you get the sequence, and it can all be overlaid easily.0286

Use the same exposure for each image, if you can; if you are shooting on auto, that is just the way it's going to have to go.0294

Ideally, you don't want to change your exposure, so that when the images overlap, not only do the objects overlap for alignment--the exposures blend easily, rather than having a dark image and a light image overlap, and having the computer try to do that.0301

Ideally, you put it on manual; otherwise, do the best you can--use the same exposure.0318

Now, if you go into Camera Raw and apply any initial corrections to your sequence of images, make sure that you apply the exact same correction to every image, so that they will smoothly blend when they are stitched by the computer.0325

You don't want to apply sharpening to one and not to another; color change to one and not...because again, when they overlap, they will be different.0342

You want them to be the same, so if you have six images and do a little sharpening and a little vibrance, make sure you put exactly the same amount in all six.0350

Those four will give you your best images for the computer.0359

Now, let me show you how to shoot the images properly and the correct way.0363

Let's start with the incorrect way, to actually be the right way to do this.0371

Let's put these back in tabs and go with the incorrect way of shooting.0377

Today's digital cameras, most of them, don't have a viewfinder.0382

My camera happens to have a viewfinder, so I can actually shoot it right up on my eye, and do my rotation for the panorama right around the camera, basically.0386

Most cameras don't; they have the digital screen; and the way you would normally hold that camera to shoot is out at arm's length, and you would do this: click, click, click, click, click, click.0397

What you are doing (if you see in the illustration right here) is, you are now (let me put a new layer in at the top) rotating the camera around the photographer, at a distance.0410

What happens is: it's going to cause a little perspective shift, because the camera is not shooting in the same spot and rotating--it's actually shifting its spot.0431

Ideally, you want to rotate the camera right around its own center, just like that.0442

If you don't have a regular viewfinder, here is how you can do it.0451

Hold the camera so that you are close enough that you can actually (let's see...there it goes) see the screen and compose the scene; and then what you want to do is rotate the camera, right in your hands, around its center, and you rotate your eyes and your body behind the camera, so that you are actually rotating it, just like on a tripod; but you are changing your point of view, so that, again, it gives the best possible perspective.0455

That is the correct way to shoot for a panorama.0490

OK, so let's go ahead and deal with a panorama.0494

I'm going to go ahead and even close the title out for the moment, and I'm going to go to the Enhance menu, to Photomerge and Panorama.0499

Up will come this box, and you have an option (if you see on the left)--the Auto; what it actually is choosing between is Perspective and Cylindrical.0507

It will pick the one that it considers the best of those two--one or the other will usually give you your best result.0518

The third option is Spherical; then Collage; Reposition; and the Interactive Layout lets you do it yourself--I wouldn't even bother with that one.0525

Reposition, Collage, Spherical, Cylindrical, or Perspective--now, let me explain them really quickly.0534

Perspective--the central image in the series is considered correct perspective.0541

Each image, as it goes against the central image--the computer will adjust the perspective accordingly to try to match the center.0547

You end up with you see here--a little bowtie effect--because it stretches that perspective, because as you move the camera, the outer edges are getting more wide angles, so they get stretched.0556

Cylindrical is assuming that the scene is wrapped on the inside of a cylinder--that the cylinder is straight up and down, but it curves 360 degrees around you--so what the computer tries to do is take all 6 of those images and just basically unroll the cylinder and lay it down flat, so that they go across a flat surface, now, just having been unwrapped.0570

The vertical doesn't change; you just get a little wide-angle distortion as it opens it up.0598

That usually gives the best panoramic look.0603

Spherical is similar to the cylindrical, except, instead of the straight edges of a cylinder, it's assuming a sphere.0608

So, not only does it unroll the cylinder--it also will unroll the tops, so you will get a little perspective change at the top and bottom, as well.0615

But still, it's pretty similar.0624

Collage takes all of your images and adjusts them only--without unwrapping, it adjusts them vertically or horizontally to give the best alignment it can.0626

So, it's exactly the shot you can see, with very little adjustment, to give it the flattest appearance it can.0639

Repositioning is the old days of taking images and just making them fit, without any adjustments, on a surface--so you get them kind of laid out and scattered around, where they overlap to give the best...it gives that odd feel; it's not a perfect panorama.0646

In truth of fact, the Perspective, Cylindrical, and Spherical are the best; so all you have to do--you could have open files and you could add those immediately, or we could go ahead and browse.0666

Let's just go ahead and pick my six images out: I'll pick the first one, Command on a Mac/Control on a PC, click the other series (I have a series of six); and there they are.0678

I click Open, and they show up in here; and you have the option of blending the images together--obviously, we want to do that.0691

You can also check Vignette Removal; if you were shooting with a very wide-angle lens, you get those kind of dark appearances around the edge; that will correct that.0698

You can do Geometric Distortion, Correction, as well; now, that will take a little longer, because the mathematics make it calculate a little bit longer.0708

That is all you have to do; you can leave it on Auto or you can select whichever of the ones you want.0715

I would suggest, the first time you do this--do two or three of them back-to-back, so you can compare them.0722

Now, I'm not going to let this calculate; I'm going to show you the final results by opening up a couple of them, and show you what you get.0728

I'm going to open up, first, the two options of the automatic; I'll do the same one with the Perspective, and I also did it with a Cylinder effect.0739

So, I'm going to open both of those up...and there is the Cylinder; you can see how it unrolled the cylinder--that is those little kind of scalloped edges; and here is the Perspective, and you can see, in this case--the Perspective didn't work really well, because it was a very wide scene.0750

Perspective works well when you are in like a closed room, and the distances are not changing too much, because it takes this central image (let me take my Brush tool and highlight a layer, right in the center)...0767

What you are doing is: you are actually...there is the central image, right there--the best I possibly can; and as the next image is tacked on, it adjusts the perspective to try to match that, which means it's stretching it, because it got more wide-angle from the distance.0781

As you see, the further to the right we get, we get this stretch; so this one doesn't look very real at all, whereas the Cylindrical one looks odd, as well, but this is a full 180 perspective.0797

See the sidewalk on the left and the sidewalk on the right?--that was my left and my right; now, they're going back into the image, so everything has been bowed into what you see is a pretty much traditional panorama.0812

Let's go ahead and zoom that thing up; we're going to put it right into the tabs, so you can see it from edge to edge.0830

Notice, there it is going out far left, and notice how beautifully (oops, I didn't mean to do that) everything stitched together.0836

It just added that bowed feel to it, as though it was an unwrapped cylinder.0848

Remember, we talked about those two--the center and the left one here, with the boat--beautiful fit!0853

Let's zoom it up, and you can see--there is no evidence at all, anywhere on here, of the stitching.0859

It does a great job.0867

There is the Cylindrical method; let me open up for you, very quickly, the Spherical and the Reposition.0869

Let's go...there is the Spherical, and here is a collage--let's do the Collage, as well.0882

We're going to open up those two, and there you can see: the Spherical got this kind of an arc look to it, here, rather than the straight horizon.0888

That is because it's considering that it is in a sphere, and the top and bottom needed to be rolled out, as well, which just added a slight bowed horizon to it.0901

The Cylindrical one was the same look, but a lot straighter on the horizon.0912

That is what kind of happens with that.0917

Now, this is the Collage; so what it did (and you can see the edges of the images): they haven't been unrolled--they are just overlapped.0919

What happens here, with the overlap--notice that the masks on the boats begin to curve, because the computer did not correct for anything; it just put them together.0928

It looks kind of cool, and you also get, if you'll notice, right across the front here where the dock was curved--with the Cylindrical method, the individual images have straight edges, because it did not do any correction in that respect.0942

Kind of interesting--but I still think the Cylindrical is the best, so there.0959

Let's go back and open up our title.0963

There we have how to make panoramas.0969

Let's go ahead back to the check marks: we have done the panoramas, so now, let's talk about the group shot.0975

Now, the scene cleaner--I'm not going to do the scene cleaner; it's the same thing, exactly the opposite; the methodology is the same.0980

So, what I'm going to do now is go ahead and open up four more images.0986

Here they are: 1, 2, 3, 4--we're going to go ahead and open those four, and what I want to show you (there should be four of them here; there are only three--where is the fourth image?--A, B, C--I guess I didn't get D).0995

Consolidate to tabs A, B, and C; we need to open up the fourth one, which was D; open that--all right.1015

Consolidate that to tabs, and what you will see is: this is my friend Greg's house; he is standing over here in this shot; I have the same shot here--he is now standing over here.1025

I have the same shot here--he is up on the porch, and I have another one where he is (C and D should be different--there we go)...four different places, four different images.1038

We're going to put them together and make a fun shot.1048

Enhance, Photomerge, Group Shot; in the Photo Bin, open them all; we have four images in the Photo Bin, and it's working right now.1051

It's aligning the layers, and then you'll see how we play with this; this is kind of fun.1065

All right, here we go: I want to drag one of the photos that is going to be your base image; so I'll just take this one right here and drag it over.1071

This is the one that it's working on.1081

So now, I have the Pencil and the Eraser tool; this is the difference between Group, where you want to add, or Scene Cleaner, where you want to erase.1084

In this case, we just want to add objects, so I'm going to use the Pencil tool, and what I'm going to do is just make a rough selection around my friend, because he is the object that I want to add over here in the doorway.1092

Now we'll go to a different shot; and now, I want to add him over here, so I'll just make another selection here.1107

In the fourth one, he is way over on the outside, and I want to put him in there; so now, we have told the computer this was (and notice that, each time I do this, he pops up in the image)...1117

Now, we have all of them, and I want to make the fourth one, right in there; those are the four objects, and now you see the final over in here; there is the same shot, except Greg is in four shots.1131

We made a group; you can do this with different people, different objects, whatever--as long as you shoot the same scene with different stuff in it.1144

Or, you could have done it with the eraser tool, if there was a lot of stuff in here that you want to remove.1152

Now, we'll click Done, and it will calculate along for a moment, and there is the final image.1157

As you see, it did a really nice job of matching the stuff in there, because I had one image, and there is my friend in four different poses with the four identical twins; and that is how you do the Group Shot.1163

Let's go ahead and close that out; let's get back the title in.1181

So now, we have done and taken care of the Group Shot, Scene Cleaner, Panoramas; Exposure is pretty similar, but it just lets you overlap multiple exposures to fill in the brights and the darks.1187

We'll just go ahead and pass that.1200

I want to show you Style Match.1202

So, I want to open up an image that is on my Desktop (and where is the image?--I saved it onto the Desktop, indeed I did--there they are).1204

OK; all right, I have an image here, and we're going to go ahead and consolidate it to the tabs; it's ready to roll.1230

What we're going to do now--and this one is fun; stay with me--Enhance, Photomerge, Style Match--and it opens up the image, and notice, it says After and Style Image.1241

We have a sequence of options that are here (I didn't mean to do that); we have 1, 2, 3, 4, 5, 6, 7 different styles.1255

You pick a style that you might want to change this image to; you can also do this in the Guided Edit--this is Guided, but it's in Advanced Guided Edit.1266

If you remember, Guided Edit by itself has the one-button clicks.1276

Watch this: we'll just take the sepia-tone, and you drag the style; it's initiating the transfer...and what you see is not much of a change, and you have these sliders.1280

Down here, we have a check box: Transfer Tones; it's going to recalculate, and now, we have a sepia-tone image.1291

But here is what is cool; now we can have some fun--it's not just making the style, like in the regular Guided Edit, where you get the finished image; you have control here.1299

I can drop the intensity back, and you notice, what it does is: it brings back the original photo so we can get a slightly yellow-y look right here, or more--as much as we want.1311

We can also take the Style Eraser: let's say I just wanted to have this young lady's skin and hair to be correct.1323

So, what I'll do: I'll leave it at a lower opacity, so I can paint it; increase my paintbrush; and watch.1332

I'm literally painting away the style--the sepia-tone style--and revealing the original photo underneath.1340

So, I'm just going to do this, just to her skin and hair.1351

There we go--and I can do it more, with a greater amount of opacity; I'm just going to go to 100%.1358

So, we'll reveal her completely.1365

Now, we have a sepia-tone image, except she is originally as she was before.1371

There you can do that; and I can do the same thing with her boyfriend, and just go ahead and erase the applied style from his face and hair.1380

And, if you make a mistake (like in that case), now you go back with the Style Painter and paint the style back in.1395

It should come back in; there it comes--it's trying to.1404

It's slowly bringing...I must have a very, very small brush here; there we go.1413

It's taking its time to get it back, but you get the point; you can see it coming back in.1418

OK, we're slowly bringing that back in.1433

All right, so now we came up with that one; so let's go ahead and cancel out of that, and let's try another one, just to show you a second Style Match.1435

Let's go with a black-and-white feel.1445

We'll drag the style; it's going to initiate the transfer, generate the photo merge, and now it has done that, and we can take the intensity back again, as we want to.1448

We can also do the style (oops, I didn't transfer the tones--I forgot to do that; remember to click the Transfer Tones box); now, we have all black-and-white, or we have a desaturated effect.1459

Let's say we would just like to bring the sky back; and we'll go ahead and erase the sky, and the opacity--maybe 50%, and we'll just drag it across the sky, just to give you the idea--and you can play with this as much as you want.1472

Now, the sky itself is fairly clear there, desaturated.1490

It gives you the option of creating your own little artistic representation.1494

Remember to check the Transfer Tones box; if you don't, you'll get this odd look; Transfer Tones, and you have it.1500

We'll go ahead and cancel out of that, and let's open back up our title page.1508

There you have a bunch of cool things you can do with the Photomerge feature under the Enhance menu.1516

You can make group shots (in other words, add elements from one shot to another to improve the group), or you can clean the scene by erasing objects.1525

You can create panoramas; you can match a series of exposures to make sure you get proper exposure throughout.1537

Or, you can play with a really artistic thing called Style Match--all with the Photomerge feature in Adobe Photoshop Elements 11!1544

Hi, everyone--Mike Brown with you one more time with another lesson in Adobe Photoshop Elements 11 from Educator.com!0000

This is the final lesson.0007

You have been a long ways; you have studied a lot; if you are still with me, I must tell you that I really commend you for all of the effort you have put in, and time that you have put in, to go through this entire course.0010

If you have gone through this entire course, you have learned an enormous amount about, not only just Photoshop Elements and how to work with photos and graphics and things, but how to discipline yourself to actually go through a long course like this, spend the time, do the study, and learn.0023

In this final lesson, I want to do a brief summary of what you have learned and my philosophical lesson to you on where you should go next.0043

Let's go ahead and get started, and back up way back to the beginning.0055

If you remember, Photoshop Elements is exactly three programs in one: the Organizer, for the editing, sorting, and rating...0059

And you saw that, in truth of fact, the Organizer is very useful and very easy--you import your images; they're in folders; they're in albums; you can attach keywords to easily find them.0068

It really helps you in sorting and finding the images to move forward into Camera Raw--what a cool little program!0081

Camera Raw is that in-between-er where you can take those images out of Organizer--raw images--and you can open them up, and you can apply initial corrections that are totally non-destructive, that you can always change.0090

Then, you move on into Photoshop Elements itself--the Editor, where you do your creative work.0104

This is an integrated group of three programs.0110

Take your photos; bring them in and organize them; do a little preliminary work; and then have a great time, making them into great images.0114

If you remember now (I'm sure you do, because you have used and learned everything), there are four basic categories that I have broken this program down into: corrections (which are very simple--they're primarily the exposure and color); selections...0122

The most important technique in any photo editing program is how you isolate the areas and do it flawlessly--and the flawlessly is the key--making the edges either hard or soft, appropriately, so that when you make your corrections or your retouching, it all blends together and is undetectable.0139

The retouching itself--the tools are fairly simple to use; now, it's up to you to continue to practice (we'll talk more about this as we go along in this lesson, but)--practice is what makes perfect.0164

How to use the tools is one thing; but applying them and developing your own techniques and alterations and takeoffs on techniques, to create those flawless results, just requires a lot of doing it over and over and over again.0177

Manipulation, of course, is the sizing, distorting, combining, making composites (which are phenomenal items--that you can actually take multiple images and put them together and make another image that nobody can tell was anything but a singular image--and again, those take time to do)...0193

I have one little tip for you that I'm just going to throw in here: now that you have all of the techniques, and you understand what this program is all about, you can pick up all sorts of ideas by going to YouTube and going through either Photoshop or Photoshop Elements.0211

As you can see, while you may not be in Photoshop...but trust me, this is the same as Photoshop in terms of working on the images.0229

By going to YouTube, now, when they go through the steps of working on the images in the demos in YouTube, which they really don't define very well--how they do the individual things--you're going to know how to do it, and you will have the idea.0236

"Oh, I see this cool thing that he is doing; I'll make a takeoff, and I'm going to take it and run with it myself."0249

All sorts of that--all from these four categories that you have learned.0255

Now that you have completed the course: two simple, yet very, very important axioms apply.0261

Practice, practice, practice; you have heard it before; you will hear it again; I have been doing Photoshop and Photoshop Elements for 22 years now, and I'm still learning techniques, and I'm refining my own techniques and coming up with great new ideas.0270

I'm going to show you one, here, in just a minute.0286

It's all practice, because if you don't use it, you will lose it--and that is absolutely paramount.0288

You spent a lot of time and effort to learn this course and get to this point; now, you have to apply it.0297

So, I'm going to say it one more time (broken record here): Practice, practice, practice; if you don't use, you will lose it.0304

If you have gone to the trouble of spending time to get to this point, to hear me say this to you, you have really invested time and effort into something that was really good for your creativity; so do practice and continue to use it.0311

Now, I want to show you an image that I just took three days ago.0327

I was hired by a gentleman who saw a technique that I have been doing to portraiture, and he really wanted that technique for himself, so he hired me to take some really cool images of him.0332

Here is one that I took0343

This really sums up all of the categories and the parts--everything that we have done here is summed up, kind of, in this image.0345

This is a very cool image.0353

It looks like a very sepia-tone look, which...you know the sepia tone, and right here--here is the original image of this--the nice photograph, nice clean shot--but it's just a photo.0355

Remember how this has all progressed: and what I did from that photo--we're just going to back it all the way in--I'm going to turn that off, and then I'm...remember, Colorize.0369

That is all I have done here; I took a final desaturated look that I have created, with a gritty feel to it, and we did the Hue Saturation--notice here?0380

Now, I did this in Photoshop, so you will see that a lot of these adjustment layers, which you see here (a whole lot of adjustment layers in here)--remember, we have those.0389

I have also cut out pieces and put them in as separate layers--physical pieces.0399

We have Curves, Curves, Curves, Curves--Curves is a little more sophisticated than Levels, but it does the same thing, so there you have exposure adjustments with various layer masks that you have seen before.0404

We get up...there is Hue Saturation; there is Hue Saturation again; Curves, Hue Saturation...most of it is all Curves, and here is one Levels that I put on at the end.0417

I also did a blend with black-and-white; I turn that off...and this was a real blast of color and grittiness.0428

This is a technique that I use, right here, to transform a regular image to look like this.0440

Then, that is blended at a lower opacity, and you put it together with the black-and-white image, also at a lower opacity, and add all of these other adjustments.0446

Toss in the Colorize feature, and this is what you get--this beautiful old-time sepia look.0457

I just want to show you--we'll zoom it up where we can really see the details.0465

Look at the character in his face; you see all this detail in the hair--that is from, remember, Shadows and Highlights, to pull that down and pull the detail out of the hair.0469

You can see all of the detail from the High Pass Sharpening that I did, and quality level to bring up all of the look in everything else, and a little bit of vignetting...everything in this image is what I taught you to do in this course.0483

Nothing in this image is anything different than you already know how to do.0502

So, that just shows you what you can do; and now, I want to close with a little of my own personal philosophy.0507

Remember, at the start of this, I said where to go next?0516

Well, a little bit of my finishing thought to you--that is, to get ahead in life an business, it does not matter at the end of the day whether it's a millimeter or it's a mile; all that matters is that you keep moving forward.0520

If you remember these three words, this is the key to success in anything you do.0548

If you follow this mantra, I guarantee that you will achieve your life's goals.0555

It not only applies to Photoshop Elements, but to your life.0560

I'll close this by saying "Thanks again" for joining me on this adventure and this trip that you have taken.0565

I hope you have really enjoyed it and learned a lot.0571

Apply it, and I wish you the best of luck in everything you do in your life!0574

Hi, everybody--Michael Brown with you again; welcome back to Educator.com's Adobe Photoshop Elements Beginning and Intermediate course!0000

In the last two lessons, we talked about how to get the best quality images out of your camera technically and artistically to bring them into Photoshop Elements.0007

We talked about light and color and how that applies; now, it's time to get into the nuts and bolts of Photoshop Elements!0016

Let's get started.0023

I want to point out that the principal objective of this course--rather than showing you every tool, technique, feature, and method that's here in Photoshop Elements, this course is intended to give you a good understanding and a practical working knowledge of how to quickly, efficiently, and flawlessly enhance your photographic images, as well as show you how to easily utilize the text and graphic design features that are available in Elements.0025

I cannot stress enough the "practical working knowledge"; instead of bogging you down with an enormous number of things that you may never use, what you're going to learn in this course are the tools, techniques, and methods you need to work on your images and create graphics.0057

There is a lot more stuff in here, but we want to get you working and make it so that you can create cool stuff quickly, efficiently, and flawlessly.0077

So, let's get started talking about Elements!0087

A tour of the main work areas: that is what this lesson is primarily all about--to show you the parts of Elements, what is in them...and then we'll break them down in the next two lessons.0092

The first part is the Welcome screen: this is your starting point in Elements; whenever you open up the program, the first thing you're going to see is the Welcome screen.0103

Here, you have options to choose whether you want to have it open up in the Welcome screen, and always have a choice, or whether it's going to open directly in either what is called the Organizer or the Editor--and I'll show you that in just a minute, because it opens up immediately, and we're already in it.0116

The two basic parts of Photoshop Elements--the big parts: the Organizer workspace and the Editor workspace.0132

The Organizer workspace is where you import, sort, rate, and organize your images and where you choose the images you want to work on.0141

In other words, you have to bring your images in; they don't physically come in, only a representation--they always stay where they're stored, the physical image; it's just a proxy thumbnail so you can see them, then pick them; then, you open the physical image into the Editor.0149

You also--in the Organizer--you can share your work via social media and create a variety of very cool items.0167

The Editor workspace, which is what we are in right now: this is where you do your creative work--enhancing your images, creating graphic designs, panoramas, artistic creations, everything--the work is done in here.0175

So, you have an Organizer section that you get your photos into, and sort them, and organize them, and pick the best ones; and then you work on them in the Editor.0187

It's very easy to get back and forth between the two: notice this button at the bottom, right here; it says Organizer; I click on that, and it will open up Organizer immediately.0198

Here is the Organizer; this is where you do the sorting; and again, there is a button; it goes back to the Editor, over to the Organizer, and back to the Editor--very easy access between the two.0209

We're going to go backwards for a moment; I want to show you the Welcome screen, so I'm going to quit out of the Editor, quit out of the Organizer, and reopen the program.0219

Here we go: Elements 11 opens up, and this is called the Welcome screen.0230

On the Welcome screen, you have links that can take you to some tutorials and stuff for little things, and talk about what is new, and so on...also, Getting Started, Getting Help...but I'm here to give you help and get you started, so deal with me for a little while.0237

Up at the top: Organizer, Editor; these are the two buttons that you can open up either one directly from here.0253

Now, if you leave this screen as it is, it will always open up, and you will choose one or the other; if you would prefer to have it open all of the time in one or the other, go up to this little gear icon in the corner of the window, right here, and you see, "On start, always launch" either the Welcome screen, Organizer, or the Editor: you have these three options available to you.0262

We're going to leave it where it is at the default right now, at the Welcome screen, but you can set it to open up at either of the two.0288

All right, we're done; we're going to pick up, and we're going to open up into the Editor, which is where we were just a little while ago.0295

File; I'm going to open up the Getting Started; and here we are, back where we were again.0304

Let's talk about--even though the order says Organizer first--let's talk about the Editor workspace, where we've been.0313

On the left side, you see you have a toolbox with all the tools you're going to need to do anything you want.0321

In Elements 11, as opposed to just putting them in the toolbox without identification or organizing them, they have been organized into categories to make it very easy for you to know what you want.0327

The View category contains tools: Select to select and isolate areas--we talked about the categories, if you remember--selection, correction, retouch, and manipulation; here are your selection tools.0341

Corrections or retouching: that is under the enhanced tools; drawing tools for graphics, modifying tools...that is, your select, correct, retouch, and manipulation tools.0354

Tools are all on the left; for every tool, there are tool options--when you click on the tool, notice across the bottom of the viewing window, where the files are viewed (right in here, with a gray backdrop), every time you hit a tool--it doesn't matter what tool--up pops the options for that tool.0367

Now, in the previous version, 10, options for a tool were across the top here; they have been moved to this little option bin--you can always close it, but every time you go to a tool, there are your options; you can hit the Tool Options button or the X, and away it goes, and you're ready to work with it.0390

That is your tools.0406

Here, you have the option to open up some previously opened files directly, just under the Open or the File menu--there are a bunch of them; same ones.0408

Across the very top, we have a series of dropdown menus with various features and functional items; we'll talk about that in a future lesson on just the Editor.0417

Below that, there are the frequently used ones: you have three buttons here--three different ways to work on your images.0429

I am in the Expert mode, which gives you full functionality to do anything you want with extreme precision.0437

You have the Quick Edit mode, which leaves your image with a few tools and instant fixes, so you can just adjust immediately--things that you want to do.0444

There is the very simplistic methodology, the Guided Edit, which is really very cool; here is all of the stuff that you would work on in an image: brightness, skin tones, cropping, exposure, color, recomposing...all right here, and if you pick any one--let's pick an exposure control--how about just color; color control--here are the instructions and the method to do it for any one of them.0458

Recompose: there are the instructions and the sliders; it shows you how to do it, just in case you forget how to do something; how cool is that?0487

Below that, we have various photo effects that you can apply with a single button: some really cool modern effects, and even below that, some artistic arrangements and little graphic art that you can do, all from the Guided.0495

But we're going to predominantly work here in the Expert mode, but we will be showing you all of those: you have Quick, Guided, Expert.0509

On the far right is the Create button for photo prints and various and sundry items that you create; this also starts out of the Organizer.0517

On the right side, we have panels with adjustments: the Layers panel turns on and off; the Effects panel turns on and off; the Graphics panel turns on and off; Favorites, where you can set your own; and the More button gives you additional panels--you have a choice over here--that you can use, as well.0526

Let's go back to the Layers panel right here.0549

Across the bottom, there are some more tools: the Photo Bin shows you all of the files that are open (in this case, we only have one)--they all line up, and to switch from one to another, you can click there.0552

I'm in a mode called tab mode, where they all line up across the top.0565

The Tool Options button, Undo and Redo buttons, Rotate button, various layouts, and access to the Organizer--that is the bottom.0571

Toolbox, dropdown menus, the three editing modes, various panels; and some more tools across the bottom; that is the Editor workspace.0580

We've talked now about that, and we've talked about the Welcome screen, so let's get into the Organizer.0594

This is where you bring the images in, and to get there, just click the button, and the Organizer workspace opens up.0600

What you see here, first of all, most prominently...we'll just drop that out...in default mode, are all of the thumbnails of all of the items that you have imported inside of the Organizer.0609

See me scroll down here: here is every single one of them, and you think, "How do I find a particular image!?"0626

That is what the Organizer is for; this is where they all reside, in the Media Bin; when you import an image, you can import it from here, from Files, Camera, and so on, or under the File menu, same thing; and you will bring them in, and they will be in a folder.0634

So, although they all reside here, they are also in a folder; for example, let's just scroll down until something shows up...here are some images of this girl Shakay; if I click on the folder, instead of seeing all the images, now you see just the images taken of her in that folder.0652

Here is one of a car auction; here are only the images for the auction.0675

The folders show you the thumbnails; albums--you can create and take photos from different folders and put them in a specific album, so that, when you access a specific set, a specific type of photos, you don't have to jump from folder to folder; it will pull them all from the various folders that you originally brought them in from: a cool way to organize.0680

On the right side, down at the bottom, we have tools--again, Undos and Rotates, and access to the Editor, a slideshow from images that you select, and also Instant Fix: if you highlight a photo (I don't recommend this; we'll talk about this in a future one), here are some fixes, but I don't like it, because it just puts a fixed setup on there, and you may not like the result.0706

I would rather do it in the Editor; that is what the Editor is for.0736

Tags and info are another way to identify and find your photos.0739

The information for every photo--there are information tags; they are called keywords; so you can attach a keyword to items in a whole variety of places--different folders and different spots--and, by clicking on a specific keyword, it will refine these thumbnails down to just those items.0745

So, you can do this for the albums, with folders, and with keywords.0767

Across the top, we have dropdown menus, again, to help us organize.0772

Also, the tabs across here--by the way, here is the Create button again, with the same items that were over in the Editor, and to share to social media, email, Vimeo, YouTube, Flickr, SmugMug, mobile phone, create online albums...various and sundry things.0776

There are ratings to rate your images and help you sort them out.0794

We also have three new tabs here: People, Places, and Events.0798

You can take--by face recognition, if I chose to, I could take all of these images of Shakay and target them into the People mode, right here; you see, there they are; I have done that, and now, when I click, it goes only to the Shakay stuff.0804

You can also do the same thing with places, by putting a group of photos that were taken in certain spots, pretty much anywhere you want, and you can also do the same with events.0826

I'm mentioning those three only: I'll show you the People one, just for fun, but the bottom line here is efficiency again; this takes time; every single image--you have to target the person, so you have to fill it out, an image at a time.0840

You don't have to bother with that with all of the other stuff; we want to make things efficient, so we're going to deal mostly with the media window, albums, folders, tags.0855

There you have--let's go back to the Editor--a quick tour of the Organizer workspace.0866

I do want to say, again, that the objective here is to give you a practical working knowledge; when you get done, you will understand the Organizer, the Editor, and how to get everything in and out efficiently and quickly.0872

In the next two lessons, we will talk specifically about the Organizer, and then we will move on to the Editor.0890

I'll see you in the next lesson!0897

Hi, everyone--Michael Brown back again; welcome back to Educator.com's Adobe Photoshop Elements Beginning and Intermediate course.0000

We've talked about quality; we've talked about light; now, it's time to get down to the nuts and bolts of how to work in Photoshop Elements.0007

If you remember, Elements has two parts: Organizer, which is the editing and sorting program, and Editor, which is the enhancing and working program.0017

Right now, this is the Editor workspace, where we have my lesson files; to get back and forth from Editor to Organizer and back, at the bottom of the workspace in Editor, here is the Organizer button.0027

Click that; here is Organizer; to get from Organizer to Editor, same thing: click the Editor button.0042

In this lesson, we're going to talk about the Organizer: making it easy.0050

The objective of this course is to get you up and running in Photoshop Elements quickly and easily.0056

In that context, the Organizer has several different ways to organize your images, but I'm only going to show you the easiest ways to import, sort, rate, edit, and find your best images, because what we want to here, rather than go over every single feature inside of Photoshop Elements--we want to get your images from the camera, from the card reader, from somewhere that you have them on the computer, and get them into Organizer...let me get this thing right here...to get those images into Organizer, to organize them for easy access, to sort them quickly and easily so that we can identify the best images, get those images on into the Editor, and enhance them.0063

So, in this lesson, we're going to talk about the Organizer: importing and sorting; there will be a couple more lessons on Organizer, but we're going to start here with importing and sorting.0112

The first thing I want to mention is getting organized: how to plan and stick to it.0125

What I mean by that is, put your images where you know where they are, and that you're not going to have to move them, because the original files, wherever they reside--that is where Organizer knows they are.0131

What I mean by that is, all of these thumbnails from all of these images that I have inside of Organizer are not the original images.0152

What Organizer has done for all of these folders and all of these albums--it has connected a thumbnail, that it created from the original, to the original.0162

So, when you open this file in Editor, it's not opening this particular exact file you're looking at; it's going to open the original that the thumbnail is connected to.0175

If you move the file, or you rename the file, Organizer will no longer know where it is or what it is.0186

The point is: be consistent; have a plan; and stick to that plan, OK?0196

Very important; we'll keep revisiting this as we go on.0210

The primary features of Organizer that you will be dealing with--and we'll bounce back and forth here, by the way; this is Editor; I have the lesson plan in here; we're going to jump into Organizer and back as we go through, step by step.0214

Dropdown menus and the media window: in Organizer, there are a series of dropdown menus.0229

We will quickly go over those right now, because we're not going to be using a lot of it--just select stuff.0237

The Organizer dropdown preferences, by default, are fine; you're not going to be using anything here except Quit Elements, right there at the bottom of the Elements Organizer menu.0244

The File menu: we're going to use the Get Photos and Videos dropdown submenu, and that's about it; you might have an open, recently-edited file; the rest of it we are not going to deal with in the File menu--just Get Photos and Videos.0256

The Edit menu: we're not going to be using anything in the Edit menu; the Find menu: again, we're not going to be using that, either.0275

The View menu: what you see here are the thumbnails inside of the media window.0285

If you will drop down the View menu, you will see Details, File names, People Recognition, and Gridlines--they are all checked; I'm going to uncheck Details and People Recognition and Gridlines.0293

Now you see that the thumbnails have no identification whatsoever.0308

View menu, Details, and you see the star ratings option; you see the time it was created and the name of each of the thumbnails now.0312

People Recognition is a facial recognition feature within Elements; we're not going to be utilizing that in this lesson.0326

It's a little bit--not necessarily complex, but--it takes a lot of time, because you have to identify each individual face; the computer is really not that good at identifying faces, so it's going to ask you who this person is, and you have to identify each one; it takes a lot of time.0335

Gridlines separate your thumbnails; you can zoom your thumbnails up and down in the media window; there you go.0352

Back to the Editor: you saw what the star ratings are; I'm going to give you another quick view of that; let's open up this folder of flowers.0365

See, under this thumbnail, there are three highlighted gold stars; let me go with a better one, Japanese Garden.0377

Three stars, four stars here, five stars here: this is how you identify better or worse images; very simple.0384

Folders, information panels, and albums are the three primary places you're going to deal with with your files.0395

Let's go to the Organizer; on the left, in this panel: albums at the top, folders at the bottom; when you import any images into Organizer, they will be designated a folder.0405

This is the folder on your computer where the original images reside.0420

Right now, they are all in alphabetical order; if you hit this icon, right next to the My Folders headline, it will show you (this is a Mac, so you are looking at the hierarchy)--it goes down through, and you can see exactly where that folder that we were looking at resides--inside the Macintosh Hard Drive, on the Desktop, is this folder.0427

Any little folder with a landscape icon contains images; the empty folders--there is a folder within that folder; if I close the Desktop, you don't see anything, but if I open it, you see that there are the folders; here is the Desktop subfolder; and in there reside the Genesis images.0449

That is how you know where they are; you can go back and forth to the computer hierarchy or to the alphabetical.0473

These are your images in these folders.0481

An album is a collection of different images from different places; in other words, I can take some images from one folder and some from another folder that I'm going to use, that are consistent, and access them all at the same time by creating an album with those in it.0485

I'll show you how to do that.0505

That is the folder; the Information Panel is (we're back to Organizer) at the bottom of the workspace, on the far right; this Tags Info button opens up another panel, the Information Panel.0507

If we highlight a specific image, you will see, under the general panel: you can caption this image, you can change the name, and you can add notes; you can also do your ratings from here, as well as from the thumbnails.0523

That is the general; metadata is information about a specific image--all the file properties from the filename to the width and height, color mode, all the camera data, Sonik camera...everything is listed under the metadata.0541

It's embedded inside of that image; you can add data, as well, if you wish.0561

The history is very simply what has happened to that image.0567

That is your Information Panel; primarily, you are going to use the general and the metadata panel, and it's mostly, as it says, informational: we don't really utilize it in sorting or working on the images.0572

The Tags Panel: keywords and people tags are another way of sorting and refining your images by facial recognition or by words that you think you would want to associate with images throughout various places in the computer.0585

They take a lot of time to set up, so we're not going to deal with them in this particular course; we're going to make it easy with the folders and albums--that is all you need.0602

Those were your Tags and Info Panels.0612

Back to the Editor: it opened up that image that I had highlighted.0616

The Create and Share menus, back in Organizer here: you can create a whole lot of things; we'll deal with that in another lesson: photo books, greeting cards, calendars...you can also share your photos right from here in Organizer, out to the Internet, mobile phones, and so on.0621

I still have that thing highlighted!--every time it's highlighted...I'll show you what that is.0639

The image is highlighted; if I click on it again, it goes away; when you highlight it and click the Editor button, it automatically opens the image for work.0646

Now we go back: no problem.0655

Bringing images in: the most important thing we have to do is get the images into the computer and into Organizer.0658

You do this with the photo downloader, which gets images from your camera or memory cards; we'll start with that one.0666

Back to Organizer; let's import some images from a memory card.0675

I have one inserted in the computer here; you either go to the Import drop menu, right along the top of the workspace in Organizer, or along the dropdown menus, the File menu, Get Photos and Videos, from files/folders or from camera.0680

We'll go on to the Import; same thing: From Camera or Card Reader.0698

It's going out to find them; it's now searching for the media in the card; and what I want to do is give you the default dialogue box first.0704

This is what opens up; it only shows one thumbnail--it's assuming you're going to download everything.0716

You get the photos from wherever you want--in this case, it's only the Nikon D7000 memory card--and locations, renames, and delete options.0722

Then, you click Get Media, and it will download everything.0732

I have a lot of stuff in this card; I don't want to download it all; so I'm going to show you--it's a similar method; we're going to go to the Advanced dialogue button--lower left.0736

It opens up a bigger window, where you see all of the thumbnails for every image inside the memory card.0747

They are all checked--notice the check boxes--all the way down to the bottom.0755

That is because, by default, it assumes you are going to download everything.0762

I'm going to show you how to download select images from different spots within a card right now.0766

We'll uncheck all the images; now, you notice that the check marks are completely gone. 0773

I'm going to scroll down and find some select images that I want to download.0780

Here is a group of buildings that I shot in downtown LA; I would like to download all of those, so I will highlight the first one--see the blue border?--hold down the shift key, go to the end of the sequence, and click, and it highlighted all of those.0785

I'm going to find some more of them, a little bit further down here, and...there are four more I would like to download.0802

But, they are separated in the sequence, so what we're going to do is: Command on a Mac; Control on a PC; hold it down, click the images that you want to download one at a time, and they will highlight, and now we have four more.0809

I want to do just these four right here, in addition, so once again, Command or Control, click, click, click, click, and if it doesn't click the first time, go back and do it again.0829

Now we have all of our images selected, even though they are separate; notice: no check marks--what we want to do is just check any box from any highlighted image one time, and notice: all of the images that have been selected now have check marks in them.0845

We're ready to go; we have all of the images selected that we want to download, so let's now go with the options.0868

We're going to choose a folder on my Desktop, and I'm going to create a new folder; we're going to call it Downtown Buildings.0874

I have that; I'll create it; it's on the Desktop--"Downtown Buildings."0892

I'm going to choose that folder, and now the location that we're going to move these images to is right there.0898

That is where we're going to put the original images.0903

I can create subfolders if I want to, and you have several options for that, as well as a custom one--I'm not going to do that.0907

You can rename the files in several ways with Advanced options, as well; I'm not going to do that.0915

The only thing I want you to really look at here is this dropdown: After Copying, Do Not Delete Originals.0922

This is very important, because you have two other options; After Copying, Verify and Delete Originals, which is OK--it will check and make sure the copied files are not corrupted; or After Copying, Delete.0930

I like to download my images into the computer, and then back them up on another hard drive before I delete my originals, just as a precaution.0944

I'm going to leave it at Do Not Delete.0956

Apply Metadata: basic metadata--all that stuff that you saw in the Information Panel; I'm also going to put on my name as the creator and the copyright date.0957

Now, I have everything selected, highlighted...Get Media is bringing down the images, the originals, into the folder, and then you will see a second progress bar as it creates the new thumbnails inside of Organizer.0969

It has six more to go...so, in other words, originals are in the folder; it will create thumbnails from those originals and connect the two, and you will see them appear; there is the second progress bar, and here, it is now creating the thumbnails from the originals.0986

There you see all of the images that we check-marked out of the card reader.1004

If you will look over under the Folders Panel, under Downtown Buildings, there is the folder that contains those images.1011

There they are in the folder; there are other folders; we're back here; if I now click the All Media button (because, right now, we're just looking at the images in the folder), you will see that it seems like nothing changed, but if I scroll down, you will see that there is everything else; and there at the top, because I sorted these by import batch, and this is the newest import batch.1022

I could also sort by newest and oldest, and that is the date of creation of the actual picture itself.1050

If you leave it at import batch, your latest imports will always be on the top.1059

Notice, this says "Imported from hard disk on" this date; and if I scroll down, just below the next images, we have an import date, as well; that is the next batch.1064

If we go down a little further, there is the next batch, and so on, and so on.1075

That is how it works.1081

Now, we have them as a folder.1083

Let's go ahead...we got them from the photo downloader; I'm going to import another group from existing files and folders.1088

Back to Organizer: I'm now going to do it from the File menu, this time...or from the Import menu--why not?--from files and folders.1096

Here we have your hierarchy from either a PC or a Mac; this is my Mac; on the Desktop, I would like to import a group of images that we shot of this young girl, Kara, and we're going to import all of the images here, so it's very simple.1107

We're going to hit the Get Media button; they're already in a file, so we just get the media; and here they come.1126

It can be a whole series of them here.1137

It's already imported and in a folder, so all that we are doing here is making the thumbnails for Organizer from the original files.1142

In just a moment here, we will have those in a folder--and there they are!--all the images that we just imported of this girl.1154

You will see that right here is the folder.1166

It connected these thumbnails to that folder, and now they are part of the Organizer.1171

OK, we have images there.1178

Searching for missing items: if you have them, you go under--back to the Organizer--File, Get Photos by Searching or Import by Searching.1180

Don't move your files; don't rename them; and you won't have to deal with this, because it takes a lot of time; you tell it--if you know the name--the name of a file, and it will search through every single file in your computer to find it.1195

It may find it quickly, or it may take the entire computer to find it; it takes up time.1211

Always leave your original images where they are.1219

Now, we're all ready to go.1222

We have gotten through the import; now, to organize the images, we use the folders or the albums; you already understand the folders--they're right here.1225

If you want to see where a particular folder resides, as I said, click the icon, and you will see that there is the Kara folder--it was on the Desktop; that is where we got these thumbnails from.1237

Let's talk about albums: I have one, I have a second--I have two different folders with flowers.1250

I would like to make an album that just contains the red flowers.1260

So, what we're going to do is to deal, now, with albums.1266

I'm going to start by taking the ones out of here; let's highlight all of the red flowers: I'm going to hold down Command on a Mac, Control on a PC, and just click all of the files that I want to put in an album, that are red flowers, in this particular folder.1270

One, and this one--so, I now have my red flowers all highlighted.1295

What I'm going to do is go up here, and I'm going to click on the plus button next to the word "Album" over here.1301

I have the choice of a new album or a new album category; I want to create a category, which is a main heading, called Flowers: New Album Category: we're just going to call it Flowers.1312

Very simple; it's at the top level; it's not a subcategory to either Landscapes or People; it's a top-level.1325

I could put it under Landscapes or People, but I don't want to; I want it at the top; and there is Flowers.1333

I already have these highlighted, so I will go back and click on the plus sign again, and it automatically took the selected images--we'll do it another way--and it inserted them over here, in a new album that we're going to name Red Flowers.1340

It's going to go in a category called Flowers--that is right here--name of it: Flowers; here is the content--all of the ones we wanted from that particular folder.1363

We're ready to go; we have all of them in the album; we'll click OK, and now you see an album under Flowers, called Red Flowers.1377

We're still in the original folder; notice, there are all of our different-colored flowers, but if I click on Red Flowers, look--that is all that it took from this folder.1388

Now, we have another flowers folder, and there are flowers in here.1401

I would like to add those to that, so that when we click on the album, we see the red flowers from two different folders.1407

All I have to do is...I'm going to actually, since there are more red flowers than anything else, highlight the first one, shift, click, and highlight everything, and then--Command on a Mac, Control on a PC--I'm going to click the flowers that are not red, and take them out of the highlight list.1416

Pink? No. All right...not this one...not this one...not this one...not that one, and not that one.1445

I'll include these; so now, we've selected all of the red flowers; all that we have to do to add these to an existing album is click and drag; notice, it has a group, and I just move it over until I highlight Red Flowers, and it's done.1455

Now, let's highlight the Red Flowers album, and look--we have the original ones, and we also have these.1478

So, we have flowers from this folder and this folder, some individual ones that we selected, in an album called Red Flowers.1486

You have a group of images in your folders, and you can refine that by taking some from places, different ones that have similarities, and putting them into an album, which refines it.1500

Now, we have all of our red flowers right here; let's go back...and that takes care of albums.1513

We have now gone through importing and sorting your images, getting them into the computer, into Organizer, creating folders, and creating albums.1523

We will pick this back up in the next lesson and refine your images further.1538

Hi, everybody--Michael Brown with you again; welcome back to Educator.com's Adobe Photoshop Elements course!0000

In the last lesson, we took our first look at Organizer, and I showed you how to import images into Organizer from your camera, memory card, or files and folders existing on your computer.0007

When they come in--this is the Organizer--they come in as folders of images, alphabetically; if you want to see them in the computer hierarchy, go over from My Folders, click this icon, and there are your folders in the computer.0019

Each little folder icon with a landscape designation is where the images are.0035

We go back; they're in alphabetical order.0040

When you click All Media in the media window, you see every single image that is inside of the Organizer.0043

If you click an individual folder, you see only what is in the folder.0055

You can sort by the import batch, and I like that, because, if we just go right to the All Media, this is the latest import, and if we scroll down quickly through this group, you will see that below that is the next import, and so on, in the order of the newest one on the top.0062

I just like that; you can also do newest and oldest images.0081

That is the folders.0085

Albums are collections of images from different places--in this case, different folders; so this Red Flowers folder has images; these pink ones on top came from this folder down here, and the red ones on the bottom came from this folder here.0088

I'm going to show you how we did that: if you remember, we took this folder, selected a group of images, went up to the albums, clicked the plus button for a new album, and...I'm going to undo that...it deselected...select all of the images first, which is the way we did it; get the new album; and immediately, the selected images appeared inside a new album to title, tell where it goes, and click OK.0110

That is how we got that folder.0143

Then, we went to the second folder of flowers; selected another group of images; and, to add them to an existing album from a different place, highlight them, click and drag, and drop; and now you have images in one spot in an album, from two different folders.0145

You can add more from other folders; this is a way to refine your images.0168

We're getting them down to the best images.0171

In this lesson, the first thing we're going to look at is a little more on albums and folders--two more ways to add images to an album.0175

Let's go ahead and do that.0183

I want to first take this existing folder, and I'm going to make an album out of a group of images: let's just take...we'll do this a different way; we're looking at the images...I would like to take just these last four images, right here.0185

But, what I'm going to do instead of highlighting them first is, I'm going to go ahead and open up the new album.0203

Notice, there is nothing there; so, I can drag and drop the images that I want to the Media Bin here.0209

I'll highlight, the same way we did before, and now, I drag and drop with the plus sign, and they're in.0216

And let's say I want to put in another image or two...how about these two images up here.0223

I'll highlight, Command (or Control on a PC), click, and I'll drag those two in, as well.0231

That got the images in in a different way; rather than selecting them first, we made the album up first; and now, what we're going to do is call this L.A. Architecture.0237

We're going to put it in the Urban Photos category; we have the images, title, category; we click OK, and there are all of the images, and there is our new album with a group of images.0253

We made this one by starting the album first and dragging the images in after.0268

The other time, we did selection first, and they automatically went in; so, two ways to do that.0274

One more way that I'm going to show you: we're going to import some new images by going to Import, then Camera or Card Reader, or File, Get Photos and Videos from Camera, and here comes the photo downloader.0280

We're going to full-screen it, and remember, they are all checked at the beginning, assuming you are going to download everything--I'm going to uncheck them by hitting the Uncheck All button, and I'm going to download a select group of images.0297

So, what I'm going to do...the thumbnails open up...first of all, I'm going to choose a location for these images, and we're going to create a new folder on the Desktop called Downtown Images new.0313

Images plural...make the 'n' small...create it; there it is; we'll choose that, and there it is.0334

That is where the images themselves, the originals, will reside; no subfolder; no rename; and under Advanced Options, I'm going to do something different--remember, after copying, do not delete the originals; you have the options, but make sure you have everything right first.0345

We're going to, instead, import into an existing album at the same time as we bring them into the computer--two different places.0362

Go to Settings; we're going to pick the L.A. Architecture album and click OK, and now I'm going to select the images I want.0372

I'm going to start with this one; I like this wide-angle look; I'm going to go down to here, and I'm going to go back up and pick two other ones.0378

Command on a Mac, Control on a PC, because they are not connected; click, and click again; now we have all of our images selected; we want to make sure that we check the boxes for the selected images, not the unselected.0391

Pick a select image; there it is; they're all ready to go; we go in an album; we go in a folder; we have the checks and the selected; everything is set; Get Media.0405

It's downloading fifteen images; remember, the progress bar here is for the original images coming into the new folder.0417

Then, you will see a secondary progress bar, where it creates the thumbnails for Organizer, and there it goes, and now we have a new folder called Downtown Images new.0423

There it is, and there are the images that we just brought in.0442

But, I want you to go back and look at this--the L.A. Architecture album.0445

Lo and behold, they are also in there; so we brought them in as a new folder of images, and immediately it, with the import, put them into the album.0450

That is a second way to add images to an album.0468

So, now we have talked about albums again; now, let's talk about deleting images from albums, folders, and the Organizer.0472

Let's go back--and here I have the same situation; this is the album, and this is the new folder.0482

I really don't want these two images or this one; I wanted this group; so we have them here, two and three, and we have them in the folder.0491

The folder is the originals; the album is thumbnails.0504

If I just delete them individually--not the album itself--it will remove them from both the album and the folder.0509

Let's start with these two: Click, Command (on a Mac)/Control (on a PC), click, then Control (on a Mac)/right-click (on a PC); you get this "Delete selected items from catalog; do not take them from the hard disk"; click OK, and notice, they are gone from the album, and they are gone from the new images.0521

Gone from the album; gone from the new images.0549

Now, let's say that we decided that we don't like this album at all; we want to keep the original images, but we're going to remove the album now.0553

Control on a Mac, right-click on a PC; delete; "Are you sure you want to delete this album?"--the album and its title--the whole setup; media that is part of the album will not be deleted.0564

We'll click OK; the album is gone, but in Downtown Images, they are still there; in Downtown Buildings, they are still there; that is because these are the originals--that is the actual folder connected to the original images.0580

We could also delete this folder; and what I'll do is Control (on a Mac)/right-click (on a PC); delete the folder.0597

All the files from the folder will be deleted from the Organizer catalog; we have the option to delete them from the hard disk--we don't want to do that; we click OK, and now we have taken the folder away.0607

I've shown you here how to delete individual images from an album, which will also take them away from the folder; take an album away, which leaves the folder; and take a folder out--simply Control (on a Mac)/right-click (on a PC) on the images, or the album, or the folder, and delete it.0619

OK, that is how you delete images and albums and folders from the Organizer.0642

Now, let's get down to sorting and refining and getting the best images, all right?--all right, let's do it.0647

Back to Organizer: let's go into the Japanese Garden folder, and I'm going to scroll down to a group of images that I found a little earlier that I wanted to search in.0654

We're going to talk--actually, let me back up--we're also going to talk about finding your best images by comparing, and that is the way you look at one on the right side and one on the left side of the screen: "This is better than this; I like this one; get rid of that; replace it; I like this one better; get rid of that" until you get the best image--very easy--adding and changing star ratings and filtering to the bottom to get the best.0673