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Photography Masterclass | Photoshop Tips and Tricks for Photographers

Feb 13, 2022
good morning good morning good morning welcome everyone nice to be streaming once again here on adobe live for my weekly Friday

masterclass

great to see so many of you joining the chat actually let me update so I can see all your beautiful faces pretty much every name at least cool cool cool I see people showing up from all over the world including the UK and wait we're going to get some of this stuff out of my way sorry and well one time. welcome back everyone happy friday happy friday teacher as i like to call them because that's what they are here on adobe live if you're new to this is if it's your first time i'm the

photography

evangelist here at adobe and it's a pleasure to once again do my weekly

masterclass

where i can show you some of my favorite things,

tips

and

tricks

, deep dives, whatever, on various

photography

topics, also if you're watching this on another channel i see people chiming in. on on youtube and from amsterdam and denver jay and predesign and uh maurice and the people coming from facebook also great if you're hanging out on another platform that's awesome you can hang out there but if you want me to see your question if you want me to see your comment or whatever it's probably best to go to b dot net slash adobe live if you have a question or a comment I'll try to watch both chats there's no guarantee I'll see it but if I do see it I'll certainly reply like this that i see the greeting from maurice and i see the greetings from uh kosovo here too so um and i see jan and matthew and i think that was voodoo val i saw a minute ago as a moderator it's great to see you all here right now that it's out of the way and again, the url for that is b.net, adobe live, now that's out of the way, what are we doing today?
photography masterclass photoshop tips and tricks for photographers
I'm going to continue a topic that I did last year it's hard to say that now but if almost a year ago and that's

photoshop

for

photographers

and what I mean by

photoshop

tips

and

tricks

for

photographers

so most photographers who I know they use lightroom or lightroom classic so they use lightroom or they use a mix of lightroom and photoshop but they mostly do their admin and everything in lightroom and so they don't necessarily do a lot of editing or finish a lot of new finishing moves as we like to call them in Photoshop so today we are going to take a look at some tips and tricks every Photoshop user should know but I'll stick to this as it's a photography masterclass mostly tips and tricks photography related for photographers but again if you're a Photoshop user and you're not a photographer I'll probably still get something out of this without further ado and now that I've got everything cleanup job out of the way i'll try to make it quicker next week looks like it dragged on this week lets go and start on the tips and tricks since i have less than an hour ok that being said i'm in photoshop what I got it working here, I'll go ahead and start with my first image. which i promised uh bill the guy who sent this in last week for my master class on how i would edit your images you can go back and watch that replay his was the last image i know of the hour i didn't I ran out of time before I started working, then he sent me a separate message on social media and said what he was really trying to achieve with this image, so it wasn't just about how I would edit it, but I'm also going to show you. how would i achieve what he wants using some of those photoshop tips and tricks so lets go ahead and open up his raw file he sent me and again he sent me this already as a dng um shot with whatever he shot this with canon eos 5 mark d4 or 5d mark iv I'm going to go ahead and just start mak I'm making some changes here so I'm going to go ahead and change this to landscape making those colors a little warmer so I'm using adobe's raw profile landscape it looks like some adjustments have already been made so I'm just going to go ahead and hit auto to see what Camera Raw would give me and if I'm ok with those sliders I'll go ahead and leave them if it's not I agree, I will make any changes I don't agree with, and I am pretty much in agreement with what has been done. here like i don't see anything egregious that i need to fix or change it looks pretty good so there are some obvious things we want to change in the image itself but before i get to the image i like to go ahead and do this kind of global adjustments first get those out of the way let's also look at the ops optics here you already have lens profile correction turned on so without that you see a little bit of vignetting around the edges with that it clears it up a bit that vignetting as I know If there's not much more I would do to this from a Camera Raw perspective, I'm just going to go ahead and open it up now that I have the image open, one of the first tips and tricks we're going to do. is to get rid of those huh that fence looks like a chain link fence or it's probably not wires they're too close to the ground but get rid of some of them so you can normally take as your spot healing brush and paint carefully along the good but when you're getting rid of something a coyote thank you I'd call it a wolf all day so coyote thanks for letting me know but usually when you're removing a cable like this and it's straight it's a lot more easy. than just drag and try to keep the cursor right all the way now I'm going to reduce my brush size a bit using my left square bracket key and on a US keyboard that's next to the letter p p as in paul on your keyboard and I'm going to click once at the beginning of this wire jus I clicked and it didn't do much but now I'm going to hold shift and reach to the other side and click and that's the tip: when you do that and release it, a straight line is created. from first click to second click, and if I want to get rid of that wire without having to carefully paint all the way click click and again, now I might be tempted to just go down here and hold shift and do click again or here and start and click again but then it's going to create a diagonal line from your last click to this click so you always have to start with one click and then you can do the second click so same thing here click right in the middle of that wire then hold shift to the other side of the wire and click one more time and that will go ahead and remove that second wire now you might be asking terry , should not?
photography masterclass photoshop tips and tricks for photographers

More Interesting Facts About,

photography masterclass photoshop tips and tricks for photographers...

Shouldn't you be doing this? Shouldn't you be doing this on a new layer? Shouldn't you be doing this? You know people always ask me that and I always say yes if you want to create a new layer by all means as a backup create a new layer but I always remind them when I'm working. in a raw file, there is no way for me to save over the raw file with these changes, so my raw file is always my go-to backup, but if this makes you nervous about doing it in the main background, first duplicate the layer. and voila go ok now what i wanted to achieve with this coyote was uh and i agree i don't like the background that's in the s i don't like the grass peeking through the snow and your request was put it on a white background now i'm going to comply with his request but then i'll do it my way so let's do it first let's do what he wants and then let me show you what else he would do right next thing he was having trouble with was cutting the coyote and not make it look like you cut it with a pair of scissors because as you can see if we get closer you can see there's a lot of fur and first it sticks out at the top and then it softens as it goes under. it's not that much but if you don't cut that carefully um if you don't know carefully I know what I'm doing here you don't cut that carefully you'll end up looking like you just cut removing all the fur it looks like a very tough edge cut so what want to do is first you would always select a subject because the subject is clearly defined you know what you know there is a coyote there and it will probably be difficult edge selection because while selected subjects have improved with people it hasn't improved much with animals , so the fur isn't even affected that's wonderful ok yeah the first one isn't affected with the if you're talking about the first tip yeah because that's what the spot healing brush is gre anyway next so now because the ferd isn't really cut that nice and before we go ahead let's go ahead and put this um change the background on a layer so here's another bonus tip what if i want to change the background to a layer let me zoom out because i zoomed in the wrong place there we go you'll notice you've got this little lock icon just clicking the lock will turn the background into a layer so that's an old tip i just give for granted now what i'm going to do is also fit photoshop into this window there we go and let's continue creating a new layer that will be the white that he wants so i'm just going to fill that layer with white by the way my default colors are white and black but if they weren't you would press the letter d as default and that will change them to black and white and then you can press the letter x to change white to foreground black to background so x just changes your foreground and colors background ok now with that said i'm going to hold option and press delete yes option delete first let's deselect because i want to fill the whole layer ok deselect now we have all da layer i was laughing because like a newbie mistake but anyway deselect first which is also a keyboard shortcut command d pc control d and then you can do alt delete alt backspace or in my case the option delete to fill that new layer with white now we're going to pull that new layer behind the existing layer so we end up with that white background that he wanted now let's go back to the original layer and now let's go ahead and make our selected subject and there we go and that it will make a selection of the coyote probably not a great selection but it did make one and now we're going to go ahead and see how good or bad that selection is by going to select and mask ok now that i have the mask selected it will bring the space of i work on just a second here and there i can see what it looks like on that white background because i'm using the onion skin view or i can even say layered either one shows me I would see what is behind it so it shows me the white behind it I can also see it as a mask.
photography masterclass photoshop tips and tricks for photographers
I can see it in black, huh, and again, the amount of trans opacity or transparency shows me what it would look like, so you can have many different display options, but let's continue. to onion skin 100 transparent and this is the problem that I think you were getting into is that the cut looks so rough it doesn't look clean so what we're going to do is go in and there are two modes for its refinement, these are pretty new. I definitely want to be in the object-aware mode that I'm in and can even go to refine the hair, but I'm not going to because again, it's not a person, so next I'm going to switch to my Refine Edge tool, which normally places it by default and the next thing I'm going to do is reduce the size of the brush so what I've found is that if you want better refinement of your edge, smaller is better when it comes to the brush, like so I'm just going to reduce the size of the brush. just a little bit without making it bigger than it needs to be and notice that that brush has a plus sign on it and the plus sign is what you want to target with that plus sign is the original background even though we don't look at it we know it's where is the white and then i'm going to go oh my calibration is off this screen wait a sec i'll do it with the mouse huh i'm just going to come. to the edge keeping the plus sign away from the coyote and you'll say well wait aren't you bringing back the bottom?
photography masterclass photoshop tips and tricks for photographers
No, I'm acting. I usually paint to see the fur as soon as I release the mouse it will recalculate the background based on what I just told it to do so just go in around all those edges and we'll go all the way down and then I'll let it go once to let it go there it's recalculating to bring back some of that fur we can do now look at the before here we're going to do the same thing around this bottom edge which again isn't that much fur sticking out but it definitely shouldn't look as harsh when you do it and then when I let it down, it brings out that fur, so it gives us the look I was going for where you can't see it, um, so cut with a pair. of scissors, well, here we go and again, if you can go through this edge as many times as you think necessary and refine it and the only thing I didn't do was I didn't do it between the the legs here the legs here we don't see the legs because they are in the snow and we're going to go around and do the same thing around this edge now talking about we don't see the pause because they were in the snow so I'm not sure why you want this on a white background because you're not going to have a pause unless that you're going to touch up some other legs there, it'll look obvious, which is why I said I'd do what he asked, but then I'm going toshow you guys what it would do right so now it looks a lot better so I would do a couple more things I would go into this not a big deal in this particular photo but if there was a cast like green or blue or orange or any shade of the original background I would go ahead and turn on the decontaminated colors to get rid of that tone like I said not a problem here but I would go ahead and just turn it on anyway because what that will do is that will smooth those edges back a little bit more and it will give me a better cut from now on a new layer with a new layer mask will be the default every time I turn on decontaminated colors and I'm going to go ahead and get the smart radius you can also see an adjustment here if we just increase the smart radius just a little bit and what the smart radius does is it says anything that should be a hard edge I'm going to keep it as a hard edge anything that should be a soft edge I'm going to make it be smooth so now we'll click ok and I can further refine that and go in but you get the idea so what it did was it created a new layer with a mask that we just made and now you see it on the white background and I was able to save and close because that's what he wanted but that's not what I want so what I want is to see this on a better background but not so not so um not so grassy in other words I don't want to see the grass sticking out. so i went into adobe stock and i just searched there is a free collection on adobe stock by the way you can just search for free images i just said snow background or snow snowfield snowfield i think thats what i searched for and when i got three images which I like so I'm just going to pull one of these out of my creative cloud library and I might not be able to get it down from there but I'll go ahead and bring it here and that will bring it in and I can go ahead and size it where I want it there we go and i know that uh here let me show you what it's going to look like.
I'm going to bring it down now under the layer we're working on and there we go now again that makes it look more natural because there's snow there and the paws are nice. to exercise better and so on, but what I don't like is that I don't like the tree behind the coyote because it only distracts because you can't. It's hard to separate the coyote from the tree. What I'm going to do is go back to that winter landscape with the snow image I downloaded hit command t free transform pc control ol t and right click and say flip horizontal so just because you know you don't It does matter which way this tree is facing and that way it separates the coyote from the um from everything that's going on in the background and makes it stand out more so those are some of the kinds of tips I would have given this person for this picture and if you're watching I know Bill might be watching a lot if you're not watching live go watch on replay that's what would do well um so people are making suggestions like can't you just mix if and couldn't you do this and couldn't you do that and yes, could you do all those things? but I'm not doing those things right now, okay?
So will this tutorial be saved on the page for future review? Yes, all videos are always saved for future viewing. Hello Sally, how are you doing? of the year but sometimes i also do mr michigan ok so with that s help i miss the people not the cold weather ok now let's move on ok so next back to my list , one of the things that you may have noticed is that my tool panel may look a little different than your tool panel as I have some tools that are showing that in a different order than what you can see I have some tools that are separate that may dont see that you may not have and so on its because my next tip is you can create your own custom tool panel that way you never have to see the tools you never use and the tools you use you can put them in the order you have the most Makes sense to you and it's like I use this tool all the time I want it near the top of the tools panel it's not buried at the bottom and under other tools so the next You extra tip is you can go to edit, go down to the toolbar which will show this. and in this panel you can go in and start arranging the tools you want in the order you want. hem so I put the move tool that was already on top then I detached the object selection tool I detached the quick selection tool and then these marquee tools are here so basically I keep all my selection tools near the top now for example I think I want the spot heal brush on top of that so I can literally drag it up and I think I want the heal brush right below that and I realized they're separate, they are not in the same group so they are individually separate from each other and as i move them you see them move in the actual tool panel so if i put the patch tool under the healing brush you see the patch tool under the healing brush and how not I really don't use the heal brush as much as I use the spot heal tool.
I'll go ahead and group them so they're in a group and I can always pull down and get to the one below because I don't. Don't use that tool as much as you don't know at all or you can hardly ever drag to the right here where you can see a bunch of tools I put to the right because I hardly ever use them and therefore they're not in your panel main toolbar now i do use the line tool sometimes let's go ahead and put that one back i'll put it near the bottom and there we go now once you're happy with your tools if you just click done that will be your new set of tools but what you probably do is go ahead and I'm going to recommend this as a tip go ahead and save it as a preset.
I realize I call the touchup toolbar of mine so I'll go ahead and click to give it the same name and replace the old one and um yeah replace it and that way if I ever need to load them in a new machine or, um, I get a new computer or I want to put them on a second computer, I can just copy that file and upload it and all my tools will be exactly how I want them to be right, so you can create as many separate toolbars as you can. Any different purpose you want and just save those presets now the next um talking in the same vein is there are so many things we do in menus that sometimes you can forget where you are in the menu because you don't use it every day and it can get buried like, for example, one of the ones that I always end up looking for because I can never remember if it's in edit or if it's under the image or if it's under the layer, so I'm always looking and I still don't see the one I'm looking for um , wait I think it's in edit yeah ok I see it because I don't have multiple layers selected so let me go and select two or more layers and if I go into the edit menu it's called because I don't have that layer visible wait there we go now i should see it uh i still don't see it how come i can't do both at the same time? and it's there but it's grayed out um ok let's do those two here we go what I was getting at is I want to use my auto align layers and um I'm not in the right mode to get to that but anyway lets just say i can never remember where it is whats the key to this tip let's go edit menus and if i move that window and go down to edit whats where that feature is it's edit and it's below there are auto align layers , i can never remember where it is i can give it a color so it jumps out to me and so when i go to edit it's green oh there it is there like i can sew the ones i always look for i can give them different colors i can give the same color whatever so that when I look through a menu the things I have done are The ones I use are different colors but I forget where they are and that way they jump out visually every time ok, color your menus now, this leads to the next tip, like this that custom toolbar, custom menus that you can turn coloring on and off. and so on and so on last tip uh I want to go in and choose um and here on the far right this little square icon looks like a screen choose a workspace so you can go in and you'll choose one of the default workspaces and you probably already have it so start with the basics you can um you can you know use the painting in motion from the 3d workspace where I'm using the photography default workspace and all these they're great but there's nothing like yours so if we go ahead and create a new workspace and we can call it uh my tw photography tw photography workspace and then i can tell it what to include so it can tell it to include the toolbars i am currently using the menus the way they are and the keyboard shortcuts if i modified the keyboard shortcuts the way they are and that way i can do as many different e workspaces for the type of work I do and they will always show me the correct tools they will always show me the correct menu options they will always show me the correct menu options in color and also if I modify the keyboard shortcuts and save them as sets, always it will choose the correct keyboard shortcuts if my memory isn't good enough to have multiple sets of keyboard shortcuts so i keep one set which is the default and that's what i live with anyway lets go ahead and hit save and now , that's the workspace I'm in, so if I go or yes, that's the workspace I'm in, so if I go back to basics, that's the essential workspace and I move the panels and i see what it did with the tools i like completely changed the tools and whats where and now if i go back to look at the tools panel if i go back to my photography workspace tw look at the tools panel, changed to my favorite layout for tools so photoshop doesn't have to be overwhelming, it doesn't have to be a bunch of things you'll never use, it can just be the things you use all the time in any order you want , wherever possible and little details and colors that pop so you can I can go ahead and see them faster ok my brush switch went from a circle to a cross hatch and I can't go back to ok so uh davis david hundley is asking hey tip the um tip with the click back and forth for the dot heal brush said its your brush is turning into a crosshatch and i see you are referencing caps lock usually it is it's because caps lock is off for example if i go to that spot heal brush i can't do it on that layer but if i go here and do it oh wait wait wait why don't I have the ability to do any of this?
Hold on a second here we go if I go to a layer where I can do it and uh I put the caps lock key on I notice my tool has changed from a circle to that crosshatch you're talking about it's because my caps key caps lock is down so its called precision mode caps lock down turn off caps lock it will come back to a circle ok uh i am going to go ahead and turn that layer back off i dont need it and we're going to move on to the next image because I'm done with this image as well so let's move on to our next tip ok one more thing before we leave this image let's say you then want to start zooming in and out and working on specific parts of the image so I want to zoom in on the eyes and work on the eyes of this image okay cool I'm zoomed in and it's cool but I also want to go and start working on other things look let me rephrase that while I'm zoomed in could switch to that healing point. brush up and start doing things to that particular image, oh it's a smart object for some reason, there we go. and zoom in on another part of the image or I could move around well it has the navigation pane which is great for that and by the way it's usually on the histogram but you can switch to the navigation pane and you can actually move in the histogram pane navigation to get to specific places so I can get it down e to this to this grass that was appearing from the original background and I can go in and grab my brush and I can grab some black paint and I can go ahead and make my brush smaller and I can go to the mask and i can start masking that grass if that grass was the problem it looks like that's not the problem wait let's see yeah that should be the problem. that mask no no no no properties i know what's going on with that mask all of a sudden in this picture but something weird is happening brush ah wrong mode that's like something is normal there we go there we go that's what i should always be doing in case If in doubt, look at your options to make sure something isn't set from thelast time you used that tool so you can go in and start working on this and you can navigate to anywhere else you want to get to oh i don't like that little hair up wrong tool sorry i like that little hair sticking out so i fixed with the right selection here we go fix that and off i go thats great thats one way to do it using the browser but if you want to use the quicker and easier way to do it i am still in the heal brush no more i'm on the zoom key but if i hold the letter h and click i can move i see the size of my viewing area and i can move to any area i want just release it and now i'm working on that area so hold holding down the letter h click and then you can move or whatever you want and release it that's called a bird's eye view and it's just one of the ways to work faster and move faster around your image to the areas where you want to ea work and that's really the advice now that we've done that we can always hit command or control zero to zoom out and uh the next thing we're going to do is go in and see my next step my next tip is we're going to switch pictures let's go let's go to this picture let's open it up zoom out and this picture a friend of mine showed me this picture of his dad when he was in the military and I was like oh that's a cool picture that could definitely use some from photoshop love there are a lot of little blemishes from the original print in the picture there is a crease here there is a little piece missing there so i went in i'm not going to spend a lot of time retouching the image because that's not the purpose of the tip so let me get on with it and do a couple of real quick things sorry im playing with my fingers today on this mouse wait lemme come back wait folks wait wait there we go trying to get there. back to that image we're going to put it back on the tab so I go with my patch tool and I can start patching some of that stuff that we see and I can start patching this line uh here on the top and get rid of some of those things and this line here i can use the same tip we ed before with the dot repair brush making my brush a little bigger and clicking on top and then holding shift and going down and clicking and that will click and now that tip doesn't work so I'm just having one of those days here wait wait deselect let's try again there we go I had a select partner select I didn't see that can happen from time to time like this that when you have doubts that something is not working, press command or control d to deselect it because chances are that either your tools are not in the wrong mode or you have a still correct selection, so q ue anyway I went in and did all that kind of stuff now that I did all that kind of stuff the next thing I wanted to do was get rid of this old sepia tone and turn it into black and white is fine so to do that I just used one of my favorite ways to do a black and white these days is the raw camera filter and with the raw camera filter uh come on go in and use the black and or actually we'll just use the profiles here's one called monochrome and black and white and we go into that and I get to choose the type of black and white that I want, so I usually just hover over each one and mentally note that I like the number three bmw and move on, if I don't like it a better one, I'll go back to that one.
I like number five too. Let me see three against five. Three has more contrast. I can go with either one, but let's say three. for the sake of discussion today okay so I do three and then the next thing I want to do is be okay I've got this image nicely done and I went ahead and touched up all of that but I'll do it now that I have the image is nicely done so next thing i'm going to do is go to our filters menu go down to neural filters and with neural filters we're going to go in and turn on colorize and that will use ai to figure out what it thinks the colors of this image should be and he did a very good job apart from me I don't like jackets of two different colors but that's just you know something else so take your pick which one I like.
I like the brown jacket as it is the most. So another bonus tip is that we are in the area where no. If I don't get the color right or the way I want it, I can go in and click here in the preview to click and edit the local focal points and that will bring up a color picker and I wish this color picker had an eyedropper. I haven't been able to figure out how to get an eyedropper because I really wanted to try that brown, but I think that brown is there as a preview, so there's no way to get to it, so we'll have to guess where. i think brown is and i'm going to think brown is like here and then when i click ok that will blend yeah that's close enough it gave me that color in that area to give me the same color great white and black is quite easily converted to a color image without a lot of work and if there's still more I need to do, it's going to generate this color and render it as a new layer anyway, very nicely done, now I have my new cape, so the next thing I thought was that they talked about having this image. printed and framed and I thought oh that would be great but a couple things number one we'll get to this in a minute I don't know if that's enough resolution to print this I didn't even look at the size of that number two um I would love to see what this would look like framed or what it would look like as a frame so next thing i'm going to go to my um i'm going to go in and do two things i'm going to say do i have to do this in this? joke around and say it's the left side of the keyboard so it's command or control in windows option or alt in windows shift e as in edward and that will make a positive com layer of all the layers you selected so in this case it created a composite layer of my color and it's there on its own and that's cool I still have the color overlay I still have the original black and white but now I've converted them let's get to this cool now what I want to do is to create a new layer just an empty layer by itself and we're going to use it as our image frame layer and in our image frame layer i'm going to go ahead now and go to a filter that you've probably never used or never even knew about what was it for so let's render and it's one called an image frame and i have to say um usually when you see this kind of auto generation um uh filters i i are not usually the best layouts because i think in a lot of cases it's done by an engineer, not a design nerd so uh like simple lace i i no i'm not going to have any use for that um strands ok i'm not going to have any use for that uh at least not in this case so i'm going to come all the way to the frame of art and the cool thing about our frame is and don't don't don't just don't be deterred by the preview because I look at all these frames down here and they're brown.
Like come in and say hey you know whatever I wanted a red frame I don't want it but let's say I did and that will turn it into a red frame so don't be deterred by the color you see in the preview because you can do it in any color. you want everything right so now let's go in and change it to black yeah voodoo val i know it's cool right things people rarely pay attention to now i miss it and this through me too it's like waiting wait a minute, that framework doesn't. it looks like it's going to be the right size it looks like it's going to be too narrow from left to right and it doesn't look like it's g I'm trying to fit the image and then I start playing with the margins and say no that's making it worse.
You're still not giving me what I want and I'm down to size and that's really just the frame size which is actually kind of a thicker version of that and all that and I say don't waste your time trying to make it fit to your image it's not it just won't fit your image so go ahead and click ok and let go and that's why we do it on a new layer so let's click ok and like i said , don't worry about the size because it's not going to match your image, but now that you have it there as its own layer, you can now hit the command t ctrl t in windows to release the transform and it will start trying to scale it and say wait , the proportions are not the same even if I make it bigger it still isn't it's still too narrow i need it wider this is the only time in a year you can hold shift and stretch something so it not be proportional. because it's a frame, it doesn't need proportions, it doesn't need to be right, so now that we have that frame in place, which itself might be okay, I actually want it to look a little bit cooler, so let's go ahead and do a couple of things let's stick with number one and create another new layer place it below the portrait so the porch now the portrait is sandwiched between my new empty layer we'll call this frame we'll call this portrait and call it background so we're creating a new new background layer ok so now that i have the portrait in there i can go ahead and play around with the size of the portrait so for example i hit command t and go ahead and this time i do want a proportional I'm going to go ahead and scale the portrait down because what I want to do is create the look of an art matte a matte that's going to be kind of cool behind that so now we have we can go to our new background layer and we can s swap the colors from black to white to white to black hold our option key and delete to fill that with white cool and now we can go into that portrait and we do a couple of things we can go in and use the effects panel and we can do um we can make a stroke around it so there's a stroke effect and that just puts a thin black border around it so it doesn't look so photoshopped to make it look more natural like it has that matte around it great and yeah that's all you want you're good you're done but we can go one step further let's go back and forth and double click on that we turn on the stroke and now you can have multiple strokes if you need to you can have multiple shadows and so on and so on if you need I don't need multiples but just pointing out that's what the plus sign is for I can go ahead and turn on some inner shadow and let's see if I like it that way oh inner shot there we go go up Let's try the opacity of that a little bit I'm not really seeing it much there we go so let's do the size and change the direction it's coming from and now we can now I can see it better I can pull it back a little bit and that really makes it look like it's behind the rug because you're giving it that depth with the shadow ok so that just kinda takes it away you know for people who really want something to not look so airbrushed i know the voodoo vowel looks real ok so that's the point is to my eye that looks real um now the only thing i don't like about that frame is the lighting because it's too bright on the right side so i would take that frame layer and I would duplicate it and then uh let's do our t command and right click on it and go ahead and flip it horizontally and oh now just move the white to the other side you're right but we could go ahead and just make a selection, let's first lock and This is to make a rectangular selection on that side cool and we could go in and we could, uh, add a mask, a layer mask by holding down option or alt to hide whatever's in that rectangle so now I don't have that light bright on the other side if you want to do the same on the bottom you could do it again flip it one more time and make the bottom so it's not so white the bottom doesn't bother me as much as the right side which is too much, uh too bright ok that was a bunch of little tips mixed in there just because i got carried away working on this image but i got it right so we colorized we did a neural filter we did a frame we did you know, creating a fake matte, we did all sorts of things to make that image. looks good now, I just ask that you know that the touch up should be finished on the hat, but otherwise you are good to go. i've shown this image before if i can find it here here it is and zoom out we have the bat woman next to her batmobile and i want to create kind of a red smoke behind it so first of all i don't like the car pointing at the Paint, that car shouldn't be another car, I could try to clone it, I could try and be content. where do i fill that in or could i just for time's sake go to my regular crop tool there we go and crop it all there we go it's just a distraction it doesn't need to be there all the following now we got rid of that distraction what i want to do is create the illusion that there's red smoke behind the car um so I'm not going to fire that's a good choice but not only that's ok so uh first to have smoke behind something it's easier if you can literally be behind it like this I'm going to do a simple tip that whenever you want to put something between the actual background and the subject which is the car and the background thatits the night sky so what i can do is just use select subject one more time it will try to select the car oh this time it didnt hang on undo undo select subject is ai sometimes it does what you want sometimes not there we go is the clipping which messed it up because I thought I've done this before and it worked fine so I'll clip it after the actually ok it did a good job not amazing but ok it gave me most of what I want to, so I'm going to go to my um, my quick selection tool, hold down the option key, which is always subtract and subtract the pieces.
I don't want it to, so I don't want to get any of that top off the top of the car. I can add all of that and um and again I'm not really worried about this stuff underneath I'm not really worried about her I don't really care about the stuff at the bottom because I'm just going to put the smoke on top anyway so , again your selection doesn't have to be perfect it just has to be a decent selection of the shape now that I've got that decent selection of the shape I'll go ahead and hit command j on mac pc control j and all it does is put it in its own layer so putting it on its own layer isn't a good clipping at all but all i needed was just so now it's on its own layer you don't see any visual difference because it's still on top of the good one now i can go in and make that cutout, so we press the letter c. and we'll go ahead and cut out that other cool car and now we can go ahead and create our fake smoke so we're going to go ahead and create another layer um we're going to tuck that layer in the middle and now I've got my layer in the middle , we're going to go to our brush letter b for brush and we're going to open up the brushes panel, which is this icon above it e at the top left of the control panel at the top there and we're going to go to brushes and this will show you all the brushes you have in photoshop and it will say ok terry i dont have nearly the brushes you dont have i dont have these watercolor brushes these uh splatter brushes these five watercolor brushes how the hell do i get them right in the top right hand corner in the brushes panel there is an option to get more brushes is that where i got them from? and kyle webster, who will be one of our evangelists, rising later today, is the maker of many of these brushes that we are now giving away for free, you just have to buy them from kyle webster. grab the kyle webster brushes and we give them away now so you can download the watercolor set just like i did it's free to download and um uh it should install automatically in photoshop but if it doesn't just come back to this panel and you'll say load what is pencil brushes or import brushes low import brushes go to where your downloads is that's where it is and then adamant so i did that now i'm scrolling through watercolor five and what i'm looking for in watercolor 5 it's kind of a brush that looks like smoke like real giant kyle watercolor 500 is the one i'm using so now that i got that color sorry i got that brush and you can go ahead and make your brush nice and big for this now that i've done it i'm going to go ahead and swatch or get the color i want i could use the red straight out of her suit so here's just a bonus tip if you want a brush in a particular color which is already in the image hold your option or alt to temporarily become the eyedropper click that will give you that color now its your foreground color which is here to my left of my head and now i can move on and let's just see that our flow is normal we're on it why am I there we go start painting our smoke and because we're on the layer between the um we're on the layer in b between the car that we cut and the actual car it looks like which is behind it and like I said in this case it doesn't have to be perfect because we're just going to put some smoke in there so let me. undo i got a little carried away there uh i didn't want that much but c'mon there we go there we go something like that i'm just using light strokes if you have a tablet that means you can do pressure sensitivity and you can create that smoky effect of what's going on in the sky behind your image so that's one way to create kind of a smoke effect using that you can use your own images for the frames no the frame filter is what it is is what it is uh that's everything, what you see is what you get, you can't import your own good, that would be nice, but you don't make it good, so smoky, which makes it smoky, okay, let's go ahead and jump into this. tip while we're here um i'm just looking at my uh tips here and looking at the amount of time and seeing which one i want to get to is more important ok let's do a couple things real quick ok so in Along the same lines, one of the things that separates Photoshop from Lightroom is that or any other app that we make for photo editing is that you can add text and that's one of the things that people come to Photoshop just to do, even if they're not going to do any editing, so if I go in now and go over this layer and click on the text tool and I click my um, my selection right on the image, it'll put lorem epsilon, whatever whatever the default color was last time and i can go ahead and just type uh bat ok so now that i understand i want to do a few things to it because it doesn't look the way i wanted it to look it's not the fun I wanted, it's none of those stuff so i'm going to go ahead and first sort a uh pc control a so it's uh all selected now in to resize i could go up here and choose the fonts and that's cool i can s oh oh , make it 72 points, make it bigger and you'd say okay, what if I want more than 72 points?
Well, the menu stops at 72 points. You could go ahead and type um, you know, go in here, double click and type 90 points. 90 points there we go and that will make it 90 points, but it's still not big enough and if you're not the kind of person who guesses the size of points without two or three tries, you can hold down the command key while the text to select it and you can literally drag it to make it bigger, but hold down Shift once you start dragging if you want to keep it proportional, in other words you don't want to stretch the type now no matter what you do. he did it, it ended up being 222 points and he can do it now.
The other thing is, besides the menu, the writing and the size. then i can hold my mouse button down and clear the type v It's usually bigger or smaller so that's another way to do it and if bonus tips on clear sliders if you hold down the Option or Alt, it's performing the cleanup at a slower rate, so it's more precisely paced, I should say. if you're trying to do that if you hold down shift you're scrubbing at high speed, in other words I want to quickly jump to a large size hold down shift and you're scrubbing to a large size with not much scrubbing , so now that we have that in place, the next thing I want is and, by the way, while it's selected, you can hold down the command or control key to move it so that I can move it into place and get where I want it to be. next thing you might want you might want to pick a color so you can take the color swatch here and I can say well I can make it any color you want it can be pink. can't be batwoman i would probably never be in pink but anyway i can make it red i can make it whatever or as i float out of that box i can pick a color from the picture so it can be the yellow and light i can make it be the beige in this parking structure i can make it the red of that neon symbol over there i can make it black like the car i can make it whatever color i want it to be or um the white that's on the stripe on the road there and get that color so um can you don't have to live with what you try and find there you can actually use a color from the image just like we did for the brush last but not least the font is adobe clean which is our internal font so let's not make it adobe clean as i hover over these font options uh i can see i let's just say it's some kind of rude um adobe or rude place for that woman garnish 5 condensed sand is what i ended up with and let's see, yes yea there's just one regular for that and off we go that will give me my text and my text stays fully editable i can move it around as an object i can reshape it warp it change the individual colors letters whatever i want to do right this is how we would work with the text to get the color we want next I only have a couple minutes left and I knew this would happen okay so let's get back to the um what if your image remembers that that soldier image if that image wasn't big enough to print remember that could be the problem so I showed you this tip earlier which is super resolution and I display it all the time from Lightroom if you open and let me jump out of this and I have a uh this image of a guitar and it's a low resolution image let's drag it into the open dialog so it jumps to that cool guitar and I want to open it up and make it bigger so what can I what I'm going to do is if I open it right now it will just open with mo a jpeg so i will change my format to camera raw so i tell this jpeg to open as a raw image. even though it's not a raw file now that it's there I can right click on it and I can go to upscaling and I can c choose super resolution and upscaling it so it takes the image that was originally only 576 pixels per 922 and duplicate it in size 1152 by 84 1844 and it will make it a new dng file so if I just click done that new dng file will appear to be next to the original file I just made there it's improved dng double the size of a raw file now there is another way to do this if you are not a lightroom user you can do it in lightroom but if you are not a lightroom user you also have the ability to install adobe bridge and in bridge you can do the same , you can grab the jpeg, you can hit the r command like in raw, that will take you directly to raw in bridge and you can do the same thing. enhance to make it a super resolution image and click enhance and that will put a new dng file right next to the original that is twice the size without losing any quality that's the most important thing so when we say double the size it's not that much just twice the size it's twice the size and it looks the same so here's the original guitar let's zoom in again here's the new version let's zoom in and the quality isn't better it's not but it's not worse it's the same it's whatever quality but double resolution is fine with that being said we're out of time friends thanks for watching we'll see you next week cheers stay tuned for daily photoshop creative challenge and more masterclasses bye y'all

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