All language subtitles for 3. projects.mp4

All right, so that covers camera raw.

The last thing we're going to do in

camera raw is
we are going to create a panorama.

But this is also the first lesson where
we're actually going to take the photo

into Photoshop and start using Photoshop.

Finally.

So we're actually going to replace the sky
after we've created the panorama.

It's going to require creating a mask
and using some layer blending techniques.

So let's get started

All right.

This tutorial I want to start taking,
taking you through the pipeline from

camera raw into Photoshop and then making

layered corrections in Photoshop.

And I'm actually going
to pick a panoramic image

just to show you one last little trick
that you can do or one feature

that we have in camera
that I haven't shown you yet.

So in this case, you're going
to see five files in the 07 panorama.

We're going to just pick the files called
Panorama is a one through four.

We're going to hit open.

And here

you can
see this was not taken with a tripod.

I was simply standing
on the edge of the road and took

four images as I kind of turned around,
tried to keep the camera

at the same height and took four images
Kind of showing this canyon here.

And what I'm going to do
is I'm going to select all four images.

Right.

Mouse, click and say merge to Panorama.

Okay.

So this was not able to find my valid
lens profile.

So this is a case where

it was not able to recognize the lens.

So let's go ahead and go into our lens
here.

And I'm going to manually select
the lens profile.

So in this case, it is

a rock and on lens.

And you'll notice as soon as I said
the make it figured out the model.

So like I said, there isn't a lens
that I have so far run into

that camera has not been able to find.

So the most I've had to do
is give it a make.

There are a couple instances
where I've had to tell tell it the model,

but normally
it can even figure that out by itself.

So now I've made that correction
to this image, but not the rest.

So what I can do is I can select
all of them and say sync settings

and I can

check none and just pick the lens
profile correction head.

Okay.

And that's going to apply that same lens
profile correction to the other images.

Alison, they want to just get rid of this

so I can go into my spot
to make that a little bit bigger.

Select that little lens flare there.

And you can see

it's not doing a great job in this case.

Let's try clone

And I think the feathers too big.

Yeah, that is the problem.

All right. So let's go back to here.

And there you go.

Let's head these
so we can see it without the overlay.

That looks good.

All right.

So now we're going to select
all four again here in our filmstrip.

Right. Mouse, click

You can also click here, by the way.

That's the same as doing a right
mouse click.

And we're going to do merged Panorama

All right.

It has now created a new panoramic image

and it's used a spherical projection.

You can see

cylindrical should work
pretty much the same

perspective.

Usually one
that's perspective is if you take

you know, like if you create it in a box.

So if you're just taking multiple

images with a tripod,
either use cylindrical or spherical

And we can auto crop.

If you don't know how to crop,
you can see kind of how it's merged

the images together the auto crop crops it

to give you as much of the image
real estate as possible

and applying the auto turn
if this basically applies

adjustments to it
based on the engine and camera

kind of the auto engine and what it thinks
the corrections should be.

You can always go and change those
after the fact.

So let's head merge
and now it's going to have you save

a new camera raw file and it's added
pano to the end of the name.

So let's go ahead and save that.

And now you can see I have that in here

and I can make
all my standard corrections to it

so I can go in here,
maybe make the image warmer, lighter.

But in this case,

I actually want to take this image
through the pipeline into Photoshop.

So let's go ahead and
make the corrections. We want

I like

the color balance pretty much where it is.

I do want to push up the shadows

a little more

You can see the auto has already taken
the highlights down.

It's already adjusted the whites a bit
and the blacks.

Let's also add even more vibrance to it.

Kind of like that.

And I also want to add a gradient
to the top

here that just makes this blue
a little deeper.

So let's take that exposure down
just a bit and maybe add

a little more blue.

You get that nice blue sky look

and let's hit open object

So we're now in Photoshop.

And what I want to do
is add a nicer sky to this image

and let's go to File Place Embedded.

We're going to pick the Cloud Sky's
image here and hit place

and let's just

hold down shift and stretch that.

So it goes across and you can see that

let's let's hold shift again.

I kind of want these these small clouds

here to start right
where that horizon line is.

So right about there.

Let's

so we have that place,
but obviously we need to create a mask.

So let's select our panorama image
and let's

go to the quick selection tool

and we're just going to start
painting across the sky here

All right.

So you can see it's done an okay job,
not great.

Some things that we want to fix.

So what I'm going to do is click on select
and Mask.

Let's change
the color of our mask to pink here.

You can also change what it's showing,

but I like the overlay.

And here we can

adjust, add or minus to our selection

So let's go ahead and zoom in here.

Using the same

standard Zoom shortcuts
as I use in Photoshop.

So that's spacebar for the hand space
per command to zoom

in space
for our command option to zoom out.

And here you can see we have these trees
and me trying to paint in here

to add or subtract
it's just not going to do

really a great job.

So that's where this edge tool comes in.

And the edge tool, essentially
you're just painting over the edge

And based on what's been selected
so far, it's going to determine what edge

should be in the selection and what edge
should not be in the selection.

And for this is great for hair,
it's also great for something like this

where you have, you know, these trees
that obviously should be in the selection

and you have parts of the sky that are
selected that should not be selected.

So let's just kind of paint across
all this

You'll notice when I let go,
it kind of does

its calculations
and cleans up that selection quite well.

All right.

Here,
I actually want to add to the selection,

so I'm going to go to this tool here
and just see if I can

So I'm going to hold down option,

see if I can get these out of my selection

You can see
there's very little contrast back there.

So it's definitely having a little bit
of a rough time

trying to figure out what I'm selecting.

But it's not doing a terrible job.

All right.

And then back to our Edge tool
to get this tree here

and let's go ahead and clean up this edge

Now, you can see there's parts
of sky in here.

So I actually may want to make this
brush bigger and just see what happens

if I paint through this whole tree.

You can see

Photoshop is smart enough
to figure out that I want

the sky selected there,

but I don't want the trees selected.

And look at that.

Back in the days
before we had these tools,

this would be an hour long project
of going through

and making a detailed selections
going through channels.

You have no idea how easy you have it.

All right.

Next right click on Smart Radius.

Add a few pixels something I always do.

It just it uses Photoshop.

I could just pull that selection
a little closer

and I always find it helps.

All right.

In this case, this is going to output
just to a selection, which is what I want

because I'm going to use that selection
on a different layer.

So let's set. Okay.

Now I'm going to go on to this layer,
make sure I have that layer selected,

and then I want to add a mask

and if I just click on the mask,
you can see I've now added the mask.

But what I want to

do is you can see this
kind of looks fake, right?

So but if I turn this on screen
and now looks pretty realistic

because the lighter areas
in the original background sky

are not being made darker.

And so just with that

now I am losing
kind of the darkness up here.

So so a few things we could do, but
I'm going to show you a nice trick here.

And that's
if you double click on the layer

here, we're going to get some layer
blending options,

something we haven't really covered yet.

And it's a very cool feature.

So this is the blend depth

and the blend if tells you

the top layer
should blend with the bottom layer.

If this range of the top layer

or this range of the bottom
layer is the target.

So in this case, I want to target
the top layer, meaning my sky layer,

and I only want to target the clouds
which are in this area of the image.

So if I take this and drag it
this way, you can see, oh,

my original sky starting to show, right?

But you get this heavy, heavy clipping

so to fix that clipping, you're going to
hold down option and separate this.

And we're going to just pull that back
to right about there.

You can see how that's
affecting the image.

It's kind of feathering that.

Now, if I hit, okay,

and there you go.

So now we're

screening, but we're primarily
just screening the clouds on top of there.

Like, if I go before

and after, you can see
we now have our nice dark sky back there.

Now, you may even like the light sky,
but there you go.

I kind of like that, too.

I like the slightly darker sky.

And let's

go ahead and get rid of this little sign
here, too.

So for that, I want to go zoom in here now
on a smart object.

You can't paint
and you can't use these healing tools.

So if I go here, you can see

got that big stop sign on on my tool.

So what I'm going to do
is I'm going to make a copy of this layer,

right
mouse click and rest arrives the layer.

Always keep a copy of your originals.

There's not you're always going to find
that you may have to go back to it.

You may want to adjust your camera.

Just make it a practice

of always making a copy of your layer
and then making corrections on that layer.

You can also then if you make
a bunch of changes and run out of history,

you can always throw the layer away
and start again without having

to create the whole file anew.

Okay.

So let's see the best way
to get rid of this.

First, let's do the big work.

So for that,
I'm going to use the patch tool

with the patch tool.

Just going to make a selection
of this whole sign here.

And then I'm going to drag that

and kind of fit,

you see, like how the cloud or sorry,
the leaves there.

Kind of line up to the old tree.

That's what I'm looking for.

I'm looking for something that makes
this area look a little more real.

Now you'll notice and try
to spread the color of this into it

and even the color of this.

And I don't like that.
So let's go, Kamanzi.

And before we do
this, let's get rid of these signs.

And for that,
I'm going to use the healing brush.

So the healing brush works
similar to the clone stamp

and that you hold down option,

and then you're going to paint over this.

And what it's going to do

is it's going to use the information
that you're painting with so option,

but it's going to apply

kind of the color information
from where you're coming from.

And again,

you can see I'm
trying to take parts of the image.

So this kind of darker
gray line in here, I'm picking that.

So option, click there, let go of option

and then try and a line
that up with the street

so that as I paint over this,
it looks like it belongs

and let's do the same here.

And don't be afraid

to paint multiple times over it

as you build the cleaner source points

that'll just make your final product
look more realistic.

And let's go ahead and do the same here.

The thing you want to avoid is

repetition, too much repetition of

noticeable patterns, right? So

I wouldn't

want this
rock to appear twice in the image.

I don't want this dark thing right here
to appear twice in the image,

but here we just pretty much have texture.

So if that repeats, nobody's
going to notice that

that looks pretty good.

And that's a tree.

All right.

Now let's go to our patch tool
and try it again.

This should give us a nicer result

Again,

I want to use this and line
it up with that.

So I'm going to pull that over there
until those two line up

And there you go.

That's pretty nice.

And let's also just go ahead

and get rid of this to

I'm just kind of looking
for something that looks natural.

So this tree line
kind of continues there looks natural.

Now, I don't like the way to blend it in.

So one thing you can always do
is go from patch

to content to wear
and see if that gives you a better result.

In this case, it actually did

And that looks pretty nice.

Lastly, let's get rid of this here

and the shadow here

All right.

That looks pretty nice.

Okay.

Let's do Command
Zero to see the whole thing.

We can also do a quick before and after.

You can see we got rid of those

and now let's save our file.

File save as I want to save in JPEG

that I can post on my

500 pixel page

or what have you to save a JPEG.

Like I mentioned before,
I always prefer the export save for web,

and the shortcut for that is option shift
command s.

So it's kind of like all your keys plus s,

and that's going to bring up this.

And here let's use our JPEG High.

Let's fit this in view,

which is Command zero again,

and that convert to s r g b

it's giving me a punch in the color.

Notice this is a little more red

that it does that

so that when you go to the web,
you're getting a little more vibrant.

That's something you can turn off
if you don't really like it.

I kind of like what it's doing here,
so I'm going to leave that on.

This is too big for web,
so let's take it down to 4K.

That should be plenty big enough.

Let's head save and let's go to our

folder, our Panorama folder,
and I'm going to keep the name the same.

Save and I'm

also going to save this as a layered file.

Same place it. Save

and that finishes our first image

through Photoshop

All right.

For our next project, we're going to
create a product photo of a water bottle,

and we're going to clean it up and get it
magazine ready.

So we're going to get rid of all the dust,
the spots.

We're going to replace the reflection
on the ground and we're going to add

some text behind it.

Let's go to file open

and we're going to go to 08 water bottle.

Let's go ahead and select
that camera file, click open.

First thing we're going to do
is a few adjustments in camera.

First thing I want to do,

you can see in our histogram,
almost all the information is over here.

So let's
go ahead and push that contrast up

and see.

We're
starting to lose some details in here.

So I'm going to take the highlights down

I want a little more contrast in there,

but I want to kind of contrast
on these bubbles.

So I'm actually going
to bring up the clarity

and maybe even the texture a tiny bit.

So we got a little more of the texture,
texture detail in here

that looks pretty good.

And what's

maybe just a tiny bit of vibrance there

And let's go to our straightened tool.

Let's go ahead
and turn on the straight lines here.

I'm going to use this tool just because
I have two things I want straight.

I want the table straight
and I want this bottle straight.

And let's also add this

And there you go.

We've now straightened up the whole image.

Let's go ahead and hit escape

And there you go.

For the rest of the corrections.

I'm going to do those in Photoshop.

So these like correcting in the spots
in here

and actually replacing this whole floor
with a new reflection.

I want to do all that in Photoshop
because I'm going to it's easier

and I'm going to get,
I think, better results.

So let's go ahead and

let's just check
here. We've got eight bit.

That's okay.

I don't want resize and
I do want to open it as a smart object.

Okay.

So let's go ahead and head open object

and there you go.

We now have this in Photoshop.

First thing I'm going to do
is cut out this bottle

just so that we can change the floor,

change some background elements
without affecting the bottle.

So the first thing I always want to do
is see if my automatic tools

are going to do a good job.

So let's

go ahead and go on to our quick selection
and let's try these select subject

and if you go
here, you're going to see a little icon.

This is the quick mask.

If you turn that on
you can get kind of a channel

representation of your selection.

And in this case, you can see the quick
mask here in your channels.

And if I double click that, I can change

the color of this

in this case.

I may I may want to use
kind of a magenta color

just because it's going to be very high
contrast

to what else I have in the image

All right.

So not a great job.

You can see it had some problems here.

And also, it's
not doing a great job around this glass.

So let's hit this quick selection.

Let's get out of that
and let's go select these select

I think what I'm going to do

instead is actually use my pen tool
to make a path around this

and then use that path to make a selection
Now, this does take more time,

but if you're doing something
like product photography,

having this clean
selections is really important.

Now, if I were just doing this
for Instagram or

somewhere where it's not going to be blown
up, I probably wouldn't

go through the trouble.

I would just do select subject

and use some tools in here
to clean up the selection.

But because this is going to be product
photograph

and it's going to be quite large
I want a really nice selection.

So let's go on to the pen tool

and let's zoom
in that spacebar and command

and I

want to make sure this is on paths,
not shape.

If you have it on shape, it's going to
create a new layer, which I don't want.

I just want a path all right.

And the simplicity of using the pen tool
is you're going to click and then drag

and that this handlebar here is going
to turn determine the curve, right?

So here you can see this
handle is too far up

because it's pulling this so

one way to imagine the pen tool.

Let's just go let's go back over here.

We can click on Path here because that's
where we're going to be using.

One way to imagine the pen tool
is to imagine that there is a rubber band

from this point here to the

arc here, right?

So this
rubber band is pulling right there.

And if I move this,
if I hold down command, you'll notice

my mouse changes from the pen to an arrow.

As I pull that around,
you can see how it's affecting the arc

so that imaginary rubber band is there.

It's going to pull
that in various directions.

And if you just kind of think

with that kind of makes creating that path
a little easier.

Let's do Command
Z a couple of times and go back to here

and I'm going to click drag, click

and then I can also,
if I hold down command, I can move these.

I can also move the anchor point itself

and we're just going to do that
around the entire bottle.

Try not to be
too zoomed in because you don't want to go

you don't want to go to the point where

the, you know,

abnormalities in the glass are becoming
part of the selection.

You're really, you know,

don't go overboard.

Put it that way.

All right.

I kind of fast forward through this

all right.

There you go.

Now, you'll see there's a few holes here
that we need to create.

Going to go in here and just add

to the existing path

and add these holes

One of the reasons I really like

using paths to make selections,
especially of objects like this

that have nice curves, is the ability
to create that curve.

You just can't do that
when you're using a lasso

and also the ability

to change parts of my selection
or parts of the path after the fact.

Good rule of thumb is

the less anchor points you have,
the better

just means that you're the anchor points.

You do have

to go here.

It just means the anchor points.

You do have are better curved.

Okay, so that looks like everything.

Yeah, just this little spot here.

Let's go back on that pen tool.

All right.

That looks pretty nice.

Now let's go ahead and go on to our path

selection tool, select all the paths
and you want to make sure up here

that this is on exclude
overlapping shapes.

All right?

Because if you combine the shapes,
anything inside the bigger one,

that's just going to be included within
whereas this exclude overlapping shapes,

anything that overlaps are big
selection is going to be cut out of it.

Now in

our paths Pelletier you're going to see
there is a new path

called work path, and that's
whatever path you've last created.

Whenever you're done
creating a path like we are now,

you want to double click this
and give it a name

so there you go. Bottle.

And the reason you want to do
that is when I start creating a new path,

you'll see it overwrites
whatever existing work path you have.

So that's something
just I've done long selections

only to then realize I didn't save it
and it was overwritten by the next one.

All right, I have this now

and I can select that path.

And down here
you'll see that little selection icon

that'll turn it into a selection.

Also, let's do command D to do select.

I can right mouse click and click on it.

That will also create a selection
and finally command D

If I have the path selected here
like this, I can right mouse click

and say Make selection
The nice part about this is

I can add some feather radius
and this will allow for subpixel radius.

So you can do like point to

all right.

So there you go. We now
have a nice selection of our bottle.

I want to make a copy of this layer

and I want to pasteurize it

and then I want to add a mask.

Now, if I turn off my background,
you can see we have our bottle

as its own layer

Okay.

Next, let's make
another copy of this restaurant as it

and I want to start fixing some of the

spots and stuff in the background.

I also want to bring up
the lightness over here.

So what I'm going to do is add a curves
layer

and I want to just bring up the darks here

until I'm
seeing some of that pattern in here.

And you can see this.

There's not a lot of information there and
it's giving us that kind of ugly grain.

So I got to do this not too much.

There you go.

All right.

Now, you will see the problem here
is that it's also brightened up all this.

So to get around that problem,
I'm going to select the mask here

and go to edit fill.

And I want to fill it with Black,

which is the background color

And there you go.

Now I can go to my gradient tool,
which is the G on the keyboard.

Pick my linear gradient
make sure I'm on foreground to transparent

and then I can make a gradient like that.

And that looks pretty nice.

I also want to get rid of the color
in the background.

So I'm going to go up here
and add a black and white adjustment.

And you can see that's just strip
that background of color.

And similar
to creating a black and white in camera,

you do have the option of adjusting

which color is mapped to what
shade of black and white,

but we're

not going to change those right now.

Okay, so that looks pretty nice.

Now let's go ahead and fix these up.

So I have two options here,
how I can select all these layers

and then go up here and go merge

selected or merge layers, command E

and that'll flatten up
all of these into a single layer.

And in this case,

I already have a copy of the original,
so I don't mind collapsing this one thing

I might want to do, though, is just take
some of the highlight out of this.

So in that case,
I want to copy this curve,

select the mask

and go to image adjustments and invert,
which is command.

I know you could see now
the mask is adjusting this side

and we're going to adjust our curve here.

Let's reset that curve,
make it a little darker.

And I might even take this Properties
panel here.

So I can see what's happening

There you go.

Let's put this back

okay.

Now I'm going to take all these layers
and command

E to merge them.

That looks pretty good.

You will notice that this has become
the colorized

not worried about that quite yet.

We will do something with it a bit later.

But first, let's get rid of the spots
in the background.

So here
we're going to go to our correction tools.

I'm going to use the healing brush tool

sorry, the spot healing brush tool.

So this is similar to the healing brush
tool that we use in the last tutorial.

Except for that, you don't need to option
click for a source.

It will use Photoshop,
say AI to look around

for a good source.

And let's just go quickly through

and correct
the spots here in the background

And this is just one example
where Photoshop is more powerful

and more quick than trying to do this
kind of stuff in camera.

All right.

So I like that we have these splotches
here that are not too happy with.

So I'm going to use the patch tool
see if we can just get rid of those.

So the patch to a similar to
the lasso tool, if you hold down option,

it turns into a polygon or selection

meaning I can let go and click

And then if I let go of option,
it'll close that.

Let's just drag this up here
maybe to there.

Yeah, I hate that.

Okay.

So you can see there,
it did not do a great job,

so let's command Z that turn off
content to wear and put it on normal

and let's try this again.

A much better result.

Okay, so that looks quite nice.

Now what I'm going to do
is I'm going to go ahead

and make a selection here of the floor.

I mean, sorry, off the back wall.

Like, so I do command
j and it's going to make a copy

of my selection into a new layer

go my move tool
to command t for transform.

I want to take my anchor points here
and drag it to the bottom

and then right
mouse click and flip vertical.

There you go.

I've got a nice floor now.

I do have this,

and let's see what we can do about that.

Okay, so in the original

all right,

so what I'm actually going to do here,

I'll say you'll notice this is a bit
lighter and a has this shadow here.

So we want to duplicate all
those things. And our final

and I do want to get rid of that.

So let's isolate this layer.

I'm going to do option
and then click on the eyeball drag that up

and we're going to see how well

our patch tool does.

And just getting rid
of the bottle entirely again,

I want to try to get as close here
as I can

make sure it's on normal.

Just drag this over here.

Really good job there.

Okay. Let's go back on the move.

Tool. Option, click on the eyeball again.

Let's move
that back in place to right there

and let's go ahead and add a curve here.

Again, I want to make this a little bit
lighter toward the bottom

and disconnect this here
so I can see my whole floor

and just make it a little bit lighter
like so.

And I want this
to just apply to this layer.

So I can do option and click
between the layers.

I just have a little handy shortcut here
that will do the same thing.

And with the mask, I'm
going to go back on gradient.

In this case, I want my foreground color
to be black some and hit.

It's also going to hit D
just to make sure it's fully black

and then go from here to about there

like that.

Let's go ahead and dock this again

and if I turn this off,
I have that little highlight

there and let's
go ahead and add something like that.

And to add a little gradients
here, going my gradient to

go on, White has my foreground color zoom
in real close here.

Let's just see.

So it's really short so just like that,
I mean, move it up.

Just a hair

and I held shift when I did my gradient
to make sure it's stayed straight.

Okay.

And then we can just adjust
the opacity of that.

So it's just a hint of it there.

Like so

next thing I want to do is take this layer

and I actually want to make this

a smart object in color with the mask.

So I'm going to right mouse click on this
layer and select convert to smart object.

Now see, I have this cut out smart object.

I can make a copy of that command J

then do command T for Transform.

I want to move my anchor point
to right about there

and then right
mouse click and flip vertical

all right.

Now, if we look at our original,
I'm going to option click.

You can see
we have a curvature in the bottom here.

So I want to duplicate that in this layer.

So what I'm going to do is go
command T for transform

and then I'm going to click on this
right here.

And what that's going to allow me to do
is change the curvature here

I just want this to line up

and also look like it's reflecting
properly,

like so

and then put this layer underneath.

It's a little closer up here than it is
there.

So let's go ahead to command again.

Go back on our transform and adjust that.

Now, one thing to note,
you can't go back and readjust

a transform like this
unless you have a smart object.

If you're doing it on a layer,
that's not a smart object.

When you commit the transform,
you can never go back and fix it.

So that's another beauty
of having smart objects All right.

Next, I'm going to put this on a screen

and let's compare again, option click.

That's pretty good.

Maybe not fully on screen.

So maybe what I'll do in
this case is add a layer on top.

You can also make a copy of layer by
dragging the layer waffling down option.

So instead of doing a command, a
you can drag that layer up, hold down,

hold down option, drag that layer up
and that'll make a copy.

Let's put this one on

let's try soft.

Lt looks pretty nice.

Maybe take the opacity down just a bit

let's say 65.

That works pretty nice.

And now I want to add some text
in the background.

Here, so I'm going to go to

right below my first reflection layer.

I'm going to select that text tool,

make my color
foreground, color white, and let's pick

oh, here, let's pick a font together.

So I'm going to click on this add
fonts from Typekit

that is going to open the font finder

in your web browser.

And let's pick a script font

and let's type in here water.

Now we can just scroll down here
and find a font that we want.

Can also make the text size bigger

yeah.

I want something
that has a little more roughness to it.

Ooh, this one's nice, Alina.

So let's click on View Family

and I want to activate a lot of regulars.

I'm going to go ahead and click
on Activate Font, see a little notice

pop up here.

The font along a regular was activated.

Can I go out of that?

Go in here and type in Alana.

And there you have it there.

A lot of fans.

I want to make sure this is on center.

I'm just going
to click here and type water.

And let's go ahead

and select all that by double clicking,
open our character tab.

I want the kerning to be zero

on script fonts.

You always want this to be on metrics.

On non serif fonts,

you can use optical.

This should be on 100%

and then we can adjust our font size
by just dragging this to the right.

I want this to be pretty large.

Let's hit.

Okay,

that looks pretty nice.

Maybe even larger.

And notice it's, let's say 300.

Now, if I do command T on my text layer
and drag this and make it bigger,

like that

and you'll see

that my font size
is actually changed as well.

That's a recent addition to Photoshop.

I used to not do that,
so it's really nice feature

I want to make sure you can read it.

So maybe what I'm going to do
is make a command to make it a little bit

smaller
and just kind of cheat the space between

the W or sorry, the A in the T.

So I'm going to go back on my type
to click between there

and then maybe hit one space
that's too much.

So do you want to add space
but not a full space where you can do

is hold down option
and use the right arrow key.

You can see what it's doing right here.

It's adding some space there

and also you can see here,

let's go to type panels, glyphs.

Some fonts will have nice character
replacements.

So in this case, if I select that are

you can see here
we have a few other options for the R

I could use something like that
just to make this a little fancier

or maybe this one.

Ooh, I like that one.

All right.

Let's dock this hit.

Okay, let's go back on our move to on
just move that to the

T is showing there here you go.

I really like that.

Now what I want to do
is make this kind of melt

into that background just a tiny bit.

So what I'm going to do is I'm going
to double click on the layer here.

Let's make sure I can see this.

All right, go.

I want to make sure I can see that
and I can see this.

So I may just actually

detach this,

move it up here while I do this

so we can see both of them
a little easier.

Okay.

So then on the underlying layer,
I want to move this to the right

until I start to see
some breaking up of my white.

So right about there
and then I can take this

hold down option and drag that like that

and that looks pretty cool and said, okay,

and then maybe take down the opacity

as well.

As I'm taking down

my opacity,
we're losing that detail in there.

So let's not do that

and instead
take our opacity down this way.

This is annoying.

I usually use a huge screen,
so this is not a problem.

Okay, here we go.

What we can do
is take our opacity down this way.

Option click.

Yeah,

let's try this

the problem I'm running into here
is because the background is

darker over here.

We're not getting this nice texture there.

So let's try this another way.

I mean, that doesn't look bad, but
I still would like to back this down more.

So what I'm going to do

is I'm going to take my black
and white layer to command to make a copy,

bring this to the top,
and then I'm going to do image adjustments

and let's do a curves on this
and really bring our white point up

quite a bit here.

So to there

and then I'm going to put this on multiply

and then option click between the layers.

So it's putting it on top of that

and in this case, I actually might want to
just get rid of this it.

Okay, there you go.

I really like that. Okay.

Now if I take the opacity down,
we're not going to have that problem

of it disappearing.

And that looks pretty cool.

Yeah, I like that.

All right, that's it.

We're done.

Let's go to File Save.

We're going to call this water
bottle count.

Okay.

And then we can do

a file export save for web.

Save us a nice jpeg.

I'm going to keep it full resolution
to commando.

Use JPEG high

at save

go to our water bottle folder

and save a JPEG.

And there you go.

That finishes that

In this lesson,
we're going to take a photo

I took at Yosemite,
and we're going to clean that up a bit.

We're going to get rid of some foreground
elements that I don't want,

and we're going to add a flare
and then color grade the whole image.

So let's get started

All right.

Let's go to File Open.

I'm going to go to the folder called 09

Yosemite and select the camera.

I'll file

this this is a photo I took in Yosemite.

It was right during the fires,
so I had a lot of smoke in the air.

But I do like this image.

A few things I want to do
is kind of highlight this flare here.

Add a little more detail back in here.

Get rid of this branch here.

And also
get a little more color into here.

So first,
let's make our corrections in camera

and go ahead
and turn on the enable profile.

And we're going to select our lens here.

There you have it's

and let's go here

and take down the highlights.

This is a case where deejays actually

work in our favor over here

There you go.

And I'm

also going to go ahead
and make a radio filter

for this tree here.

And let's

go ahead and reset the local correction.

Let's do a range mask on luminance

and I want to visualize the luminance map

and make it just cover the tree there.

So it's pretty nice right there.

Good.

All right. Let's turn that off.

Let's go to exposure and bring that up

and maybe a little contrast, too,

because we do have this sun that's
going to be peeking through it there.

That looks pretty nice.

So let's hit escape
and let's go back on the tour.

I'm going to create a new one.

I want to reset that local correction.

It's going to do it in this area.

See if maybe we can get
a little more in there

with the haze

I want to overdo it

because I kind of do like that hazy look,
maybe

just plus nine

looks pretty nice.

And what I may also want to do
is just push a little more blue into there

so it doesn't look so much like

it was a smoke.

But that, I think is pretty nice.

Now let's open object
and do some Photoshop work with it.

So first thing
I want to do is get rid of this branch.

Let's go ahead and make a copy of this
layer and a rest.

Or is it

and I'm going to select the patch tool

Let's zoom in a little here.

Spacebar Command, select
this branch option

to do a little polygon or

and let's move it.

And I'm looking at the top here
just using the bottom of that branch

to make that part
look convincing problems.

We got that in there.

All right.

So we got to move it at least to here.

And I guess I'll match the rock
and then fixed

the branch has its own little elements
here.

Like they're good

all right.

That looks pretty good.

If you hadn't seen it before, you wouldn't
know.

Is there?

Although there is a little bump there,
we could probably get rid of select

that just this to there.

That looks good.

All right.

Next,

we're going to add a flare in here.

So I'm going to go to file place embedded

and pick a flare.

19 here from the same folder.

And as you probably guessed,

we're going to change this to screen.

Now we have a floating flare.

Let's put that right there.

I do command to want to make sure

that anchor point is right there.

So if you option click,

it'll also place your anchor point
a little easier than trying

to figure out where it is
and dragging it just option click.

All right, then, while
still holding option, I'm

going to drag this out

to about there.

So about 138

now you'll see these lines
I don't like those.

So what we're going to do is filter blur.

Got simpler and this will blur it.

Now we don't want to overdo the Blur.

That's way too much.

We just want to do it
until we can't see these lines anymore.

So about seven.

There you go.

That looks quite nice.

Next we're going to do file placement.

But it again

and I'm going to select the next one. 37

and we're going to do the same thing.

Change it to screen

move it up to there
the command to this one.

The anchor points already
in the center of the flare

I move this one out

to about there

Now that's probably a little overkill.

It's the command
to let's make that a little smaller

there.

And I kind of like the sharpness of this,
although I don't like these right

here. So.

Another advantage with being a smart
object is we can go filter.

Gottemoeller

if you do this, by the way, filter this

it will apply the effect
but with the last settings you use.

So that's a nice little feature.

Now, I can increase that
until I don't see those anymore

and you'll see that
it's created a smart filters mask.

So if I fill this with black,

which I can do by going edits, fill

background color shortcut
for that by the way

is command delete.

So you can see now nothing is blurred.

And if I just go on my brush tool,
which is be

make sure I'm white as my foreground

color, I do control option.

Let's make my version bigger.

Make sure the hardness is on zero
increase that opacity.

And I'm just going to paint out that line
there and maybe this line there.

So that's blurred. Everything else is not.

It's another great advantage
to smart objects.

Like Smart Objects
is probably the biggest leap

Photoshop has made in the last ten years.

There you go.

All right. So that looks pretty nice.

Now I want to add a vignette So

you know how to add a vignette in camera.

I'm going to show you a couple tricks
on how to add a vignette in Photoshop.

So quick and dirty way is simply make

a circle from the center of your image
going out.

I'm holding down options.
So it's going from the center

and I can drag that.

So it's nice and centered there like that.

And then go to select inverse

and then add a curves layer

and then just bring down the curve.

Oh, now it looks like a frame,

but easy enough with our mass selected
we can go to Filter,

Blur, Gas, and blur and just blur that.

It's kind of like setting our feather
there

One thing I do like

about doing it with a curve is

I can make the darks a little even darker,

and I can also go into the blue here

and just add a little blue

into those areas there

and also into the reds

just add a little more cyan to.

So that looks pretty nice.

All right.

And then I want to add a color grade
over the whole thing.

Now, I've already shown you how actually,

before I do that, I want to get rid
of this greenish color here

and to show you
how to do that with selective color.

We haven't discussed yet.

So selective color
allows you to adjust the C mark values

in a color range.

So this is kind of an awkward blue.

Let's go to our science.

Drag down the cyan.

You can see how that's changing there.

And maybe increase the magenta.

Take down the yellow some.

Now for areas like this
where the color is quite subtle,

you can also go into the whites

target those areas

That looks pretty nice there.

And again, because this has a mask, I can
fill the mask with Black Command delete.

So with my background color
and then be for brush

and then just paint in the areas
that I want to target

and now that it's masked, I can also be
a little more aggressive here.

I can go to the neutrals
and pull out some of that yellow

as well and get a little
more of a blue color there.

And you can see we've got a little purple
happening there.

So what I could do here is maybe go to
my quick selection to sample all layers,

just select that, select my mask,
and then fill my selection with black.

Again, that's command delete.

And there you go.

We got rid of the top of that.

Okay.

So now to apply a color grade
to the whole thing,

I did show you how to add a color grade

with a curve,
and we quickly do it that way.

But that would be
just going to the blue here.

This kind of my favorite quick grade
just doing this.

I could even do, like, a little less
curve there.

That gives you that nice, shadowy
blue and warm.

Maybe pump up the red
just a tiny bit there.

But I want to show you a different way
to do it.

So let's go ahead and throw that away.

I'm going to go to gradient map.

So what gradient map does is
it applies a gradient

across the luminance of your image.

So in this case,
if I click on the gradients here

and see if I select black and white, it's
going to do a black and white.

But if I select something like this right
where it's

going from a purple to an orange,
this is too saturated.

Let's go ahead and hit. Okay.

And then change the
blending mode to soft light.

You can

see it's applying that as a color grade.

Now, that's too strong,
but let's go ahead and adjust this.

So if I click here on the gradient,
I've got my color selector here.

I want to bring this to a bluer color
and then make it

a lighter blue

Generally,
you want to be in this band here.

So this middle band where it's

not going to affect the luminance,
but it will affect the color

and more saturated here
less saturated here.

If you go too much
this way, you're brightening it.

If you got too much
this way, you're darkening darken again.

So just this kind of band right here
is where you want to be

let's go to about there

and let's do the same with that orange.

Maybe push a little
bit toward a golden color

and this one maybe even a little brighter

or more saturated.

Okay.

So there you can see with one layer,
we're kind of giving the whole image

more of a grade.

There

if you want

that to be stronger,
you can also put it on overlay.

But I think soft light
looks the most natural.

So I kind of want to leave that as is
And then finally, one more little trick

that is a loop back to camera.

And that's if you make a layer at the top
and you hold down

shift option command E,

that is going to copy
all your layers into a single layer.

I can then go to filter camera
and in here,

just maybe punch up the warmth,

increase my contrast

a bit and add a little bit of clarity,
a little bit of texture.

And that's going to give the whole image
a bit of a punch.

If you don't want to do that temperature,
you can leave that at zero,

but then go into the split,
turning out a little more yellow there

and a little more blue here.

Ahead.

Okay.

You can see them before and after.

There is just punching up the whole image.

So I'm happy with that.

If we hold down option,
you can see the before and after

kind of gives the whole thing

a little more of a painterly
look is probably overdone to be.

To be fair,
but if that's the look you're going for,

well, there you have it.

Otherwise, hopefully you've learned
some good techniques.

Let's go ahead and hit Save.

And we're going to call this here.

Some of the comp

and then we're going to go to export

save for Web

two, command zero

and that looks pretty nice.

Let's go ahead and head save

save that JPEG

and we can close our file

all right.

In this next project, we're going to take
this photo of the San Francisco coast

and we're going to replace the sky,
get rid of the people in the photo

and also just adjust everything
so that we go

from this to this All right.

Let's get started.

All right.

Let's head open
and we're going to open the file called

Trail to the Beach

Okay.

First,
let's make some corrections in here.

First thing we need to do is fix the fact
that everything is in our highlights.

And our shadow area.

One other trick here is

you can click and drag here

think I mentioned that earlier,

and we can click and drag here to

that's if you want to get more familiar

with the histogram, just practice
making some changes in there.

All right.

Let's add some control just

let's add some clarity

just a tiny bit
and let's add some vibrance.

What I want to do here is I want to
get rid of the people on the beach.

I want to get rid of him.

I want to get rid of this here.

So we have a cleaner looking image,
but we're going to do that in Photoshop.

And I'm also going to replace the sky.

So I don't want
to worry too much about that.

Let's go ahead and hit open

and first thing's

first,
let's make a copy of earlier commands.

We're going to restorations this

and let's go ahead

and get rid of the objects first.

When I zoom in here

and let's use our patch tool,

make a selection This

and let's zoom in here.

Make a selection around him.

And maybe use this as kind of

something in between there and then go

and let's get rid of these people here.

I don't like this repeat going on here.

I might do here as just go on my

spot healing, make my brush a bit smaller

and just there you go.

And with how small these are,
I mean, I'm zoomed in quite a lot.

We might be able to just use our spot

yeah.

That works just fine.

All right.

That looks pretty nice.

All right.

Next, I want to replace this guy.

So first thing we need to do is selected

let's go to our quick selection tool

and select right around the edge there.

It's done a pretty good job

this is a straight line, so

that's going to be pretty easy to fix
with another selection tool.

Not going to worry about that quite yet.

Let's go to select a mask first.

And maybe just add this to our selection

or get rid of this in our selection.

See how it does there.

Yeah, it's not being awfully smart.

Let's turn our smart radius on.

Yeah, that's not improving at all.

All right, let's cancel out of that
and do it by hand.

Or just with a smaller version
of our selection tool.

Their option

so a little bit better.

Okay.

Now let's go select and mask Turner
in our smart radius.

Or increase that to, let's say, three hit.

Okay.

And I don't have my skin yet.

So what do I do with this selection?

Well, one thing I can do
is I can go to channels, add a layer,

and then fill this with my foreground car,
and to fill with foreground color,

it's pretty much the same as filling
with your background.

Color, which is command delete,

except for in this case,
you're going to do option delete.

And there you go.

I now have this as a selection.

I can always go back into my channels
and select it again.

That's a handy way to save a selection.

All right.

Next, let's go to File Place Embedded,

and I'm going to use this cloud skies. 03

and let's see here.

Let's hold down option.

Just drag this out. So

and drag this up

so that our horizon lines
are pretty similar.

Obviously, I can have these trees in there

so it's going to have to be down
to about there.

All right.

Now, we can go back to our channels,
hold down command, select

the thumbnail, which will make a selection

and then hit the mask

and I want to add a guide here

so that I can adjust this

while knowing where the ocean line is.

So what I'm going to do is I'm going to do
command are to show my ruler

and then to make a guide, I'm just going
to click on the ruler and drag down

now and I turn on this layer

I can unlink the mask
so that I'm adjusting only the layer

and not the mask,
the command to hold down shift.

Oops,

oh, okay.

So because this is already

no longer scaled

proportionately,
I don't have to continue holding shift.

I can just drag this like so

they probably there
and I can just get rid of that.

Okay, so I want to get rid of this.

And because this is a smart object,
I can double click it,

go down here

go on my patch tool,

select that, just drag it up here

to clean part of the sky like so

and there you go. Save

and there you go.

It's updated in there

okay.

And then in this here, I can go

and make

a straight up selection
like this, right to that guide

because I know where that's
I know that that's the horizon line.

Make sure I have my mouse selected
and then fill my selection

with Black Command delete

There you go.

That's to turn on and off
the guides its command semicolon.

So I want to turn those off.

I can also turn off the ruler.

Just command R again

okay.

So I like that sky. Obviously,

it makes no sense that this is brighter.

So first let's try putting it on screen.

That does not work at all.

So what we may do here
is keep it on normal.

But what I want to do is
I want to add a mask,

a gradient mass that makes the bottom here
close to the horizon, a lighter color.

So how do we do that without messing up
this nicely selected mask here?

Well, here's a nice trick.

Add a group
and then put this into the group

and then put a mask on the group.

Now I can go to my gradient tool G, hit X,

so my foreground colors black
start from there and just go up.

There you go.

So I now have those clouds,
but I also have my original horizon,

which kind of matches
what's happening here down in the water.

And that looks far more realistic,
kind of like that.

Maybe what I want to do now
is just add a vignette on the whole thing.

So let's go ahead. And

another way I can do a vignette
if I want one

that's more square, let's make a selection
across my whole image.

Go to select Modify further,

and this image is pretty large,

so I'm going to do 200

and what happened there?

Hang on, select Modify Feather

Apply Effect the canvas bounce go.

All right.

Make sure that layers not in the grouping,
just drag it out

all right.

So even that is really not not feathered
enough.

So let's do that modify feather.

Let's bring it up to 500.

This is going to add on the last time.

So this is not a changeable
something that I can go back

and change from 200 back to 50.

Now let's go to select inverse

and then add a curve

and you can see there

I now have a vignette around my image

I can also add to this vignette

if I want to just go on my curve
to make my color

white, I can drag down here
and vignette it in certain spots.

So if I want this to be more
the light source, I can just go in here

and kind of darken
this whole area of the image

and then what I may want to do
is just kind of brighten this curve.

I really like the fact that the trail here
is almost mirrored in this cloud.

I think that's nice.

I want to just bring a little more focus
on this trail here.

So what I'm going to do is go to my quick
selection,

make sure simple all layers is turned
on, and just do a real

kind of dirty selection of this path here.

And I'm holding down

option to subtract from the selection
here.

And there you go.

That's good enough.

Let's go on this layer here

and select subject

said, okay,

Oops.

Oh, sorry. I didn't want select subject.

I want to select a mask. All right.

And this I'm going to put the radius
really high

it's almost going to work

to kind of feather my effect there.

And I can also actually feather it here.

And let's head.

Okay.

And at the top here, I can add a curve

let's do commando.

So that's pretty nice like that.

I want to bring
the bottom of the curve to high,

but I can bring the top of it

higher like that
and then maybe add some yellow.

The opposite of blue is yellow.

So if I bring down yellow, it's
going to add some yellow there like that.

All right.

So that's really nice.

And then lastly, what I may do

is add a color grade at the top.

In this case, I really just want
to bring up the blue a tiny bit.

So we get blues in our shadows there
and maybe bring down the yellow.

Just just a hair.

Yeah, actually,
I kind of like the original better.

So I'm going to leave that as is.

We can get rid of that

actually.

Pretty happy with how it looks there.

All right. So there you go.

You can see how you can
clean things up and

add a new sky, get rid of things

and also punch up
specific parts of your image.

Let's go ahead and save this

icon at the end

of and let's go ahead and close this