All language subtitles for Sequence 01-EN

Photoshop is a creative design tool

that can help you
to make professional photo more beautiful.

It can give you the power to do things
you always wanted to do with your photos

because it is designed for photographers,
graphic designers, video editors,

web designers,
and other type of digital artists.

Photoshop is created by artificial
intelligence and deep learning technology.

Photoshop knows how every detail
of every photo works together.

It automatically understands what works
and what doesn't and why.

It gives you the power to quickly
and easily creates stunning results.

And Photoshop is easy to use,

just like a traditional Photoshop,
but much more powerful.

It can learn by itself and make designers
job easier and more efficient.

Well, the secret sauce of this A.I.

is a layer of neural network that access
brain to the program and that it's trained

with millions of images
to be able to recognize specific traits.

Because of this brain,
the program is able to perform actions

on the image
with similar accuracy as with humans.

The flow of Photoshop is designed
in the way that the user

will work on an image like he
or she normally would do in Photoshop.

It is not perfect yet though,
but with the support of air,

the program will automatically
make minor adjustments

to these actions
and then perform time to time.

It may lead to the users
to a different direction,

but it definitely makes the work easier.

This course is your first step
into mastering powerful applications

and this module.

I'll show you how to get started
in building the foundations that you need

to broaden your knowledge in Photoshop.

What you will learn here
might be all that you need to know.

We will tackle the most important concepts
in the program, like its interface

selections, layers, photo
retouching, image adjustment and more.

At the end of this
course, you will be able to understand

key digital concepts
like resolution output

and how to navigate successfully
in the program.

Adobe Photoshop is an important tool
that graphic designers,

photographers and digital artists
must be familiar with using.

If you want to deepen your knowledge
that we discuss in here,

I strongly recommend that you check out
other topics that we prepare for you here.

Without further
ado, let's jump in and start our journey

with Photoshop Fundamentals.

We are in the final modulo
of our course here inside Photoshop,

and in this module we're going to focus on
how you can work with libraries,

how you can output your document
inside of Photoshop,

and how you can keep the application
up to date.

But first, let's focus on creative cloud
libraries.

Creative Cloud
Libraries offers you the ability to create

the cloud based repository for assets
for a particular project.

Gone are the days
for creating a master file for style

guide information
like colors, typefaces and logos.

Instead, all of that content
can be managed in the cloud.

True creative cloud libraries.

And the great thing is
any Adobe application that you use using

the same Adobe
ID will have access to these libraries.

So if you add a color to your library here
inside of Photoshop,

it's immediately
available in other desktop applications

like Illustrator, InDesign, after Effects
and so on.

Likewise, if you're working with Adobe
Mobile applications like Photoshop Fixed

or Adobe capture
any assets that you add to a library using

those programs will also be available
in any Adobe application.

So it's an incredibly powerful way
to manage assets,

especially when you're working
on a particular project.

So let me show you
how you can create a creative library.

The first thing that you need to do is
you need to have the libraries panel open.

If you don't see it,
you can always come over to the window

menu, and under the window menu
you can choose a libraries.

In this example, you'll notice
that they have some libraries already set

up, and in this case, what we want to do
is to create a new grade of library

based upon the document
that I'm looking at here.

You can open element C from your tutorial
assets folder and follow along.

If you look at here

towards the bottom,
you can create a new library

and if you select that, the new library
from the document dialog box shows up.

Let me just cancel this one out
and let me show you another way

to get to this dialog box right here.

So in the top right
hand corner of the library panel,

you'll notice that there's
that same great new library option.

And when we select that,
we will have the same dialog box here.

So you'll notice
that we have four character styles,

five colors,
one layer style, and one smart object.

And if you're going to be working with

smart objects,
you can see that there's an option

to move the smart objects to the library
and replace the instances

of these smart objects
within your documents with links.

So in this case,
what I will do is leave everything

checked and click, create new library,
and at that point you'll notice that

it also picked up the file name
and used it as a name for your library.

So all of those assets also are added
here.

Now, there's two different views
for the library.

There's an icon view
and there's a list view.

The icon view will show you
all of the assets and it will show you

an icon view of colors, characters,
styles, layer styles and graphics.

The list view displays the same
information, but if you look at it,

for example, this graphic here,
it shows where this graphic

originated from, whether it be Photoshop
or Adobe Illustrator and so on.

If you want to rename your library,
you can do that

and just go back through your libraries
here and right click on the library

you want to rename them,
go ahead and click rename.

Likewise, if you want to delete,
you can right click again

and choose delete
and that will be deleted afterwards.

So how can you add additional assets
to your library?

Let's say, for example,
to come over to the background

or foreground here and click it
and I makes a new color and I decided

I want to add this color to the library.

You'll notice down here
towards the bottom,

there's a little plus button here.

And if I click that, you can choose
what asset can be added to the library.

And when you add an asset,
it is synchronized to the creative cloud,

making it available to any application
that has access to this library.

So creative cloud libraries
give you the ability to store assets

in a central location
that's cloud based, making

all of those assets
available to any Adobe application.

And the beauty

is, you know, when you select an asset
from the Creative Cloud Library,

it is the latest version of the asset
because everything is stored.

One of the real

powers of creative cloud
libraries is having the ability

to share that content inside the library
with other designers and developers.

You can do that easily
by coming up to the top right

hand corner of the library's panel.

And there's two options.

So the first option will bring us
to a section in Adobe website

and you'll have to be logged in
with your Adobe ID.

Then you have the ability
to create a public link.

And when you create a public link,
you can copy this

link and distribute it
to however you want.

And there are some other advanced option
here.

One is it allows
the user to save the assets to Adobe

Creative Cloud
and another one is to allow to follow

when they view the content through this
public link at any point in time.

If you want to remove the public link,
you can just click this button

right here
and then the public link will be deleted.

So this allows you to send assets
to specific individuals

and if they want to be able to download
and use those assets, they can.

There is another way.

However,
if I return back to the Photoshop,

you come up to the top right
hand corner here of the library,

you can choose in white
and this option is a slightly different

in the sense
that anyone you invite to this library

will have access to the library
through their libraries panel.

You can also access this
by clicking this icon right here.

But when you do that,
they will not only have access,

they can also edit or delete or change
any of the content within the library,

and then the version of your library
will also be updated.

So you're collaborating
with other designers

through one
central Creative Cloud library.

So that's what that option is.

And anytime you collaborate

with someone that I couldn't change
slightly here in the libraries panel,

if you have a team subscription,
you can also share your team.

So again, this library makes it
so much easy to share your work to others.

No need to upload files
and send to either email or through a USB,

which will take some time
depending on the size of your document.

Saving files in Photoshop
couldn't be easier.

All you have to do
is come up with the file menu

and from the file menu
you can choose save s.

But before I do that,
you can see there's also a saved copy.

Before we only have save s.

Let me show you
the difference of this too.

So let us do save us first
and this will open up the CBS dialog box.

And in this dialog box

you can specify if you want to save it
to Creative cloud or on your computer.

And that is if you haven't
ticked this box yet.

In this case,
I'm going to choose a save to computer.

And on this dialog box

you can choose the format
that you want to save the document.

You can only see this for options here.

We're in on save a copy.

We have other options
which we'll we'll see in a few.

Now, the majority of time you'll be
selecting Photoshop in this dialog box

because this will ultimately give you
a PDF file, a native Photoshop document,

and all of your layers are preserved here.

And when the layers are preserved,
you can always come back to modify

the document in any way
and any time you choose to.

So once you're happy with the settings,
you can click Save

and the BSD file will be created.

Another popular option
that you'll be choosing here within

this menu is the tiff,
especially if you're going

to be sending your document
to a professional print shop.

Now, instead of canceling this dialog
to go back to the file menu

and that you wish the other save option,
what they'll do is just click this button

here, save a copy, and this will switch up
us to the save copy dialog box.

And in here you can choose
if you want to preserve notes

alpha channels as part colors and layers.

So if the print shop
wants the flexibility of layer can just

leave this button selected,
you'll notice that there's other popular

formats in here like PNG, G and JPEG,
although you probably won't come through

this dialog box to save the document
in one of these formats because there's

a better solution inside the program,
which I'll show you in the next video.

Now one last thing I want to point out
as we talk about saving document

inside a program, and that is
that Photoshop will automatically

save recovery information
every 10 minutes by default,

and you can control that preference
through the preference dialog box here.

So again, that's a Photoshop menu
forum on the Mac and on the Windows

machine, you'll go to edit
and then you'll select preference.

And from the reference menu
you'll come over and use a file handling.

Once you select that option,
the preference dialog box will open

and you'll notice that there's an option
to automatically

save recovery information
every 10 minutes.

You can deselect this option if you want
to, or you can change the approvals.

If you click this dropdown here,
you can drop it down to 5 minutes

or bump it up to one hour
or depending upon what you need

in saving documents in Photoshop, couldn't

be any easier.

And now we mentioned in the last video
that there is a better way

to save files as JPEG or PNG
and so on and so forth.

Here in Photoshop, let's say, for example,
we wanted to save this entire document

as a B in G file.

We can export this file that we're
looking at here inside of Photoshop.

It will preserve the BSD file

that we're currently working with,
but then we'll save up a B and G version.

And we can do that.

We're coming up to the file menu, and
from the file menu you can choose export.

Then you can choose quick export.

SPOG This will open up
the save as dialog box

giving the file name open g extension.

In this case I'll save it on the desktop
and when you come down and click

save a B and you
version of the document has been saved

and we can verify that by hiding
or minimized in Photoshop

coming out the desktop
and finding that pinned file.

If I double click on it,
it will open up the preview application

and you can see that
we have a B and U version. Now

of course

that's great if you
need to save the entire document as a pen.

But what happens if you only want to save
a couple of layers as a PNG files,

not as one PNG document
but individual in G files.

So let me just come over here
on our document again and I'll just select

I can do in the Layers panel
and then I'll hold down the shift

key and select icon for in the Layers
panel too.

So we have this three layers selected in.

Our goal is to have three separate
PNG files for each of these layers.

Well, with this layer selected,

you can come up to the top right
hand corner of the Layers panel

or you can also right
click on the selected layer

and in the menu
you can choose quick export.

SPOG.

This will open up a document
and you have to open the location

on your computer based upon
where you want to save this file.

In this case, I'll leave mine to desktop
and then I'll click select

folder and Photoshop will save three
PNG documents based upon this layers.

And again, we can verify that if we hide
or minimize Photoshop.

And sure enough, we have three
new files here and that's great.

But again, if you have additional needs,
what if you wanted to save

a retina version in a low risk version

of some of these icons?

So let's come over and select
icon five here

and then we'll hold down the shift
key again or control.

You just select this icon six here

and we'll come up to the panel menu
or right click on the selected layers.

In this time we'll choose export s
This will give us a little bit

more flexibility
as it opens up and export as a dialog box.

And in this case you'll notice
I have a size here.

You can add a new one
by clicking the plus sign here

and once you click
the plus you can specify the size.

In this case, I'll go with point five,
which is half of the size.

So we'll end up with our retina version
and then our low resolution version.

Then you can specify any other attribute
over here on the right hand side

and if you want to, of the files
to have the same attributes,

make sure that you are selected
over here on the left

so you can hold down the shift key
if you have a lot of layers

and you want to select them all,
or you can just hold down

the control key and select this icon.

Next up, PNG.

And maybe you also want to include
the copyright

metadata here
so you can come over and select that.

And once you're happy with the settings,
you can come over and click export.

When you click export again,
you have to specify the location in terms

so where you want
the documents to be exported.

So I'll leave the desktop selected.

Then I will click select folder.

Once the export operation is complete,
you can hide or minimize Photoshop

and you'll notice we have the two version
of this icons here.

Let's return back to Photoshop
one more time and what happens

if you want to export the document
as something other than PNG?

Well again, you can come up to the file
menu and from there you can choose export

and then you can select export
s from this menu.

This will open up the same dialog box
and in this dialog box notice

that you can change the format.

There's something
other than the PNG like JPEG or gif.

If you select JPEG, notice
you get this quality settings here

and you can also specify
like the image size and the canvas size.

The last thing they want to show you is
if you're working with a series of images

and you know that those image all
have to be exported out as JPEGs, well,

it doesn't really help that the quick
export command is stuck in PNG format.

What should it be?

You can change that instead of quick
exporting PNG g in quick export

as a JPEG, we come down here
and select export preference.

Once you choose that option,
the preference dialog box will open

and here
you can change the format to JPEG or gif.

In this case I'll leave it set to JPEG
and then I'll click okay.

Once you click

okay, you can come up to the file menu,
choose export and then you'll notice

that the quick export command
has been updated to JPEG.

One last thing that I want to point out
with this preference, you can adjust

the quality of the JP compression
right here with any preference.

So if it's too low for you,
you can bump that up using this slider.

And again, once you click
okay, that quick export command

will export JPEGs with the higher quality.

So the quick export Command
and the export as comment.

Our best use for exporting jpegs, PNG use

and give files.

It's a good idea
to update your version of Photoshop

any time that there's an update,
you'll know that there's an update

because if you're running your creative
cloud

application, you'll see a little icon
here in the taskbar.

You'll see this same icon in the menu
bar of a mac machine.

A little number will appear,

telling you how many updates
need to be made to your application.

And once you see that,

all you have to do is click on the icon
and it will open up the creative cloud.

If you don't have your adobe application
running,

you can have it open on your files
to run the application.

If it's installed on your machine.

So again, updating your Photoshop
version is really important.

Mostly if there is a major update.

Congratulations.

That's going to conclude this course.

Photoshop Fundamentals.

I hope at this point you feel like
you have a solid foundation of the program

and feel confident taking on your own
Photoshop related projects.

Of course,
we have only scratched the surface here

and there's so much
to learn about the program.

Now. We have several courses
that go beyond what we reviewed here

to cover specific details
on various features,

whether you're looking to learn more
about photo retouching or using Photoshop

or web design,
or you just want to dive deeper

into specific features
like type or smart objects.

But again,
I would really like to thank you so much

for joining me
and I hope to see you in the future.

Course.

In this lesson,

we will familiarize ourselves
with the working environment of Photoshop,

learning how to navigate within
the program

will make you more efficient
as a digital artist.

So to start off,
after you launch Photoshop

from your computer,
this is what you will be greeted with.

We call this the welcome screen.

Anytime you open Photoshop
without an image or artwork,

this is what you will see.

This welcome screen gives you the ability
to open

different kinds of documents
or create a new document.

If you
look at the left panel of the window,

you will see different categories.

And what's selected
right now is the home screen,

which is what we're seeing at the moment.

It shows the welcome
greeting with your name,

the most recent image or document
that you opened and tutorial

that you can browse on on Adobe dot
com to perform

specific task in Photoshop.

Now, if you want to hide this area,
you can collapse the suggestion

on the upper right
hand corner of the screen.

And as you can see,
there are two types of view at the bottom

and what's showing right now
is the thumbnail or channel view.

Now, if you have a lot of documents
and wanted to see most of them,

the list view will be able to help you.

So as you can see, if I click it,
you will notice that the view change

into a list of documents
with more details.

Now, if you can imagine with more work

that you do here in Photoshop,
this list becomes populated.

So if you want to search a specific file,

you can filter it when you need to.

On this field.

So this is very handy when you're

when you have a lot of files
already in the in your Photoshop.

Now, as you type the first few letters,
you can start to see that

the file that matches it appears

and anything that does it will disappear.

So this filters like a shortcut
in finding the new documents

or documents that you are looking for.

Now let me just navigate
back to the title view here

and go to the learn category,
which gives you a table view of tutorials.

Feel free to browse here.

It is a very powerful tool you can use
when starting off with Photoshop.

Now you can also view files
that you saved on Adobe Cloud

here on your files category.

And if you look at down here,
there's also the deleted files,

and the deleted files will be here

until you permanently delete them.

You can also import photos
from your Lightroom library.

And lastly, you can either
create a new file or open file.

What happens here
is that when you open the file,

it launches your system
to browse the document that you want.

So this is the initial interface
of Photoshop.

And on our next lesson

will, in this lesson,

we're going to be taking a tour
around the interface of Photoshop.

Now we will be starting off
with this blank document

only because we won't see other panels

if we don't create a new document.

Now we learn a little bit
about selecting options

in the menu up here in the last lesson.

So we'll call that the menu bar. So

what you should know about

Photoshop, actually,
many Adobe applications are the same.

Everything is referred to as a panel.

So right below the menu bar,

we have our control panel,
which basically shows

different controls or settings for tools
you have currently selected.

For example, right now
I have the MOVE tool selected

and if you look up here,
you can see things

related to the move to

Now if you come up here and click
some of this different tools,

you'll notice that the settings
in the control panel changed

based on the tool I have selected

right now.

Let me just go back to our Move tool here.

So up here you've got your document tab

and below
that you've got your document window.

This consists of your canvas.

Now if you look at this one,
this big white square here

on our screen is our canvas.

And then this area outside of

the canvas is called the scratch area.

All right.

So that's the document window.

And now to the right and left.

We have more panels over here
on the left panel.

We have our tool panel,
which is currently a range

and sort of a single column.

So we can expand a panel

whenever we see one of this,
a little double white arrow.

And if I click on that, you can see that

my tool panel changes to two columns.

And now we have a lot of space down here
this point being used to its fullest.

So what I usually due to utilize my tool

is to put it in a single column view.

All right, now over here on the right,

we also have some other panels.

And if you see there, there's
kind of a lot of things going on here.

We have a lot of different panels
and we also have

some column here
that looks like a cluster of tabs.

And anytime you have two panels together

like this, it is called the panel Group.

So that panel group can be minimized

simply by double
clicking on one of the tabs or we can also

click and drag one of this panels
and move it out of the panel group.

Now, this is what we

call a floating panel.

And as you can see,
the panel is being floated at the moment.

And if we want to put it back over,
we can do so.

You'll notice
that when I move it over here,

there's sort of this blue outline,
it appears.

And you may also notice that

at several other places,
depending on where I move the mouse,

the blue outline also shows.

So this boxes right here
are called your drop zone.

Now, if I wanted to drop that right back
where we got it,

it will highlight this panel here.

All right.

So now I'll drop it.

And just like
so we have it back on this panel

so you can see
they are not exactly in the same order.

So we can just like with our document
tabs, just click on the tab and drag it

to the left or right and we can reorder
the panels in that panel group.

Now, we have multiple panel groups here,

and you could see here that we got

adjustment libraries and properties.

Also, we've got layers, channels and path.

Everything that you see here
is known as a panel dock.

And anytime you have multiple panel groups
arranged in a vertical format,

it's going to be referred a special dock.

Now, if you look at here,
we still have a couple of other panels.

These are in separate groups.

You can see that if I click on them,
they expand.

So we have a version history.

We also have comments and history,

and now we won't be
expanding the use of this.

It will be covered on a much more advanced
topic.

All right.

So over on the very far right hand side,
you'll see this little dropdown.

And if you click that, it will show

essentials.

You can also click this icon here
and it would also show

the same selection.

So all of this arrangement of panels
that you see here,

this are like preconfigured workspace
known as the essential workspace.

Now if we want to make
some changes here, we can

just take out some of this panels
right here

and let me just stick this one out, too.

And again, this panel right here
and another one right here.

Now, let me just close this one here
by clicking the X icon here.

All right.

Now, we've made some changes to this

workspace
that the configuration of this workspace.

And now we could actually come over here
inside

if we want to reset it back
and just click this dropdown again.

And then you can just

click on Reset the Essential Workspace.

Now, when I did that, almost

all of the panels
went back to where they started.

So you'll notice inside
also the workspace which are here,

that there are a number
of different reconfigured workspace.

So we have our graphic and web workspace.

It got some arrangement of panels

that are all related to
graphic and web signing.

We also have our photography workspace

and of course, photography
related panels will be loaded.

So you have a few types of workspace here.

And aside from that, you can also
even come in and create your own workspace

if you choose to.

Right now, let me just go back

to our Essentials workspace here.

All right. Awesome. With that.

Let me just go in here
and let's dive into this panel

because there are a lot of customization
that we can do with panels.

For example, in the history panel
here again, you'll you'll notice that

there's a little double white arrow again
indicating that we can expand it more.

So let me just go ahead and do that.

And as you can see, it's expanded.

Now let me just collapse that back again.

And now, if I move over to this side
of this panel, doc,

you can see the cursor change
and that would mean that we can drag it.

And as you notice, if I drag this out,

you can see that

the actual panel names are here,
then there.

Now, this is pretty handy actually,
because when you're

having issues,
remembering by just looking at the icons,

you can just drag this out
and just let the name show.

Now, I don't know
exactly what type of jobs you are redoing,

but typically the way I work inside
Photoshop is a fine balance

that I'm going to use and I usually

only have them have only those open

and I usually arrange them here
inside the interface

in such a way that my workspace is nice
and clean.

Well, again,
we all have different presets.

It may be fine for you to have all of this
things open

where you can work here and the middle of
something and you can kind of

balance
back and forth between various panels.

But again, that's totally up to you.

All right.

So let me just go ahead and come over here
and just reset

my essentials workspace one more time.

All right. Cool.

Now, when it comes to sorting

or cleaning up your work
area here inside Photoshop,

there's one thing that I do quite a bit,
and that's to hide my panels.

But there's a couple of ways
you can do this.

And if we want to hide all of the panels
as well as the toolbar itself,

we can just come over here
and simply hit the tab

key on our keyboard.

And now you can see here

not only our panel docs got hidden, but

as well as our
tool panel and control panel.

Awesome, right

now we've got a nice clean workspace here,

unobstructed of other panels

and we can focus on the artwork
that we're creating right now.

All right.

So let me just hit the tab key on my
keyboard again to bring back the panels.

Now, another thing that I do
quite a bit is

I'll hit the shift key on my keyboard

and then hit the tab key again.

And what's

that going to do is to like hide
only the panel dock.

And as you can see here, we still have
the tool panel in, the control panel here

with that.

We still have all the access
for these tools and we can still continue

working while having a bigger

look on our artwork, like more space

on our artwork.

All right, Now, again,

I'll just hit the tab key again
and we can bring those right back now.

Again, awesome.

Now, you probably notice
that there are more panels

inside Photoshop
than just the panels we saw.

There are also a few different panels.

Once we started switching
through the different workspace,

we can actually get to those.

So let me just come over here
under the window menu and you can see here

there are a number of panels
available to us.

So maybe we want our character panel,
maybe we need to do some touch work with.

So now you can see here
that opening that character

panel opens up
both the character and paragraph panel,

and that's
because they are part of a panel group.

So again, all of these additional panels

can be found under your window dropdown
menu here

and now.

That's pretty much all of it.

In this lesson, we've learned a little bit
about the Photoshop interface

and we've kind of learned some terminology

in some ways
that we can customize this interface.

Now that we're familiar with this,
we also need to know how

to look at different presets
when creating our new document.

So on our next lesson,

we will dive into creating your
first document with Photoshop

in this lesson will be

creating
your first document here in Photoshop.

Creating
new document in Photoshop is pretty easy.

You have a lot of different options

in terms of how you can go
about creating a new document.

If you're working here
within the starting homescreen,

you can always just hover and click
the new file on the left, facing

a different screen shows
if you are currently or recently

working with document.

So another way to open a new document
should come up to the file menu

and from the form and you can choose new.

The shortcut
key for windows is control and

and command and for Mac.

Now the control panel will open up
after you click the new document

and a dialog box will pop up.

This dialog box is a bit large.

It may be overwhelming at first,
but don't where you will basically section

right now.

Now we're in the

recent section and what will be displayed
here are different types of document

that you've set up recently
within Photoshop

and those presets will appear here
or templates that you work with.

Next would be the same section
which will show you templates

that you work with or any presets
that you've saved personally.

And now we have a series of different
categories up here towards the top.

We have a photo section for photographers
and if you notice, there are templates

that are ready for use,
which is pretty convenient, you ask me.

We also have the print section

for printer designers,
which shows us several sizes for printing.

We also have the art and illustration
section for graphic designing.

Then we have web for web designers,
mobile for app designers.

And lastly, we have a film and video.

Now, basically what this section

are are a series of different presets.

Now let us come over here.

Let me just use this photo section.

For example.

We'll see document sizes
that are commonly used by photographers.

And not only do we have this for,
but there's some more and we can view them

by clicking this button
to view all recents.

And now you'll see the window expands
to show you all the presets

and at the bottom on that
you can also see templates

that are available to
you free from Adobe Stock.

You can also take that one step further

and search on Adobe Stock

on this dialog box right here.

Now again, we have a photo
as a series of presets here.

Going back to the print section,
you can pretty much

see the similar
look that we have in the photo section.

If you're looking for ideas,
you can just check out the templates

available here from Adobe Stock.

Now. Well, feel free to download them
and use them ever.

You need to go.

So moving on,
if you noticed the web mobile

film and video category are four documents
that would be presented on screen

and the first three with this photo
print are in

illustration, are generally documents
that will be printed.

And because of that, you'll notice
that the size of the documents

are being displayed
in different unit of measurement.

Now, let me just start a naming here
for my document.

Let me just give it a unique name,
which is a document

I really don't know what to type in here,
so let me just put in anything here.

Let's not make it hard. All right.

So you'll also notice at the bottom,
we can modify the with and the height

if necessary.

You can also set its orientation
to landscape or portrait.

And if you notice the width and height
swaps number, as I toggle between this two

and now,

as you can see, we'll be displaying

this using inches for us
on the print category.

It will be displayed using pixels.

So again, these are nothing more
than starting points.

We will talk about artboard
in another lesson,

but it's really a way of having multiple
workable areas

within Photoshop.

Again, resolution color mode
and bit def are more advanced topics

that we are going to tackle about
in greater detail in the future module.

But if you need to change any of this
attributes, you can do so.

Likewise, you can also change
the background contents,

the background contents of the document
if you want it to be white or black,

or if you choose to have it transparent,

you can just see it here on this dropdown.

All right.

So again,
we also have some advanced options here

which deals with color profiles
and social aspect ratio.

Again, we don't really need to worry
about these advanced options.

We'll we'll be punching them
in the future clips.

But now can just focus on the basics.

And now
if you're happy with this parameters

that we will establish,
we can save this preset.

And normally we do this,
it will be working on a lot of projects

that will be having this same presets.

So if you're done with that, you can

click this little icon right

here.

And this case, I'm
going to be kind of specific

what the dimensions to me a few.

All right. Awesome.

And then I'll just put in a name here.

We'll call it

Custom Landscape.

All right.

So that's done.

I'm going to hit Save
and now that's available within

the save section on this new document
dialog box.

So once you're happy
with all of this parameters,

you can just come over here
and click create.

And when you do, a new document
is created inside of Photoshop. So

we looked at how to create

new documents in Photoshop
in the previous lesson.

Now one of the options for creating

new documents is to work with art boards.

If you work with art boards
in other Adobe applications

such as Illustrator,
our course are similar here in Photoshop.

If the implementation are a little bit
different, they're pretty much the same.

But then we're
not going to talk about much

about art works here.

And if you're going to be working
with art boards a lot inside the program,

I strongly recommend
that you look at one of the courses

here, which is a Photoshop for web design,

and now art boards
allow you to display numerous pages

or screen within the single document,
which is particularly beneficial

if you're working on a website mockup
or a mobile application mockup.

But then in

this lesson, I'd like to simply give you
a general overview

of how to deal with art boards so
you're at least comfortable with the tool

to achieve
this will create a new document here

on the homescreen
by clicking the Create new button.

If you're not on the home screen,
go to the file menu and select new

or use the keyboard shortcut command

and for Mac and Control and for Windows,

all of these options
will launch the document dialog box.

Now, if you come over here and select
document preset that isn't based on screen

presentation should just something
you're going to print.

You'll notice
that the artboard option isn't selected

if you select any of the preset
from the web category or the mobile

category, the artboard options
will be selected by default.

It's completely up to you.

If you want to work with artwork

and all you have to

do is select or select the checkbox here.

This will either
put the documents in artboard mode

or it's going to get out of Artboard mode.

But like I said, what they want to do here

is just give you a general understanding

as to how artworks work.

Now, what we want to do is to come over
here to the mobile category.

I'm going to select
a preset for a mobile device

and then I'm going to click all preset
so that it expands selection.

Now you'll notice that our board is
in fact

selected,
which means you can come down here.

Great, a new document.

And now when you enter a new document

that uses artboard, you will probably have

the artwork tools selected,
but by default the MOVE tool selected.

So you want to come over to the Tools
panel

and click on the Move tool

and underneath them will Tool,
you'll find the artwork tool.

Now the artwork tool

allows you to change the width
and height of your art boards.

You'll also notice
that you have some other options here

near the top
that allow you to add new art boards.

There are also alignment options
and some other settings objects.

And you will notice in this case
that the default size for the new artwork

is custom.

However, when we created a new document,
we selected Android ten ATP.

So if I come over in this select selection
and click on the dropdown,

you'll notice
that date may mention change.

And now if I click on the space,
a new artboard will be created.

So that's the same specification that we
specified earlier, created a new document.

And you'll also notice that

there are other ways that we

can create artworks with this little plus
sign here that you see.

There's
one of the corners of the document.

There's a plus sign here towards the top
and at the bottom there's also one.

And on the right hand side,

there's also a plus sign here.

And if I click it,
another new artboard will be created.

You'll also notice
the art boards are identified

within the layer spell
and you can see it highlighted.

This again is another visual indicator
that you are in fact working

with art boards.

Now, if you want to resize an artboard,
you can do that by clicking

and dragging any of this resize handles.

You can double click the name of the layer
and you can just put in

any name that you want.

So that's pretty much the

basics of working
with artboard inside of Photoshop.

Like I said, if you're going to be

working with Photoshop to create also

like website or mobile applications,
take a look in Photoshop

for web designers.

Now, in most application of Adobe,
if you're going to be working in Photoshop

all day, it lets you adjust the interface
shading options.

Keep in mind that the darker
UI is designed to alleviate eyestrain,

but you have the ability
to brighten or darken if you choose to.

If you're using a Windows computer

can just go to the edit menu,

then preference, then interface.

Or if you're using a mac
can go to the Photoshop menu.

You'll notice
that there are four shades of gray,

dark gray, medium
gray, medium, light gray and light gray.

It's really up to you
how you want to work here

and set your team to best fit your needs.

But for the purpose of this

course,
I'm going to leave it at the default.

You can also manage

or change to documents background color,

which is currently set to dark gray.

But notice this you have all this
options can even choose a custom color by

selecting custom color and then selecting
that color here within the color picker.

And once you click okay, that color
will be assigned to the documents.

Background.

Another thing you can do,
or if you notice,

is that you can create a border
around the image.

Well, it's difficult to see in this video,
but if you're paying attention,

you should notice a tiny drop of shadow
around the image.

Now you can change that line
to put a border

around the image
or not to put anything around the image.

But for this course, I'm going to leave
the color and set it to default dark gray.

And the drop shadow border

is set

up and then you can come over and click

okay to exit out of that dialog box.

Now, one last thing I want to show you

that you can access the documents,
background color within the document

by right clicking or clicking
this empty area.

Now, as you can see,
if I choose a color here

and click on it,
it changes the scratch area color.

So again, that's for our team options.

On our next lesson will be learning about

screen modes.

We learned in the previous course

that we could temporarily hide panels
by pressing the tab key,

and this is incredibly useful
if you're zoomed into a picture.

Now, if I go to the View menu,
I can choose a zoom in.

So it's going to be control
plus for Windows

or Command plus on a mac.

When you see a scroll bars, you know
you're not viewing the whole picture.

But then by using the tab key,
you can now see the whole picture.

And that's one reason to temporarily
hide those panels.

There are also

different screen modes
that you can work with

if you look up towards the bottom
of the toolbar, there's a button

that you can click and hold to see
and there's the standard screen mode.

We also have a full screen mode
with menu bar

and then simply a full screen mode.

F is the keyboard shortcut

and you can use that keyboard shortcut
to cycle through this different modes.

So if I leave standard screen mode

and press F on the keyboard, I'm now enter

a full screen mode.

When I press tab key,
all of the panels disappear,

but I still have access to the menu bar,
so you may operate in this mode.

You can always hover over the space

where they would be
and they would reappear.

And of course
you could always add key to restore them.

You can also press the f one more time
to go into full screen mode

and this gets rid of everything
and we have no menus available in all.

Panels are hidden,
but then you can still access the panels

by hovering over the location
of those panels.

As you can see here.

And again, you can press the tab key
and all of them will reappear

and they'll
press the tab key again to hide them.

And then you can press the F key
one more time

or escape in keyboard
to return back to its standard mode.

Now, when you return back to standard
mode, if your panels are collapse,

you can simply press the tab key again
to restore them.

And now these are the different screen
modes

inside Photoshop.

When working with multiple image
in Photoshop,

each image will appear in its own tab,

making it very easy to switch
between documents within the program.

If you prefer this windows to be a free
floating

and simply click and drag
a tab away from the document structure,

additional photos can be dark through this
free floating window

by simply and dragging this tab
to make it a free floating window

and then drag title bar from that free
floating window to this free

floating window which will then
combine this two tab structure.

Now, if

I want to restore the original document,

all I need to do
is just drag this title bar right here

to the top of all of the tabs
and it will be restored.

Now you can change the order
in which tabs appear by simply clicking

on dragging the tab
either to the left or right.

And you will notice that this image is now
the first image

within the tab structure.

Now, there are a lot
of the viewing options

when it comes to working
with multiple images.

If you come up to the window menu

in under the window menu,
you select a range.

You'll notice
you have all of this options here.

It represents what the icons mean.

For example, if you want all of the images

to the style vertical view,
you can select that options

and now we see all of the open
document style in the vertical fashion.

Now I can come back

to the window menu
and from there I can select a range again.

And you'll notice I could also view this

in a four stack image

if I come back to the window menu

under the window menu
and I'll select a range again,

we can see the six up.

It's grayed out
because I don't have six images

and what they only have are four images.

Open up on this tab structure.

Now I can also make all of the Windows
two float.

So what I will do is I'll go
to the Windows menu and under the Windows

menu I'll go to arrange and I can choose

to free float all of this window.

Of course I can easily restored

aspect of the tab structure
by back to the window menu,

selecting a range again,
then choosing to consolidate all tabs.

And now we're back to
our original tab structure.

One last thing I want to show you

is you can control properties
across documents.

Now, if we come back to the window menu
and select a range,

we can do something
like four up again here

and we can see the zoom
levels are different

for each image here.

Now this image is showing
50% as zoom level.

Likewise, this window's here.

It's a zoomed in at 25%,

and this one here is zoomed in at 16.7%.

If I want all of them to be zoomed at 50%,

I can do so by selecting this image.

And now it's an active image.

I can now come back to the window
menu and again click a range.

And from there
I can select to match the zoom.

Notice that you also have a match location
and match a rotation.

Or you could just match all three.

But in this case I'll select match a zoom.

Now, if you notice, they're all

having the same zoom level of 50%.

Now I'm finally just going to return this

back to their original tab structure
by coming over to the window menu

Selecting range again
and then choosing to consolidate old tabs.

So those are some options that you have

when working with multiple images
in Photoshop.

On our next lesson, that will be learning

how to navigate through our document,
we will learn how to navigate

around our documents in Photoshop
and this lesson.

So if you want to double check
your project files, I'm working with photo

number one, which is the same photo
we looked at earlier in the course.

Now, whether you're working
on a project in Photoshop,

whether it's a

single image like this or composition
that comprises of numerous layers,

you need to be able to zoom
in and out of the document

and also as well move around a document.

There are a few different tools
that are essential to accomplishing this.

So let's start with zooming in and out.

Now, let's head over to our tool panel
and grab this

magnifying glass down here.

Now, if we click on that,
this is going to be our Zoom tool.

You can see that there's a plus sign
inside the magnifying glass

and you can simply click on my canvas here

and there we go, zooming.

Or I could click and hold
and then drag the mouse left

or right to zoom in and out of our canvas.

Now we can

also come in here and in our control
panel up here,

the top can change this over
to a zoom out.

And if I click this button,

we could do the exact same thing

that we just did earlier.

Okay.

Now that we're zoom in on this image,
what if we want to move around the image?

There are a couple of ways we could do
to move our pan around the area.

So let's come over here
and try to use this

scroll bars at the side at the bottom

to try and look around our image.

All right.

Now, we could also use this handful
right here

and just click on that here.

Then you can simply just click and drag

and pan around your canvas.

But then zooming in and panning on

your document is much easier
when you're using keyboard shortcuts

to do this.

Let me just switch to the move tool here
and I'll just hold my spacebar.

Now you'll notice
what happens to my cursor.

It changes to that legal hand tool
we have earlier and quickly.

I can just easily
just hold the spacebar and

I can just move around
and you can see that

I'm checking the other areas of my image.

Now, when it comes to zooming in and out,

we can actually just hold
that control key on our keyboard

and as well the spacebar.

And we can access the Zoom tool

now to show you how convenient this is.

I can just

like zoom in and out of this,
release the control button

and I can now pan around my image

and then just hold the control again
while holding the spacebar.

Then I can zoom in and out again
on my document.

So it really gets easy when we begin

to use keyboard shortcuts
to do just those two things.

Now we've learned how

to zoom in and zoom out.

We've learned how to pan a document.

Now let me show you another place
where we can do this

so let's come over and open up
the navigator panel.

Now, if you don't have the navigator panel
on this side of the area

can just go to window.

And right down here
you can just click on the navigator and

now you will see a preview
of our image on this side.

And if you notice,
there is kind of this red rectangle now

on our image.

Now, by mousing over this,
you'll notice that if I switch over to

what looks like my move to or red
or my hand tool,

we can actually click on this
and drag this red rectangle around

to change our point
of focus on the canvas.

We can also work on this flip
right down here

and we can begin to zoom in and out

of the image.

Notice how red rectangle actually shrinks
the closer we are.

Zoom in.

And now I'm actually zoomed in at 211%
right now.

And I can tell you
in a couple of different ways,

very different places,
you will see this 211%.

So right here you see it up here
in the document tab, you see it.

And down here at the bottom left hand

corner will also see it.

Now, if we want to get back to 100%,

another way to do that
is to just type it down here.

But then let's say we resume
at the very high magnification here

and we want to quickly go back to 100%.

Now, we can do that with a shortcut key
by simply hitting control one,

and that's going to take you back to 100%.

But in
I don't use control one as much as I use

the keyboard shortcut control zero,

because control zero will actually fit
whatever size

your document is
inside your document window.

Now you can see this document

window and viewing AV is at 31%.

And if you want to go back to 100%,
I can just click Control or Press Control

one and we can begin to see that
we're at 100% again.

Now, you'll notice
what happens to that red rectangle.

This is some quick ways
that we can kind of a zoom

in and zoom out on our canvas
using keyboard shortcuts.

But there's one other thing
I wanted to show you about sorting

and navigating around our canvas here.

Now, if you're planning to do

any kind of digital painting
or anything like graphic designing

and you're more of a
like traditional artist,

now, you'll be planning
to wrote a piece of artwork

like how you arrayed
rotate the piece of paper on your desk.

We can also do that here
by going to our tools panel

and clicking on this rotation tool.

So what this does is can actually rotate
our canvas here from the side

and you

can also put it back again if you want to.

Okay.

So that's pretty much about it
for this lesson.

So we've learned how to zoom in and out.

We've learned how to pan our document

and we also learn how to rotate our canvas
here.

And we've also showed you
some keyboard shortcuts

that can make this action
really quick and easy.

Now, I would like to encourage you
to practice zooming,

panning and even rotating your canvas
because again,

these are
the things that you're going to be doing

all the time
if you are working inside of Photoshop.

So with that said, I want to go ahead
and move on to our next lesson

and we are going to spend a little time

on looking at our

reference overview.

So we spend a good amount of time
looking at the Photoshop interface

and getting comfortable
working inside the application.

Now before we move on to the next chapter,

I just want to talk a little bit
about preferences

and now the preference dialog box
has all sorts of options available to you

in terms
of how you can configure Photoshop

to the style that you want.

I don't want to go over
every single option within the preference

dialog box, but again,
I don't want to bore you and I know you're

probably anxious to get going
and start doing things inside the program,

but as a new user, it's important
to be aware that these options exist.

There's a couple of things
that I want you to know and

to make things

operate a little bit more smoothly.

We're going to start off
and open the program dialog box here.

So if you're on a Windows,
what you'll do is to go to the edit menu

and then underneath you'll see preferences

and you can just choose a general.

Now if you're on a mac computer, we're
going to come over to the Photoshop menu

and then we're going to select preferences
and just choose General.

You could also access
this using the keyboard shortcut,

which is control key for Windows

and Command K on a mac.

Now both of this options

will launch and the preference dialog box,
and we've already looked

at some of these options
that are available here.

One thing that you can do is
you can reset all warnings dialogs

if you want to, not to see a particular
dialog box at some point in time,

but then if you decide
that you want to see them

and you can reactivate
them by clicking this file,

we already know that we can come over

to the interface section
and change our color theme

and also change text options.

Here in the workspace section, we can auto

collapse iconic panels.

We can also auto show hidden panels,

but you can d select the large tab options

and you will only do it
if your screen resolution is set

in a way where you don't
have tremendous amount of room.

But then, as for me,
I have like a big screen right here

so I can record this video
using that option.

But the feel free to set this.

Do however you want to work
the tool section

you may want to come over in the select
shows tooltips.

Once you're comfortable
with what the tools are inside a toolbar.

But for now, as a new user,
you should probably leave it on.

You can also zoom with your scroll wheel.

That may be an option
that you want to turn on.

If you come over to the file handling.

When you save a Photoshop document

every time you save it, it asks you
if you want to maximize BSD and BSD file

compatibility or for different version
of Photoshop by default, it's said to ask.

You can just never.

Or if you don't like that
dialog box again, as a new user,

you probably want to see it a few times,
but as you begin to work with Photoshop

more and more,
you may want to turn it off.

There's also an option
to auto magically save

recovery information every 10 minutes.

That way if you have a power failure
or for some reason

you your computer completely carves out.

You have some type of protection here
and you can adjust

the increments
if you want to and be 5 minutes or so.

And maybe you also want it

every hour
or maybe you don't want it at all,

so you can just turn it off.

I also want to point you
to performance section here within the

dialog box.

Now, enabling this will give you features

and enhancement within the applications,

things like birds, eyes zooming,

rotate, view and as scrub zoom.

These are just some features
that you can do.

And aside from that,
the graphics processor also accelerates

the computer station
you're going to make with Photoshop.

So it feels like a lot faster.

Now. I'll come over here and click okay.

And finally

you can select the cursor here
and you can decide how you want

your painting course to appear.

If you want it to be normal brush step
or a full sized brush step.

Again, as you work with the program,
you'll know what you're comfortable with.

I know that there are

options to change them as some people
aren't comfortable with the defaults.

Once your okay and happy
can come over here and click okay

and at any point in time
you can always return back

to the preference dialog box
and make further modifications.

There are few preference
within this dialog box and if I go ahead

and open it again
using the keyboard shortcut control

K or command K for Mac,

you can make adjustment here

and you'll notice
that some of those adjustments

will only take effect
if you relaunch the program.

So be aware of that and.

Yeah, I'll go ahead and cancel
out of this dialog box here

and and now that should give you a general

understanding to what friends are

and what are the things you can do
inside here with Photoshop.

And now I encourage you to return

back to the dialog box and explore
all of its features.

They'll make more sense
as you become more comfortable

with the program.

All right, before we move further, deeper
into our lesson,

let's take a step back
and look at some of the most frequent

file formats you'll come across
when working with Photoshop.

All right, So these are

some of the file types
that you can open with Photoshop.

And as I previously stated,
these are file formats

that you would most likely encounter
as you start your journey with Photoshop.

So let's begin with the most
significant one and the Estey file.

So P.S.,
these stands for Photoshop document

and it is a native document in Photoshop.

It contains
all of the original information.

So if you want to change
some of the presets of your file,

like the layers
and effects of your document,

this is what the file format preserves.

The advantage of a p sd
is that the file size is often quite huge.

The sharing is unnecessary unless you need
someone else to see the original data.

Another common file type is JPEG,

which commonly is associated
with photographs applied by the internet.

JPEG stands for Joint

Photographic Expert Group

and as I mentioned, JPEG

reduces the file size of an image

with a lot of total range
like a photograph.

So it makes the photograph document

size or file size very small.

And it does this by using something

called the lossy compression.

Lossy compression
will remove data from the image.

And the problem is that

data can be never recovered this.

So normally when you save a files
such as JPEG,

it's a one time occurrence.

Now you don't want to re compress
a compressed

image away, saving it as a jpeg.

Now it would surely not

show a good quality.

Another file type is Jif, which stands

for graphics interchange format
and this is used for images with few

colors like logos and flat graphics,

so they are best saved as strips.

So is also a

compression process
performed to the image.

The GIPS

in the image quality is not compromised.

As a result,
you receive a higher quality graphic with

considerably less file size
than you would with a JPEG.

However, it only 256 colors,

so Jif is actually not a suitable option

when you're dealing with any photographs

that require more than 256 colors.

All right.

So one of the a newer file
format for images is PNG.

It stands for Portable Network Graphics.

Now it is aimed to replace the file format
in in the sense

that it does not have the 256 color
restriction that GIFs do.

Furthermore, unlike gifs, it offers

comprehensive transparency capabilities.

GIFs do all of transparency
but not the same extent.

Spongy files

and next we have EPS,

which stands for encapsulated postscript

and is a vector format designed

printing to postscript,
printers and image setters.

It is widely regarded as the best graphic
format for high resolution printing.

For illustrations,

EPS are typically created
and edited in illustration programs

such as Adobe Illustrator.

Now finally, I want to go over that
TIFF file format,

which stands for Tagged Image

File format, and

it's an industry
standard for managing rest

or bitmap images.

So to save or ensure
image, integrity and clarity,

what it does is saved
files can be stored in a number

of color formats and compression
methods like this

are often used
and professional photography.

All right, so those are a couple common

file types that you're likely
to see as a new Photoshop user.

And this file types are

widely used across the Web graphic
and in the printing industry.

So it's really important knowing this.

So now that you're familiar with them
file types, what we will focus on next

is about raw files.

We just looked at a few common file types.

However,
if you're a photographer, you should know

about some of the raw file formats
you might encounter.

So whether you're a photographer, web
designer, or a graphic designer,

this course is designed to be a starting

for anyone
who wants to learn in Photoshop.

So this course provides
a one size fits all approach

to learning the application
regardless of your role.

And with that said, I'm sure there are
a few photographers in the audience

who want to learn more about Photoshop
so they can their images.

And since we've already talk about
file types,

I think it's important to mention
the raw file associated

with some of the most
popular camera manufacturers.

So what exactly is a raw file format?

It's a file that hasn't been processed
by the camera in any way.

It's essentially a raw data
from the camera's image sensor.

Now, the advantage is that you have
a lot of information within the image,

and the data is there for you
to make changes to things like contrast,

highlights, shadows and other presets

compared to JPEGs, which is also
what comes out of the camera.

You don't have the same privileges.

So what's the drawback to the raw format?

Well,
the size of the image is probably four

or five times than JPEG,
but you have a lot more data.

So how can you work with raw images?

Well, if you open a raw image file
in, it would launch the camera raw plugin.

So just give me a few.

Let me just come over here and open

some a free sample file
from the Canon website.

If you want to follow me,
you can open the raw canon

file on our tutorial assets folder.

All right, there we go.

So the camera raw plugin is specifically
designed to deal with this raw images,

and there's a lot of features
built into the plugin that allows you

to manipulate and enhance the image.

As you can see, we have all of these
settings here that we can modify,

but then we wouldn't go much further on
this as my goal

is to just give you an idea about files.

Okay, Now if you're a photographer, you're
probably also familiar with Photoshop

Lightroom, which is an application
built around this camera raw.

Okay.

So with that in mind,
I want to draw attention also to the raw

file formats connected with the two
most common manufacturers.

Canon users will produce A, C, R2,
or C RW files,

while the Nikon users will produce

any F, NEF or RN RW files.

Of course, there

are a lot of them
more camera manufacturers out there now.

All you have to do is Google
your camera manufacturers, file

extension in raw format
and you'll be able to see them.

Now, although each camera manufacturer
has their own raw format,

others employ
a more universal formats, just as DNG,

which stands for digital
negative file format.

And it was originally created by Adobe.

It's also an open source file format.

All right.

So that's much it for raw files.

I just thought it was important
to at least mention

what these two file formats represent.

If you're a photographer
taking this course

and wanting to learn
more about Photoshop now,

at least you're you're not in the dark
about what this file formats represent.

Now that we're

done with raw files, let's jump
back into graphics and understand

what is the difference
between bitmaps and vector

graphics.

Bitmap
images and vector graphics are the two

most common types of computer graphics.

Bitmaps are
images made up of squares of color

information called pixels.

These are commonly employed for images

with a wide
tonal range, such as photographs.

Now, let me just show you what
I mean by this.

If you look at the photograph,

you can see all of the pixels
that make up that image.

All right.
So you can see it at the moment.

But as you notice, if I zoom further,

you will start to see squares,

and this is what we call pixels.

All when utilizing Photoshop bitmaps
are the primary graphics that are created.

All right.

So the other type of computer
graphic called vector

vector graphics are different

in the sense
that vector points are plotted out

and then mathematically connected
patterns.

So vector graphics often have

fewer colors
than their bitmap counterpart,

but then another advantage of a vector
image

is it may be scaled indefinitely

without losing quality.

So when we talk about resolution.

We'll see that this isn't the case
when working with bitmap graphics.

When you scale a bitmap,
the pixels are spread out,

leaving holes that must be filled

and this lowers the overall image quality.

Now we will talk more about quality later
on on this course when we tackle

about resizing and resampling images.

So now we can work

with vector inside Photoshop.

If you're working with type and shape
layers,

also a vector graphics

are much utilized in Adobe Illustrator,

but then in this course we are primarily

focused on the bitmap
features inside a program.

All right, so that's pretty much it.

And yeah, let's go on to the next lesson,
which is understanding

a resolution

resolution

is a crucial topic
when it comes to Photoshop

and a new user sometimes
find it to be extremely intimidating.

But the truth is
it doesn't have to be that way.

It's not that difficult.

And in this video, I'll go through three
common output scenarios

that you're likely to come across
when working with Photoshop.

So what are the three outputs?

Well, the first is have to just use
for professional pre press.

Or if you're sending your work
to a professional printer,

if you're working with an inkjet printer
at home

or having images printed at the office,
the next is continuous tone.

And then after that

we'll talk about on a screen,
this is considered

display output,
something that you're going to display

on screen,
whether it be a website or mobile

app or whatever the case may be.

All right. So let's dive in.

And that brings us to the first
and possibly

the most complicated, which is how often?

Well, it's important to understand
that professional pre press print,

there are useful colors
in their printing process.

So these are cyan magenta,
yellow and black.

And it's often referred to seem like the
why is this important?

Well, each color is a different path
within the printing process.

And in the printing process,
little dots are placed

on the paper and these dots
collectively will create the illusion.

Now, anytime

an image is printed on paper
through the professional printing process,

if you were to look at that image
through a loop,

which is a magnifying glass,
you would see those dots.

But far enough away you won't see it.

So you are really creating that illusion

that those dots doesn't exist.

But then now your
is to figure out how to convert

a continuous stone image,
which is a photograph

you have in Photoshop
to a half tone image.

And the way that you're going to calculate
that is by figuring out

the lines per inch or a line screen

that's needed for printing
on a particular piece of paper.

And that really is an important component.

When you're calculating
how to create that conversion,

you're definitely going
to have to talk to your print shop.

When you talk to your

print shop, you're going to determine
what paper quality you want to use.

And based upon that paper quality,

that would ultimately determine

what your line screen is

an important component

when figuring out what the line screen
should be for a particular

piece of paper
is something called dot gain.

Now, if you can think of any liquid
falling on a piece of paper

and typically that liquid spreads out,

the ink does the same thing
that is spreading out.

And again, it's called gain.

The resolution of your image will
typically be two times the line screen.

And the line screen, like I said, is
typically determined by the paper quality.

Now let's take newsprint as an example.

Because of the absorbency of newsprint,

newspapers typically use 85 LP

If you're going to be printing to a paper

that's looking for a line screen of 85 LP,

then near Image restricts the resolution

to be 170 or pixels per inch.

So it's the
Y state of paper that you're printing to.

Again, the key takeaway here is that
you have to talk to your print shop

and when you talk to your print shop,
that discussion

will lead to the type of paper
that you're going to be using.

And that paper quality
would ultimately dictate

what your line screen
should be based upon the game.

Continuous tone is the next step

about what
I want to talk about and continue.

Stone is commonly found in consumer jet
printers,

and anytime you send out pictures
to be printed as photographs,

the rule of thumb here is to set
your resolution to 240 pixels per inch

to 360 pixels per inch.

You may want to experiment
with different resolution

and in fact, you may find that
you don't see a dramatic difference

between setting your image to 60 pixels
per inch compared to three pixels

per inch.

But generally you'll
you'll see a difference between 240

PBI compared to 260 BPI

So you can do
a little bit of experimenting.

If you were working on an inkjet
at your home or your office.

Now if you're trying to print
some photographs, you can try it.

You can talk to your print shop

and ask resolution they prefer

and you'll
typically get something in there

300 pixels per inch range.

Finally,
let's talk about on screen delivery

and when we're working with on screen
graphics representation

on screen, like a web browser
or a mobile app, those images are measured

in pixels and dimensions,
meaning it's the width and height

that's ultimately going to dictate
how the image appears.

And it has nothing to do with resolutions,
pixels per inch.

So think about a mobile application.

If a mobile application has a full screen
view,

that's 1024 by 760

and you want to take up the entire screen,

well then you need an image
that's 1024 pixels wide,

five 768 pixels tall.

So it's those height values that you need,

and that's the one that will determine
the image appears,

not the pixels per inch.

All right. So yeah, that's pretty much it.

And for our next lesson,

we will be tackling about resizing

and resampling documents.

All right.

So in this lesson, we will learn
the difference between resizing a document

and resampling it.

Great.

So again, I've got our autumn leaves here,
and if you want to open

that, you can check on tutorial assets

one photo file and just open it.

All right.

So we'll be talking
about the makeup of an image

Now on our last lesson, we learned
that an image is made up of this,

a little square things called pixel.

So just to recap, we can see

individual pixels at this particular
magnet, the magnification level.

But if I were to go ahead
and hold down our control and spacebar

and let me just zoom in really close
on this area, just give me a few.

And yeah, as you can see,
when I zoomed in very closely,

you can see this pixels here,
this squares here, and basically

we get this little grid of white lines
that appears here inside of Photoshop.

So again, this is our pixel grade.

And you can see
as I pan around this document,

zoom in are like over thousands

and thousands of pixels.

For example,
this one over right here, you can see

there are some red pixels along in here
and there's some kind of a

red, the different
red color here and also here.

So now this particular

image
is made up of those thousands, thousands

and sometimes even B millions of pixels.

And they all work together
when we're viewing this at a much lower

magnification level to create this image.

Now let's do this.

Let's, let's come over here
to our image dropdown menu,

and we're going to come to the image size.

Now, this is going to give us
some information

about this image.

We can come over here on the left
and we can

we can kind of zoom in and out
to look at the preview of the image.

But over here on right
is really where all the magic happens.

So let me just break this area
down for you.

So up here we have the image size
and you can see that

the size of this image is at 69.1
megabytes,

which is which is
fairly large, if you ask me.

All right.

So down below here,
we also have the dimension of this image

in terms of its pixel dimension.

So if we zoom all the way out here,
you can see here

that this particular image is over

4000 pixels
wide and over 6016 pixels tall,

and that's a lot of pixel data.

And below that we have here a with
and a height field.

And you can see by default
mine is set to inches.

So this is the physical size of this image
right now.

And if we were to say
print this out on a giant piece of paper,

we would need a piece of paper

that could print this image at 20

by 13 inches.

Now, I don't know of a printer,
at least in my house,

that can feed the paper that large.

So obviously we wouldn't be able
to print this image in its current state.

But we
basically need to shrink this image down

and we can do that right here
inside the image

size dialog.

All right.

So let me just go ahead and uncheck this
resample option right here.

We're going to talk about that
here just a moment.

But notice what happens when I check that
this by default,

this kind of a little link
right here between the width and height.

And basically what that means is
we can change

one and it's going to change the other
proportionally now.

And checking that option creates a bridge
between the height

and width and as well as the resolution.

So basically,
when we resize this, let's say we had

maybe five by seven piece of photo paper
that we wanted to print this on.

All right.

So just give me a few.

Let me just put in five
and just for the height here

and we get a value that's pretty close
to seven inch for the width.

But watch what happens.

I change those values.

Now, remember, the resolution down
here was set at 300 pixels.

And now by changing the height value
of this image,

it's taken those three pixels
that are spread out on an inch

and it's increasing it and it's back them
tighter together inside this file.

So we still have the same number of pixels
working to create this image,

but then they're just back
even tighter. Now.

Now let me show you what I mean
when I say pixels per inch,

I'm just going to hold down my alt
key here.

And as you can see

the button here, change to reset
and I'll just hit the reset button. Now

you can see

here that we're at 300 pixels again
pi and yeah, let me just cancel out

this dialog box right here
so I can illustrate that for you.

Now if you want to follow me
inside your tutorial Assets

folder,
you'll have this resolution image file

and if I come up here to the image size,
you can see

you'll see it's it is in at one inch

by one inch at 72 pixels per inch.

So here the resolution is at 72 pixels.

And if we zoom in on this,

you'll see here that each one of this
colored square

is ten pixels by ten pixels.

All right, So let me just go here
so you can see of one,

two, three, four, five, six, seven, eight,
nine, ten.

All right.

And I've got this one, two, three, four,
five, six, seven.

So that's 70

pixels

across here.

And we have this little purple down here

and right here, which is Stupak's cell.

So the entire document, as you can see,
is 72 pixels wide

by 72 pixels store.

So that's what 72

API means or pixels per inch.

So again, we, we have many more than 70
pixels inside a square inch.

But as you can see,
the measurements are 72 by 72.

All right.

Now if were to come over here,

back to our image under the images ice.

Now let me just change this back to say,

five inch grade and and then we can come.

Now, here again, we're sampling it.

This not changed a resolution then.

We're going to talk about that
in just a moment.

Let me just reset this and uncheck
resample.

So let me just change that back to five.

And you can see here that the

value on the resolution

automatically gets changed to 803.2.

So that means in a square inch

there are 803.2

by 803.2 pixels,

many, many more pixels than a 200 by 300.

So essentially what this means
is by uncheck this resample box,

we can resize our image safely
without losing any resolution.

Now, if I click

okay on this, we've now resized our image
and we can come back to our image size

dialog here and you can see that
those settings are retained

now at this point,
we could safely print this out

on a piece of photo paper on our home
print there.

So now maybe we're making
some color corrections to this image

and we're wanting to print it out
so we can make a photo album or something.

Now, at this point, because

we resize this image,
we we didn't resample it.

So we can also come back in here
and change this with value again.

Now let me just change this back to our

old value here, which is 20.053.

And you can see here

that it's back
to our original measurement.

And again,
our resolution has been adjusted

back to 300 pixels per inch.

All right, awesome.

So I've just changed this image back to
its original dimensions or original size.

And so you can see no adverse effect

have had been on this image.

So this is again resizing.

Now resampling is something totally.

Let's come back to that image size dialog.

As a matter of fact,
you can actually access that by holding

down control
in out on your keyboard and hitting I key

and it's

option plus command on a mac.

All right awesome.

Let's
go ahead and check our resample options

now there's some options out here
inside this dropdown.

These are just methods of interpolation
and that's the kind of method

that Photoshop uses for this resampling.

I would go ahead
and leave this on automatic

because that that allows Photoshop
to determine the best way to do it

without getting overly complicated.

All right. So yep,
that's going to be your best option.

Now, in terms of resampling, there's two
different ways that we can do this.

We can either
resample take pixels out of an image

or we can resample to add
close to an image.

So taking away pixels from from
an image is called

downsampling and adding pixels
to an image is called upsampling.

All right.

Now let me just show you an example here.

I'm going to come over and change.

So you can see here we're at 100%

and I'm going to go ahead
and drop this down significantly.

Let's let's change it from 100
to, let's say 10%.

All right.

Just like so now, when I did that
at what happened to the image

size up here, remember
it was 69.1 megabytes.

Now it's down to a very small size
of 709 kilobytes.

So this is going to be really important
if you're maybe wanting to publish

digital photos on a web and create a file
that is easy to download

because obviously 69.1 megabytes
images are going to take some time

to download for someone who doesn't have
a high speed Internet connection.

So this is really important.

And mostly if you're in web designing.

All right, so

I'm going to go ahead and reduce this now
to 10% of its original size.

And again, we're going to downsample.

So I have my re sampled box checked here.

All right, let me just hit, okay.

And you'll see that
my image shrinks down significantly.

But if I zoom in on this now,
by holding control and spacebar,

I can
begin to look at this and you'll notice

that the pixels are more apparent

much, much quicker than before.

So it's taking far
fewer pixels to create this image.

Now, granted,
there's a lot of loss of detail here.

If I were to maybe undo by going up here
and hitting,

edit and undo, remember,

we had a lot of really fine detail inside
this guy right here.

So let me just come back up here and edit

and click on redo.

Now, as you can see, a lot of detail
is obviously gone at this point.

So now this is an example of DOWNSAMPLING.

Now this works both ways.

We can actually add pixels to this image
and up sample it.

If we ever needed to.

But I want to show you again
an extreme example for this.

So let's come up to the image
and use image size.

And again, let me just come over here
and we'll switch back over to inches.

And you can see here, obviously
we have made a significant change

looking at the physical sides
here as opposed to 20 inch wide image.

So now we've got about

two inch wide image with those pixels

spaced out at 300 pixels per square inch.

Now let's come over here and actually just

select our with again
and with our RESAMPLE option check.

Let me just switch it back to 20.

So now we're telling Photoshop that we
want to add the resolution to this file.

All right.

So with that selected, let's
go ahead and hit.

Okay and we'll have to zoom out. So

it's obviously

made our image much, much larger.

But just check and look at this
When we go to add that much resolution

by Upsampling,
it doesn't show a good quality.

So now you can see that there's no way
to create the detail that we lost

once we got rid of it by a DOWNSAMPLING
and even by Upsampling.

This image back to its similar size.

What we started, we can't.

So Photoshop can't

recreate that detail
that's already gotten rid of.

So this is a good example whenever you're
trying to up sample an image.

All right before I will never try

and upsampling an image
more than 15 to 20%.

Anything beyond that, you're going
to start to see some strange things

happening on that image
and it's not going to look quite right.

It may get a little bit fuzzy
or you may see

some other artifacts in the image.

But with the latest Photoshop,
you can do, you can do

so you can actually get away
with even maybe up to 25% or 30%.

And yeah, it's actually
because of this new interpolation method

here in the dropdown and it's called
The Pressure of Details 2.0.

Now with

that said, you, you now understand
the difference between resizing an image

and resampling an image.

All right.

So with that said, let's
go ahead and move on to the next lesson.

And in the next lesson,
we're going to learn about

print sizes.

Let us just take a moment and talk about
resolution and digital camera

in printing forums.

A common question I see is
what is the maximum size

I can print with that document?

Well,
based upon the last couple of videos,

you should be able to figure that out.

But what I'd like to do
is just walk you through on that process

and how you can quickly come up with that
number in terms of its size.

All right, great.

So right now I'm working with a nine,
the JPEG,

which is available
inside your tutorial assets folder.

All right.

Now with that open will, what will do
is to come up here to the image menu.

And under the image menu
you can choose image size.

Now, what we want to do here
is these select

resample image for the moment.

And what we want to do is specify
the target resolution of our output.

Let's say, for example, we're

going to print this on our inkjet printer.

And as we discussed, we know that inkjet
printers would accept a resolution

from anywhere between 240 pixels

per inch to 360 pixels per inch.

All right.

So just to make things simple as possible,

we'll go with the lower resolution

in this case,
which is 240 pixels per inch,

and this will ultimately give you a larger
size.

They mention.

So if we come over here and type 240

now, you'll see that the maximum side
is now nine by 11.25,

you could go into the image and provide
more of a standard size if you want to,

but this would be the maximum size
that you would be able to print.

So I also mentioned in our previous lesson
that we can up sample Photoshop images.

So what this does is it
interpolate the pixel for you

when increasing the size of the image,
and when you increase

the size of the image,
you spread the pixel out

and the pixel

grade
gaps and those gaps have to be filled.

And that's something
Photoshop has to figure.

Now, like I said,
we can get away with at least 15%

or maybe 20%.

That would be our safe bet.

When it comes to

Upsampling, the image.

But then let's just say
for the sake of argument

right now,
we we wanted this document to print out.

So in nine by 11.25

inch and

and it's quite a bit larger
actually than what it currently is.

Now realistically, you'd probably use

third party software for doing an up
sample of that magnitude.

And chances are,
if you're printing a much higher size

in terms of physical dimensions,
you don't need the resolution.

In all honesty,

if you're creating something like a
billboard or something along those lines,

you're really never going
to see that image that close

so you can get away with having
the dots further apart.

All right.

So what we want to do here
is obviously check resample image

and then we want to change this
to be an 11.4 by 14.25.

So let's go ahead and type in 14.25
here for the height.

And when you do
because you have constrained

portion selected the with increase
increases to 11.4 inches.

Now again you'd have to perform a crop
to get this to to be more standard size.

But you can see the overall file
size is now doubled.

So we're adding
more information to the image.

But what it's going to do
now is lose sharpness on the image

when you print it
and it's going to look a lot softer

and it's almost going to look like blurry

because we just don't have
the pixels information in this image.

And the pixel information that we do

is made up by Photoshop.

So you'll notice right now
that the image is set also to 50%

in terms of its man elevation.

And down here towards the bottom,
we have automatic selected,

which means when you click okay, it's

going to use the bi cubic smoother,

which is the best algorithm
for enlarging an image.

Now before I click okay again,

when you're increasing the size
this much, actually it's not something

I recommend you're really going
to soften up the image quite a bit

and you don't want to go
this extreme when upsampling

but I'm just doing this
for the sake of demonstration purposes.

Now note the magnification, which is 50%.

If you click
okay, it's still in 50 person,

but notice
that the image looks a lot larger.

And in all honesty, if we look at this,
it doesn't look that bad

and it probably won't look
that bad on screen.

But when you go print this,
it will have a softer quality to it

and it won't look quite as sharp
if we go ahead and zoom in at 100%.

And you

can do that by double clicking
the Zoom tool.

So as you can see,
we did lose some detail here

within the front,
but overall it's not that bad.

But again, I just want to quickly review
exactly what resolution represents,

especially when you're working
with digital cameras.

And also a lot of people work with digital
cameras and come up with this question,

which is exactly why I decided
to record this video.

So that's pretty much it for print sizes.

And we'll be focusing next
on some color modes

or color preset here in Photoshop.

We'll go only over to a few of the color
modes in this session.

But really,
when you talk about color modes, it's

actually a pretty fairly long
technical discussion.

But then for now, just getting a general
concept is all you need to know.

All right,

so we can talk about this color
mode in greater detail.

I'd like to point out
where you can switch to color mode

of your document
when working inside Photoshop.

So let me just go over here
on their image menu.

And as you can see,
you can select the mode

and there are several different modes
available.

There's grayscale index,

color, rugby, steam wiki and so on,

but we're only going to be talking about
four of them in this video.

But then be aware
there are a couple of other specialty

modes
available like lab color and multichannel.

We're also going to be talking about
with the app here.

And by default, most of the time
you'll be working in an eight bit image,

but you can change it to 16 bits
per channel or 32 bits per.

And we'll talk about this in greater
detail as we talk about the color modes.

With that
being said, there's one additional

that I want to show you
and that is the Channels panel,

because we're talking about Emmitsburg
Channel.

It's important to understand
that there are channels Photoshop

right now
I'm working with on our GBE document,

and I know this because
I'm getting read out here on a tab.

Not only do I see the file
name of the document,

I also see the color mode
that I'm working with.

You'll also notice the bitmap here.

Now, if we come over to the channels
panel,

you'll notice that we have three channels.

In this case, we have red, green and blue.

And I'll talk about what
this channels represent in greater detail

in just a moment.

All right.

So let me just pull this up right here.

Okay.

So the first color mode
is probably the most

basic color mode, which is bitmap.

You're not really going to be using bitmap
mode all that often

because it supports
two color values, black and white only

bitmap mode are

called one bit images
because they have a bit depth of one.

Now, if you look at this image,
it looks like

there are shades of gray there.

It's really not.

It's just how close or far away
the black pixels are from one another.

All right.

The next mode I want to talk about
is grayscale.

So grayscale mode uses different
shades of gray in an image

and there can be up to 256 shades of gray

in every pixel of a great scale image.

So it also has a brightness value ranging
from zero, which is a black to 255,

which is why
if you're dealing with a 16 or

32 bit image, then the number of shades in

an image is much greater
than that found in an eight bit image.

Next, I want to talk about

index color
mode and index color mode is produced

by eight bit image files

with up to 256 colors

when converting to an index color,
Photoshop builds

a color lookup at the table and it stores

an index of color
that are used within the image.

If a color in the original image

doesn't appear in the table,
the program chooses the closest

using dithering to simulate the color
using available colors.

And as you can see,
some of that on this image

now, it's important to understand
that each of these things or image

contains one channel
and it gets more interesting.

Now when we start looking at the RGV
color mode.

The RGV color mode assigns
an intensity value

to each pixel in an eight bit
per channel image.

The intensity values range from zero,

it just black to 255, which is white

for each of the red,
green and blue components.

And when the values

of all three components equal,
the result is a shade of neutral gray.

When the values of all

components are 255,
the result is pure white.

And when the values are zero, you get

black, of course.

RGV images use three colors

or channel to repeat this color on screen
and in an eight bit bright channel image,

a three channels translates
to 24 bits of color information per pixel.

With 24 bit images.

The three channels can produce up to 16.7
million colors per, pixel

with a 48 bit,
which would be 16 per bits per channel

or 96 bit image,
which is 32 bit supercharge channel.

Even more colors can be reproduced
per pixel

and this is really useful
if you're see bounding on the screen.

Now another important mode is communicate
color mode.

And in the CMI key color mode,

each pixel is assigned percentage
value for.

Each of the process inks.

That means you'd be working
in this in this mode.

If you're sending your work
to professional pre press.

Again, that's another lengthy
and technical discussion here

and I don't want the technicalities now,

but I

think a general overview
of what this color modes represent

and what bit that represent is important
for you to move forward

and learning here in Photoshop.

Welcome in this chapter
will be focusing on selections

and compositing basics.

It is critical
to be able to make precise selection

when using Photoshop selections
allow you to isolate a portion of an image

allowing you to manipulate it
in whatever way you want.

You'll notice that I'm working
with a file called Shapes on Board a JPEG,

which is included in the tutorial assets
folder

that you downloaded here from our website.

In this video,
I'd like to give you a general overview

of some of the most popular selection
tools in Photoshop.

There are a variety of techniques
and options for making selection,

but these are the most popular
for simple selections right now.

All right.

So making selections is a critical skill
to have inside a program

because it allows you
to isolate selection of the image,

and then perform adjustments or the types
of manipulation on that image.

It's a really important skill to have.

So in this video,
I just want to introduce you to the basic

selection tools,
and we can do that by coming

over here on this panel.

So We are selecting our first tool,

which is the rectangular marquee tool.

Now there are options up near the top

and in the control panel,
but let's not worry about them right now.

Let's look at how we can create
a selection.

You'll notice
that my cursor is now across here

and all I have to do
is and drag to create that selection.

You can also see a like a preview

indicating the
within the height of that selection.

And if you need selection to be a square,
just hold down the shift

key on the keyboard and you'll notice
that the selection is constrained.

Furthermore, if you need to reposition
the selection as you creating it

with is the keyboard shortcut,

you'll notice the cursor change again
to an arrow with a small pair of scissors

next to it, indicating
that you can cut those spaces

out of that location
by clicking and dragging it.

Now I'll just undo those commands
or controls now, just like so

now, if
you no longer require the selection,

you can return to the select menu
and select the Select Command or Control.

The electrical Mark key
tool is the keyboard

shortcut
underneath the rectangular marquee too.

It's the same tool, just a different shape

If you click and drag Ukraine and Ellipse,

and if you hold down the shift
key, you'll constrain it to a circle.

Now, something else I'd like to mention
is that whenever

you use a marquee selection tool,
whether rectangular or elliptical,

if you click and drag it,
you'll notice that it's like

dragging out from the corner
out of this election.

But if I hold down the alt

key on a Windows or Option key on a mac,

when I begin to drag this, you'll notice
that it's dragging from the center.

And that could be a really useful
way to create this election.

Okay, now through

these select this,
we can use the keyboard shortcut, control

the on the windows or command
the on the Mac.

All right.

So we also have lasso tools here.

And the first lasso is a freehand
selection tool,

which means you can create freehand shapes
by clicking and dragging

and then returning to the original
starting point to create the selection.

All right.

Again,
let me just select this selection again.

And just beneath the lasso tool here,

there is another tool called the Polygon
Lasso Tool,

which is also a free hand selection tool
that conforms straight lines.

The making selection,
something like this triangle right here

or circle right here would be much easier
with this tool.

As you can see, when I click set a point,
you'll notice

that the line is
essentially attached to the cursor

and you must click again to change
direction.

All right, So let me just click again here
and then move my cursor up

the starting point.

And you can either double

click or go back to the Starting Point
to close the selection.

And you'll notice that once
I get that good starting point,

you'll see a circle up here
next to the cursor icon.

And when click it,
the selection is made again.

Now you can deselect this
using the keyboard shortcut again.

Again, it's command D for Mac

and control the for Windows.

All right.

So underneath the quick selection
tool, we'll see.

Here we have the magic wand tool
and the tolerance by default is set to 32,

which means that when you click on a pixel
it will find adjacent pixels

with 30 levels of luminance values
similar to one that you clicked on.

And in this case, it's
making a better selection

than the quick selection tool
for this White background.

All right.

Now last thing I want to mention here.

So another lasso tool located here near
the bottom.

It's called the magnetic lasso Tool.

And what the magnifying glass
or tool will do is

look for edge of contrasts.

All right, So let's try it here,
because we have some high contrast

areas here between the background
and what we'll do is

click our cursor around the edge and.

You can see that
this anchor points adds up.

You can manually

add an anchor point
if you want to by clicking your mouse.

So, for example, let me just do that here.

And as you can see, I have manually added
that anchor point there.

Just let me just continue
to moving this around right here.

And as you notice,
as I get to the other end,

you'll see that little circle icon.

And if I click it,
it will connect the anchor point

and we'll be creating a selection.

All right.

Now, some of the tools here
have more options available, but

we'll go over those in greater detail
as we progress

through the chapter in the course.

All right.

So in the last lesson,
we learned how to work

with quick mask mode
when creating our selection.

And this lesson will look at another way

that you can go about creating a selection
inside of Photoshop.

So now I'm working with a document
called Down Little Kid that JPEG.

And in this case what we want to do
is to select her clothing.

Now, the problem
with this particular photograph

is if we decide to use something
like the quick selection tool,

because the quick selection tool works
based upon finding edges within the image,

it's going to struggle quite a bit
over here where we see her hair.

In fact,
it will probably just ignore her hair.

So we're not going
to get the best selection.

And if we use something
like the Magic wand tool here,

you can see that there are many different
color values here.

So it's going to make using
that tool very difficult.

Now, there is a better

way inside Photoshop to do this,
so let me just go here to the select menu,

and from the select menu
we will choose Color Range

and that will open up
the color range dialog box.

And the first option
here is the select option.

And as you can see,
there are several different options here.

You can just use a color
like a cyan or red or yellow.

And when you do that, you'll get
a preview down here towards the bottom

and you can see the type of selection
that's being created.

Honestly, it's not too bad,
but unfortunately it's not including

enough of the color values and there's
nothing that we can do about it.

We can't modify this in any way.

And that's really the limitation,
reducing one of these colors.

Now, if you're a landscape photographer,
you may find something

like the highlights,
mid tones and shadows really useful.

Maybe you just want to play
with the midterms with an image or shadows

within the image, and this option
will give you the ability to do that.

But obviously in our case,
they're not all that helpful.

You could also choose something
like skin tones,

which will find the skin tones
within an image,

and there are things that you can do
to modify

the initial selection,
one of which is detect faces.

When you choose detect faces,

you'll notice that the selection
is tightening up a bit.

So there's a lot of work
that we can do here,

but obviously that's not our goal.

And on this case,
our goal here is select the clothing.

So what we're going to do
is I'm just going to go

and choose the first option,
which is sampled colors.

Sampled colors are the colors
that you sampled within the image

with this eyedropper cursor here.

Now you can change the preview
which is the image

over here
by choosing another option in this menu.

So we have grayscale, black matte,

white matte, and quick mask.

For simplicity,
I'm just going to leave mine

to non and I'm just going to be using
this preview here as a guide

now you can use this Eyedropper tool here

on the preview area or in the image
and it's completely up to you

now. When you click on the clothing,
you'll notice that we're getting

a decent selection here, but it's leaving
a lot of color values out.

So what we'll do is
if we come over here and click again,

you're just changing the selection.

You're not adding it
or modifying it in way,

right?

So what we want to do here
now is to come over here on this selection

here and click this button,
which is a add to sample.

So this means that
we're going to be sampling

even more of the color values.

The other thing
that you probably want to do

is also check localized color clusters,

and that's just going to make this sample

contiguous area
so it won't jump other color values.

So if you select the purple value here,

it will continue to select the purple
value next.

All right.

So at this point,
we can just continue to click

and aside from click and you can also drag
it in as you click and drag.

You'll notice
that we're adding that to the selection.

Now, you want to be careful here
not to sample too much,

but you do have a safety net in that
and you can just come over here

in the select tool again and select
this, subtract from the sampled area.

But so far we're doing good here.

So let me just continue
to click and drag here

and we can see that
we're getting decent results here. Now.

We can make additional modifications here.

We can change the range which will expand
or contract the selection.

So as I click and drag this the right,
we're including more values.

We also have the fuzziness slider here

which will soften up the selection.

It also seems to expand it
slightly as well.

You'll also notice that we've picked up

some of our eyes here.

All right.

So aside from that, we're also softening
up the edges around her clothing.

In this case,
I want this dialed down a little bit

and honestly, I don't think
the range has to be this high either.

So I think what we want here is to be

just to
be somewhere around 50 to 40% range.

So if that doesn't do the trick,
we can just

fix it later
on after we finalize all the selection.

So what we want to do here
now is just to continue

adding to the sample here
by clicking and dragging on her clothing.

All right. So

see that it's it

keeps adding up on the preview here

and it seems to be becoming more wide.

I Do want to avoid her
strands of hair here if possible.

All right.

So but then we'll just continue
clicking and dragging here.

All right.

Now, let me just warn you here that

you want to make sure that you're happy
with the selection, because if you click

okay on that one, you won't be able
to get back on this dialog box.

So you want to be a spare
figure as possible.

And if you really can't
get it to be possible,

you don't have to worry because we can use
the quick selection tool or the lasso

which will or the marquee tool
to dislike or select

any of those missed selection.

All right.

So I think I'm done here now.

I'm just going to click. Okay.

Before that, we'll just have one
final look here. And.

All right.

So I'm pretty happy
with this election already.

So let's click okay and

you'll see

the marching ads up here
now on her clothes.

So again, we did miss a little bit up here
and maybe just a tad over there

in this area,
but overall, it's a pretty good selection.

All right.

So like I said earlier,
we can fix those area.

Let me just go to my lawsuit tool here
and then I could just

hold down the shift key
to subtract this, the selection.

All right.

So let me just do some cleaning up here
and there.

Every time we've made this selection,
we really haven't done anything

with the selection.

We've moved the basketball out
of one picture and place it in another.

But what can we do
with this selection now?

We should be tackling about adjustments
on the different chapter,

but then just to get some satisfaction
about the selection

that we've just created,
what we can do here is to come over

to the adjustment panel,
and if you don't see the adjustment panel,

you can just come up to the window menu
and from there you can choose adjustment.

All right.

So I think we're all set here.

All right.

So I think it's a good selection
now at this point.

And and in this case, we just want
to apply a hue and saturation adjustment.

So this will open up
the hue and saturation panel.

And in here you can just drag that hue
to a different location

and you will see
that it will change its color.

So again, we'll talk about adjustments
in greater detail later in this course.

But for now, you can

see that we were able
to successfully make a selection

and change her purple clouds
into a different color.

All right.

Now I'm working with a document called
Coupled Start JPEG.

And again, you can open that
in Digital assets folder.

So what I'd like to do here
is to make a selection

of this couple right here
that are in focus, keep them in color

and set everything else
into that image, black and white.

So we can do this
by coming up with a select menu.

And from the select menu
we can choose focus area.

And when this dialog box opens,
Photoshop will evaluate the image

to decide what's in focus.

And at this point it does a decent job
in terms of starting point, but obviously

it took out some areas that we want,
but now we're not.

We have several options
for modifying the initial selection.

So the first thing that we have here
is to adjust view mode.

And right now
we're looking at the image on White.

But now we could change that
to black overlay

and we could also change that
the marching ants.

And there are also other options here
right now.

I'll leave it set to white.

All right.

Now, keep in mind that it's important
to leave the option selected

so that we can actually see
what we're changing here.

And now, if we look at the parameter

section, we have an IN-FOCUS.

And if we drag this slider to the right,

it increases the value right here.

And what Photoshop will do is consider

more areas that the image to be in focus.

And if we drag it to the left, fewer

areas of the image
would be considered in focus.

So this example,
we should drag it to the right.

So we are missing some areas that we want.

All right.

So and as you can see, as we do that
Photoshop will reassess the image.

All right.
So it's in a pretty good job here.

But then we still have this arm here
cut out.

So let's just go ahead and drag
more to the right

and let's
see if we can get this arm here back.

All right.

Well, it seems that we can't add that.

So what I'll just do is just go back
a little on the settings here.

And what happens is
if you run into this kind of situation

where you really can't get
the in-focus range that you exactly want,

we can use this tool right here.

And what we have
here is the focus area ad tool

and the focus area subtract tool.

So let me just highlight the focus area
here with the subtract tool and I'm going

to increase my brush size by using
the bracket scale on the keyboard.

Now I'm going to click and drag on to this
area right here.

And as you can see,
Photoshop will remove it.

Likewise,
I'll drag and click on this sorry,

stray areas
here and Photoshop will remove that too.

All right.

So let me just clean up this area here.

Let me just click and drag here again.

All right, then.

It seems that it included

some of the areas that we want
but then again, no worries.

We can fix that.

So what we'll do here
is to go to the menu here again,

and this time will be using the ADD tool.

All right.
So I'll just click and drag here

and I'll also click
and drag here on his arm.

All right.

So we got that arm back
now, and it's looking good now.

So finally,
we just want to take part of the street

here in between the legs
and between the arms.

All right.

So let me just go back
to the subtract tool here.

Let me just adjust the brush size here.

So I need it to be smaller
and I'll just click and drag again and

we'll just click on here, too.

All right. Awesome.

This one looks pretty decent.

So we could also come and clean this up
a little bit more.

But for the most part,
I'm happy with this.

So now at this point we could click okay.

Then the output
would appear as a selection.

But if you want to soften
the edges a little bit, especially

her hair, you could do that.

Now, if the soft edge isn't selected,

you could selected the see
if you get any improvement.

But in this case, it's
not helping that much.

All right.

So now I'm ready to exit this dialog box.

And it's important to understand, once

you exit the dialog box,
you can't come back anymore.

All right.

But in this case, instead of playing okay,
I'm going to click, Refine, Edge

and that's going to open up
the Refine Edge

dialog box
that we looked at earlier in the lesson.

And now

all I want to do here is just add
some feather in this selection.

All right.

So let me just drag that here
and you can see that

then the edges is just a little bit
more blurry.

We just said, I'm going to make a nice
soft transition

here, too,
between the black and white background.

All right.

So in this case, I want to put it out
as a selection and we can click okay.

And once we click okay,
we can see that selection.

All right.

So let's just have a good look
at our image here and now.

We want our background to be black
and, white.

So what we will do to invert this
selection.

So we'll just come up to the select
menu here and we will choose inverse

all. So

now everything is selected
except the couple.

And now with that being said, the quickest
and easiest way to set the background

to black and white to just come over here
to the adjustment panel

and click the black and white
adjustment. Again.

If you don't see the adjustment panel,
you can just come over to the window menu

and just use adjustment.

But once it's open,
you can click black and white

and all right, now

you'll notice that the background
is black and white.

Cool.

Okay, so let me just

take a good look again on our image here.

And as you can see,
if I turn the visibility of this layer,

this is what the original image
looked like.

And you can see that
we have some colors here.

If I turn the visibility of this
layer back

on, we can see that the black background
is black and white again.

So again, if you want to make selection
based upon what's in focus, an image,

this is a powerful command
that is available for you

inside the program.

If you're going to be making
a good selection in Photoshop,

you're going to be

using a combination of techniques
that we looked at in conjunction

with a variety of selection tools
that are available inside the program.

Well, if you're going to spend that

much time making selection,
you might want to save it,

because anytime you select the selection,
you can get it back.

It's lost.

And if you save your files a BSD file,

then that selection becomes
a part of the document,

which I'm now working with.

Photo for that
JPEG on your tutorial assets folder.

And just to demonstrate this on,
what I'd like to do is to come over

and choose the quick selection tool.

And with a quick selection tool, select
that we're going to create

a new selection.

All right.

Let me just click here in the sky

and all we want to do
is really select the scar here.

And so I'll just continue

dragging this until we select the demo,

just like so.

So now once you are finished, you can
then come up to the selection view

and from the select menu
you can choose save selection.

So you can specify a document
whether it be

the one that you're working on now
or the new a new document.

You can also specify

the channel in this case have and save
any other selection to this document.

So it's the only option available.

All right.

So we can name the selection
and I'm going to call it Orange Sky

and this case, because we don't have
any other selection in the document,

we can only select this,
a new channel here.

All right. Let me just go ahead and click.

Okay And once you click
okay, you can select the sky.

And if you come over to the channel panel,
you'll see the Orange Sky Channel list.

There.

So this means you can load it
at any point in time here.

If you come up to the select menu
under the select menu,

you can choose load selection.

And here in the load section, dialog box,
you can specify the channel

that you're looking to load.

So in this case, it's just the orange sky.

We can invert it.

So everything by the sky is selected

and we also don't have anything else
selected currently.

So the only operation we can perform
here is a new selection.

If I leave invert selected,
I could then come over here

and click okay
and you'll notice everything but the sky.

And from there you can save it again.

All right. So.

So I just wanted to point out that you can
save your selection in Photoshop

and you can recall them
at any point in time.

So That will be very useful.

If you spend a lot of time
creating a selection,

it's probably worthwhile to save it.

If there's a power failure
or an unexpected crash,

you wouldn't be
worried that your file lost.

You can
just load them and you can recall it

at any point in time within the program.

All right.

So let's take a look at how to use
some of these selection tools in practice.

I have a document
open called the Basketball JPEG.

And what I like to do
is select this basketball right here.

Now, looking at this image,
you might be tempted to use the magic tool

or the quick selection tool to select
some of this vast gray space here.

But that would be a mistake.

Those tools produce harder edges than we
probably want for this type of selection.

And honestly, the elliptical maki tool

is the perfect tool
for this type of project.

All right.

So with that said,
let me just come over here and select it

and then what you'll probably do
is just come over here and click

and drag out the circle by holding
down the shift key on your keyboard,

and then you'll realize
that your placement is in exactly right.

So again, what you'll do next
is to hold down the spacebar

on your keyboard
and start to move around this selection.

But in it's

difficult to make precise selection
doing what we just did.

Instead, it's easier
to draw the selection out from the center.

The problem is
we don't know exactly where the center is,

and that's where guides come into play.

All right.

So let me just deselect this again.

Command or control D, and then I'll just
come up to The View menu.

And from The View menu,
you can choose rulers.

Once you choose the rulers, you have
the ability to drag out some guides

and once it snaps into place,
you can just let go of the mouse

to drop the guide
and you can do the same thing horizontally

by clicking and dragging
until you feel it's

now just like so

now with the elliptical marquee tool

selected in place across here
at the intersection of those two guides,

what we'll do next
is to hold down the aisle

key on a windows again
or E on the Mac and click

and drag out an ellipse from the center
to constrain it to a circle.

Now, you don't want to go
right to the edge.

You want to inside the basketball
just a little bit

to make sure you don't have any of those
great pixels selected.

Once you go of the mouse,

you'll notice you have a nice selection
of the basketball here.

Now, what we want to do here is
look at how soft our edges are.

So again, we use the keyboard shortcut
for selecting that tool.

But the problem is that
if I click and drag,

we still have this selection
around the basketball.

So I won't be able to see how soft
this election is.

And now what we can do here to go up
to the View menu and under the View menu

we can select extras
and everything goes away.

As you can see, those selections around
the basketball, we can't see them now.

All right.

So if I click and drag
to move the basketball to the right,

then temporarily activate the Zoom tool

by hitting the spacebar

and control on a windows or spacebar
or a command key on on the Mac,

we can begin the zoom here
and we can see the basketball edge

and will notice that it looks pretty good.

There is some anti-aliasing there
and Anti-Aliasing basically creates

some transition pixels between the
foreground color and the background color.

But for the most part,
I'm actually pretty good with this.

All right, so let's just zoom out here
and fit this image

within the available space on the screen
and there's a couple of ways

you can do this.

You can just

click this hand tool here and double
click it and it will fit the image.

Or you can hold down the control key
on your keyboard

and hit zero on a windows or just hit

command and zero on a mac.

Okay, We want to move this basketball
back to its original location.

And the easiest way to do
that is to come over to the history panel.

And if for some reason you don't see
the history panel,

you can just come up here
to the Windows menu.

And from here you can choose history.

And what history does is to record
each step

that we take within the application
outside of the menu commands.

All right.

So the last thing that we did that

we want to
check is our elliptical marquee selection.

But then we don't see that selection here.

Again, that's because the history panel

doesn't record menu commands.

So what we can do now is to come up
here to The View menu again.

And from The View menu,
we can turn extras back on.

All right, great.

Now that we have this selection
of the basketball,

we may want to soften the edges
just a little bit and we will take a look

at how we can do that on the next lesson.

We're using the same document
as in the previous video,

and this time we want to soften the edges
of the selection a little bit because.

We're going to move this image
into a picture of a basketball court.

And one way to do this,
to go up to the select menu

and choose, modify II,
and from there you can choose.

Further, this will open up the feather
selection dialog box, and in this case

it has a default value of five pixels.

Now we're going to change this feather
radius to two pixels.

And just so you have an understanding
as to what's going to happen

when you apply
this feather command at the edges,

what size of the selection will be blurred
two pixels or roughly two pixels?

Well, if you have

deep concern
of what's going on in the background,

there's something called gosh,
an algorithm being applied.

And to be honest with you,
you don't really need to know that

if you enter value here, you're
pretty much going to get what you expect.

But because that algorithm
is being applied,

the true value is a little bit
larger than two pixels.

All right.

So once you're happy,
you can go ahead and click okay.

And once you click okay,
we now have a softer edge.

When we move this object,
we can verify that again

by moving it out of its original location
like we did the last video.

Now, of course, we're not going to be able
to see this edge

just with this selection right here.

So let's go up to the View menu

and under the View menu,
we can turn off extras again.

And as you can see, the keyboard shortcut
for that is Control

H for Windows and Command H Mac.

All right,

Now if I
click and drag this to move the basketball

and then zoom in this area right here

again, control space

on a windows and command space on a mac.

And you'll notice that as I zoom in here,

you'll see a softer edge around this area.

But then if we zoom out,
you'll notice that we have a problem here,

and that is we've picked up
a portion of the gray background.

So what we want to do here
is kind of condense

our selection
a little bit before we apply the feather.

So again, think about what happens
when you apply a feather.

It burst so to the right and left
side of the selection and the right side

just happened to pick up
some of the pixels in the background,

which now cost this halo effect,
which we don't want to see.

So I'm just going to go ahead and zoom out
just a little bit more

and then I'm going to come over
to the history panel again.

And once again, if you don't see
the history panel can come up

to the window menu.

And from the window menu,
you can choose history.

Now, we want to come back to a point
where we made the original selection model

optical marquee.

So we don't want our feather compound
to take effect at this point.

All right.

So we're going to jump just above that.

Now, of course,
we can't see the original selection

because we've turned off the visibility
for all of our extras.

All right.

So let me just hit control H
on my keyboard, command H on a mac,

and it'll turn those back on.

Now, before we apply a feather,
what we want to do,

condense our selection a little bit
and we can do that

without making a new selection
by coming up to the select menu.

And from the select menu we can choose.

So this time we can choose a contract.

So this will open up a dialog box
where we can

contract
the selection based upon a pixel value.

All right, So let me just try
and put here two and then we'll click.

Okay.

Now you'll notice that the selection
tightened up a bit.

After we do that,
we can reapply our feather

by coming back to the select menu
and under select menu

we're going to select Modify again,
and then we can choose Feather.

And in this case
we're going to use that same two pixel

value for the feather radius.

Awesome.

So go ahead and click okay.

And if you want, you can further verify
this by

turning off the extra again, again
command H

for Mac and Control H for Windows.

Now then we'll just click
and drag it over a little bit

and you can see that
we have this nice soft selection

without that gray hollowing
taking place on the right hand side.

All right, So let me just undo that again,
the keyboard shortcut

for that would be Control
Z for Windows and Command Z for Mac.

All right.

So I'm going to turn the extras
back on again.

And we're now ready to move this object

after this image
and place it to another image.

And we'll know how to do that
on our next lesson.

All right.

Now we're ready to copy this
basketball image into a different image.

So let's ahead and do that by going up
to the file menu and using open.

This will launch the open dialog box.

And in the tutorial assets folder,
you'll notice

there's a file called
Basketball Court JPEG.

This is a free image
you can download from raw pixels.

Great.

Now with that selected,
let's come over and click open.

And now

we have this
document available inside the program.

So we have a couple of options.

The first is of course to just copy
the selected pixels,

but then I still have this selection
that we created from the last session.

So Let's just copy this to our clipboard

and we can do that
by coming up to the edit menu.

And from the edit menu you can choose copy

the keyboard shortcut is control
C for Windows and Command C for Mac.

Now once you copy the data within,

this selection is stored
on your clipboard, meaning you move

and come over to the basketball court
tab here and paste it.

So again, you can come up to the edit menu
and from the edit menu you can just use

paste the keyboard, shortcut A, C, control

B, and would be command B for Mac.

And when you do that,
add the basketball paste it

you'll notice it does appear on its own
layer here in the Layers panel

and we'll talk more about layers
a little bit on this chapter.

All right.

So you'll notice also that
the basketball is a little bit too large.

We can deal with that
because it is on its own layer.

We can move it around

and change its position without impacting
the basketball court image.

So that's one way to move data
from one file to another.

But there's a couple of disadvantage
to this technique,

and that is any time you copy
something new, anything that was in

the clipboard is wiped out
that new information that you just copied.

So if you had something stored
in your clipboard that you didn't

want to remove, copying and pasting
really isn't the best solution.

All right.

So let
me just delete this basketball here.

And from this image, let's return

back to our file.

The selection is still active,

so another thing we can do
here is to have the MOVE tool selected.

Again, we use a keyboard.

If you don't have that selected over here

and then we'll just simply click
and drag it up to the tab of the document

that you want the basketball to appear in.

And you'll notice

that we switched to the other document
that we want to copy that into.

And when you let go of the mouse,
you'll drop the basketball

notice
and move the mouse into the location

where we wanted the basketball to drop.

But that doesn't really matter.

You can always move it after.

So there's another way
that I would like to show you

on how you can move the data
from one final to another.

And remember, on our previous chapter,
we about working with multiple documents.

And this is one of those cases
where you can utilize that.

So again,
let me just delete the basketball here

by pressing the delete
or backspace on my keyboard.

And let me just return
back to the basketball file.

And here we're going to do

is change the view in terms

of how we're looking at both of these
currently open documents.

Again, we simply just go up

to the menu and from menu,
we just select a range from here

and you can choose to open up horizontal
or to up vertical

in case I'll just go with two of vertical
so we can see two images side by side.

And at that point
all you have to do is click

within active selection and drag it over
to the new document just like so.

And you can see we
when we let go of the mouse,

you'll see that the basketball up appear
in the basketball court image.

Great.

Now I'm going to change the view
back to its original tab by.

Just coming up here to the window menu,
selecting a range

and choosing to consolidate all the tabs.

All right, Now That we have that
here, it's

pretty obvious that it's too big
for our basketball court.

So before we move further,
I would just like to say that

any time you take contents from one image

and place it in another,
that's considered compositing.

And what we're doing here right
now is a very basic composite inside of

Photoshop.

So in order to pull this off,
we need to make the size realistic.

And the first thing that we have to do
is to scale down the size

of this basketball.

So there are several different ways
that we could do this.

And what are we going to do?

First is to just come up here to edit
menu and select free transform.

Get a keyboard shortcut for
this is Control T for Windows

and Command T for Mac.

And now will see this box
appearing around our basketball.

And this is what we call the bounding box.

And at this point
we can grab any of this resource handle

to transform the size of this image.

But we do want to make sure
that we maintain the aspect

ratio of the basketball
so that it doesn't turn into an oval or

some other weird shape.

All right.

So let me just grab some of this corner

resize handles here
and I'll just hold down the shift key.

And again, this makes sure that the image
is a scaled down proportionately

and now it's a click and drag
this inwards.

We will see that the basketball
is getting smaller.

Now. Once you let go of the mouse,
you can place your cursor

the bounding box and you'll get a move
icon on the cursor here.

So at this point
we can just click and drag

this basketball here to reposition it
within this image wherever we want it to.

But then it's still too large.

So I'm going to continue to scale it down.

And again, we'll just hold down the shift
key on the keyboard and

click and drag inwards again.

All right.

So that's that should be fine.

Now, let me just reposition this again
somewhere here.

All right.

And once you're happy

with the transformation, you can either
double click inside the bounding box

or you can press return or enter
on your keyboard.

Or you can also come up here
on the control panel here and

click this checkmark.

It's really up to you.

And once that's done,
we've committed to this transformation.

All right.

Now we've learned how to copy and paste
images.

We also learned how to scale our image
within the help of Transform Tool.

And again, these are the most common
things you'll be using a lot

when working inside Photoshop.

All right.

Now we have this file called Toy
Car Got JPEG,

which is available
inside your tutorial assets file.

So let's take a look
at some of the techniques

that you can use to modify your selection
after you create them.

Now, you would really choose
a selection tool

and make a flawless selection
here in Photoshop.

So you have take several steps
to refine and modify

that selection and make it perfect.

So let's start off
by selecting the front piece

of this car, the wheel.

And now if you look at the car,

this picture was taken at the angle,

which means the front piece of this wheel
is not the perfect circle.

And that means that it's going to be
a little bit

more challenging
to make a perfect selection.

All right.

So now we will start off
with the elliptical marquee tool here.

I'll just come over and drag
this selection out from the center

or close to the center
by holding down the all key on

windows and option on Mac.

While you hold down the shift.

Remember,
you'll constrain it through a circle.

So let me just hold down the spacebar

here too,
so that I can move around the selection.

And in this way
I can continue making larger selection.

And once you feel that you're pretty close

to making the selection
as good as you can, let go of the mouse.

All right.

Now, once the selection is made,
you can see that

we still need some modifications.

So what can we do?

There's
a couple of things that we could do.

We can add to the selections
by using other selection tool,

but something that might be a little bit
easier is to transform the selection.

Now, in the last video, we used the Free
Transform command to do that,

and there's a similar command associated
with this elections in Photoshop

and you can access it
by coming up to the selection menu

and from there
you can choose the transform selection.

So you'll see that bounding

box appearing around the selection.

At this point,
we could resize it by clicking

and dragging any of this resize handles,
but really that's not what we need to do.

We need to distort this selection
in some sense.

All right.

So what we're going to do
is to come up to the control

panel here and click this warp button.

So this warp button later said,
with within the Transform box

us to grab this points here and modify
this selection.

Now, as you can see, as I click and drag
this flash points,

it gives me the ability to push out
certain areas of the selection.

All right.

So once you're happy with that,
you can press the return key

or enter on your keyboard or
you can come up and click the checkmark.

If you don't like it,
you can always click this button here

or press escape key.

Now, I would like to show you another way

of selecting this,
so let me just select this first.

Again, it's Control D for Windows

and Command D for Mac.

So there are some

other automated commands that we could use
that will help us select similar pixels.

And if you look at the car,
we can see that

this wheel right here is right there
than the rest of them.

So again, with our elliptical tool
selected, let me just select a piece here.

So you can see
I've only selected a portion of it.

Then what we'll do next is to go up here
on the select menu and select grow.

Now, when you select command, Photoshop
will do a pretty good job of selecting

similar color values around the selection
in a contiguous fashion.

And also it wouldn't jump across other
pixels that uses different color values.

So now if you miss any selection,
you can just go here

and make sure
that the ad selection is selected

and now you can add
what you missed through the selection.

What if

we want to save some time and select
the other wheels of the same color value

so we can do that
with another automation here in Photoshop

and we can do this
by going up here to the select menu.

We'll be choosing similar
and what you will see that is

it selected the other wheels
that has the same color value.

Pretty cool, huh?

Now let me just go ahead
and get rid of this election

by using the keyboard shortcut control
or command D again.

And let's say our goal here

is to select the entire car again.

There are actually several ways
that we can do this,

but one of the quickest ways
to use the quick selection tool

and what the quick selection tool

does is to select
pixels, use the same color values,

which in this case
would be the background.

So again, let's make sure that this option
here is selected.

So option gives us the ability
to create new selection.

If you want to change the brush size,
you can do that as well here.

But as for me, I'm happy
with the brush size.

All right.

So let me just click and drag here
from the top left hand corner

and you'll notice that we selected
a good chunk of the background.

Now, up here in the control panel,

this is automatically selected
after creating a new selection.

What this means is if you come over here
in an area where there isn't a selection

and you click, it will eventually add it
to the current selection.

And you can continue to do that
until you have all the white pixels.

Now, you will notice down here
that this part right

here is not selected,
and that's because of this shadow.

All right.

So let me just click and drag click
some of those fields here.

And as you can see,
we did a little bit too much in this area.

But then don't worry, that's easy
fix in the control panel.

What we're going to do here is select
this last option.

What this does
is to subtract from the selection

So again, we're just going to click
and drag around this area.

And now you'll notice that we've done
a pretty good job of selecting everything

member.

Our goal was to select the car,
but right now we have this

shadow excluded from the selection.

Finally,
the problem is we wanted to select the car

and we have everything with the car
selected.

So what we can do here
is to invert the selection by coming up

to the select menu, and under the select
menu we will choose inverse.

Now you will see that

the car is selected
and everything is not all right.

So hopefully this gives you some insights
on how you can go

about modifying your selections
once you created them.

So now our next lesson.

We'll talk about more
about the popular types of selection

tool here in Photoshop, which is the magic

wand tool.

And the last lesson
we learned about editing selections.

Again,
it's usually not going to be perfect

When you initially create
a selection, it's

almost always going to involve
some type of modification.

With that being said, it's
probably a good time now

to look at some of the automated selection
tools that we have here in Photoshop.

So we have the magic wand tool here

and we also have this quick selection
tool here.

But then we also have this latest one
here, which is the object selection tool.

And you can use them
as starting points for your selection.

All right.

Now, in order for you to use them
effectively, it's important to understand

how they operate, behave,
what some of their options represents.

Okay.

So we're going to start off
with the magic wand tool here and now.

The magic
one tool is the oldest selection tool

that that's been around
since the first version of Photoshop.

And that being said,
the quick selection tool

was probably the original design
to replace Magic Wand tool.

Yet the magic wand tool is still useful
up to this day.

So the magic wand tool works in a way

that's very different
than the quick selection tool,

but ultimately
they can be used for a similar task.

But it's important to understand
the difference between the two

so you can choose the right tool
for the right situation.

So with the Magic Wand tool selected,

we have options or settings
here at the top called tolerance.

And right now it's set to 32.

And what the tolerance for percent is,
the pixel values

that would be considered
the same based upon luminance.

And now at this point,
let's say we click right here.

They would
then consider 32 levels of luminance value

to be the same based upon the sample size.

Now, by default,
the sample size up here is point

sample and most people leave it before.

All right.

So point sample simply means
the actual pixels you're clicking.

In many cases, especially when you're
dealing with skies and clouds,

you texture associated with the image.

And if that's the case,
you may want your sample size

to be a little bit larger
so you can expand it out

and you can do that by selecting
different options within this menu.

So if we choose something like five
by five by average,

it would average out
the luminance based upon where you click.

And of course, the color runs
also plays a role there, too.

Now, in most cases, you're

not going to know what you're going
get when you make this election.

But as you get more comfortable
with the tool,

it will be a little bit more predictable.

But oftentimes you are experimenting
to figure out what's the right tolerance

and what's the right
sample size should be.

If you click it, you'll notice
I made a fairly large here

and now we can continue
to add the selection

and we can do it
continuously or this continuously.

If I select or D select contiguous up here
and then I come over

and hold down the shift key and then click
to add this to the selection

because it's not contiguous.

You will also notice that I'm selecting
just a portion

of the water right here,
which is obviously not.

I want.

So if I can do that and select contiguous

because we have a fair
sharp edge here along the horizon,

if I hold down the shift again and, click
it won't consider the ocean at all.

As I continue to hold down the shift key

and click, you'll notice I'm
making a decent selection of the sky here.

Certainly
you want to make some modifications,

especially where the lighthouse
is concerned, but

this is a starting point
and that's how the magic Wand tool works.

All right.

So I'm going to go ahead and select
this controller command on Mac.

And now we can come over
and use the quick selection tool.

All right.

So let me just go over here
and select the quick selection tool.

And and now the quick selection tool by

default will behave much the same way

in the sense that you're going to be
selecting a range of pixels,

but it's a little bit
different in the background.

So what's happening
is the quick selection tool

is a growing selection based upon edges.

And as you can see here,
so click and drag on the sky here

you'll find that
we are getting similar results.

So whenever you're using
the quick selection tool,

you just have to make sure
that your brush has a hardness of 100%.

Now the tool works,
even if you a hardness of less than 100%.

But the predictability seems to go down
as the hardest

hardness of that edge is less than 100%.

Right.

So let me just continue clicking here
and just like

so we highlighted the entire sky.

So you may find that more effective
than the magic one tool.

But then we will notice here that the
portion of the lighthouse was selected.

And that's part of the problem
with this tool and its unpredictability.

All right.

So finally, we
have this new type of selection tool here

called the object selection.

And it's actually a pretty cool tool
when working

with a lot of objects inside one image.

Now, if I click that, Photoshop
will take time

to scan the image for some objects,
and once it finishes,

you can just click those object
and make a selection.

Now notice how this lighthouse highlighted
blue Whenever my mouse hovers over it.

Now if I click it, it made that selection.

You will also notice
that it has more predictability

than the magic wand
and the quick selection.

But then again, it still depends
on the contrast of objects.

You can see
it didn't see this rocks right here,

aside from this one
which has a sharp edge.

So technicalities in the background
are different amongst the three

tools, and understanding
that those technicalities are different

would ultimately lead you

to choose one tool over the other
based upon a particular situation.

You find in.

All right.

So let
me just go up here on the control panel

and you will see
we have a couple of options here.

Again,
this one is to create a new selection.

And the second option is to add a
selection based on our current selection.

And this one is to subtract
and the fourth one is to add

a selection based on
what's inside the intersecting points.

So let me just show you that here
I'll make a selection

and make sure that the fourth option
here is selected.

And when I made another selection

and overlaps it to the current selection,
what's inside

the intersecting points
will be the one selected.

So let me just go ahead and do that

just like so
it has selected what's inside.

All right.

So let me just go ahead and select
that and go back up here.

We can also turn off the object
finder there.

But before do that,

if you want to scan the image,
you just click this re scan or refresh.

Brought them here to scan the image.

But with that object finder off,
you will not see the blue

highlights on the objects
whenever you hover your mouse to them.

All right.

So we also have modes here
that we were using

and what we were using
is a rectangle here.

And the other option we have here
is the lasso.

And it is cool because we can use that
and just go over to our objects,

do a draw down here,
and even if you don't get them perfectly,

Photoshop will predict
what you're trying to select.

Oh awesome.

So again, these are just starting points.

You will really not
get them perfectly on first try

and you would need to modify later
on to be flawless.

So pretty much it.

And again, these are just
some of the useful tools when creating

selections in your images,
when working in Photoshop.

In this video, I've got this document
that are available inside

the tutorial files
that you downloaded from the website.

I have this cute girl,
that JPEG and beetle that JPEG.

Now, earlier
we looked at how we could work

the quick selection tool,
the magic wand tool, and the object

selection tool to automate
how we go about creating selections.

Now we're going to take that
a step further.

Look at a feature
that does some advanced automation

in the process
of selecting a subject within an image.

Now, oftentimes new users
will think that simply means person

within an image,
but that's not necessarily the case.

You can have more than one person
in the image

or something
other than a person altogether.

But before we get there, let's take a look
at how this command works.

So the first thing that we're going to do

is zoom into this image
so that we can look at it closely.

And as you can see,
it does pose some problems here.

If we look at here,
the table shows her reflection

and of course, it will have the same
color values only that it's darker.

Nevertheless, we're going to take a look
at this new command.

So what I'm going to do
is to come up here to the select menu

and from the Select menu,
I'm going to choose subject.

And when you

choose a subject, Photoshop
will take a moment to analyze the image,

and then it will find the subject
and make a selection.

And as you can see, it's

not a perfect selection,
but it's a pretty good starting point.

And you'll also notice
that we selected her reflection in here.

Now, if you want to modify
this using some of the tools

that we looked at in the previous lesson,
we could do that.

I'll just come over here,
choose the quick selection tool here,

and I'll just choose this option here
to subtract from the selection.

And what I'll do next
is to increase the brush size

by using bracket s on the keyboard.

Then I'll just simply click over here
to remove some of these

areas from the selection.

All right.

Okay. That's good.

And so, again, what we have here
is a pretty solid starting point.

Now, all right, So let me just show you
another thing here.

I'll just come over here
on our other document,

which is the beetle dot jpeg.

And in here,
we don't have a present at all.

What we have is this bill, and I'm go,
I'm going to use the same command here.

But you'll notice that
with the quick selection tool active,

we can see the subject command
is available from the control panel.

Now, if I click this button here,
you'll notice that Photoshop again

is analyzing the image until it comes up

with its version of the selection
or this object.

All right.

So just like so again, it's not perfect,
but it's a great way to start selection.

So once you have the selection,
how do you modify them

really to tighten them up
and make them as perfect as possible?

Well, something called the Select
in Mask Workspace,

which has all sorts of settings
that allow you to modify the selection,

though it's just perfect.

And that is exactly the way you wanted it.

And that's
what we'll look at in on the next video.

How can you make

your selection
as specific as possible in this session?

Want to show you the selection
and mask workspace?

The workspace is designed to help you
refine or modify the edge of a selection

that you've already made
within that workspace.

Now I'm working with a document
called Little Girl that JPEG,

which is available
inside your tutorial assets folder.

If we take a look at this subject,
you'll notice

that it's going to be somewhat complicated
to make a good selection

because of this strand of hair
coming off the back.

And here at the front
we also have this eyelash here.

And like I said, you can create
your initial selection in the Select

and Mask workspace and you can do that
by coming up to the select menu.

And from there
you can choose, select and mask.

Or if you want,

you can create your initial selection here
within the regular workspace

and then enter the selected in
mask workspace to refine it.

So let me just make my initial selection
here.

I'll just come over and choose
quick selection tool.

And just to make things simple,
just click on select subject

here from the top.

Well, it does a decent job,
but you'll notice that it didn't select

the megaphone here.

So I'm going to add to the selection
with the ad selection tool selected here.

All right.

So let me just click and drag here
until I got

most of the megaphone, just like.

So we now have this initial selection.

But what we want to do here
is to have the ability to pick up

some of these stray strands of hair
coming off of her head.

And with that,

we will just come up here again
with the quick selection tool selected.

You can see that the Select and Mask
workspace is available here at the top,

and when we click it, we will enter the
select and mask workspace.

Now we have a couple of different tools
here on the left hand side,

and you'll notice
that we have the quick selection tool.

You also have object selection duel here.

You also have the lasso selection tool,

hand tool and Zoom tool here.

So with that, you'll also that we have

a refine edge brush
and we also have the brush tool here.

And the brush tool
allows us to expand or contract the areas

that we're going to refine when we looking

at the edges of the selection.

Now in the Properties panel,

we have several different options
available to us

and the first thing that we could do is
we can change the view mode.

Now keep in mind
that there isn't a secret mode

that you're going to be using inside this
to get the best result.

Every image has different needs,

and so depending upon the image
that you're working with, that would

ultimately dictate which one of these
options makes the most sense.

So in this case, you'll notice
that there's

a view dropdown here and you can choose
something like onions skin,

or you could go with the marching
ants to see the selection,

or if you want to go,
you can go an overlay

which will give you kind of a quick mass
mode appearance here.

So we'll talk about quick mass mode
in great detail later on on this course.

All right.

So next, we also have black or white here,
and there is also black white.

So what this does, as you can see,
is to just look at the selection here.

And finally, we have layers here,
which is really useful

if you're creating composite
in the image that you would want.

Now, I'm just going to come over here
and use something like onion skin.

And we could also choose
black or, white or overlay.

And all of these options have an opposite
or transparency slider.

Now we can read from
left to right to control it.

Now down

towards the bottom is
where the real magic happens.

The first thing that we have here
is the edge detection

and the edge detection as a radius slider.

This radius slider allows Photoshop
determine

the size of the selection border
where the edge refinement occurs.

Now, if we click
and drag this to the right,

we're going to be increasing
the size of that border.

It's almost like a gutter
around this selection.

All right.

But then I'm going to keep this dial down
to a lower value like three pixels.

All right.

So there's also a smart radius option.

And the smart radius option

will automatically adjust the radius
for hard and smooth edges.

So with a subject like this, it's

really difficult to get good results
with smart radius.

All right.

So as we scroll down, you'll notice

that we have some additional global
refinements.

And the first thing that we're looking at
here is the smooth slider.

And the smooth slider will smooth out
jagged edges.

It really looks for hills or valleys
within the selection.

But our subject here is is a person.

It doesn't make good sense

here.

We also have the feather slider

and again, like what we've talked about
on the previous lesson, feather slider,

it uses an algorithm to blur
the edges on both side of the edge.

But then this can be an issue
as it may pull in color values

found within the background,
which will not really give us good result.

So what will happen
is that I will be having like a

like a halo effect around the subject.

All right. So then there's contrast.

And if contrast is increase,
you'll see what happens

is that the soft edge transition around
the selected adjust becomes more abrupt.

Graining is sharper selection.

So you'll see that if I increase that,

you'll see those sharp selection here.

So let me just bring that back here.

All right.

To be honest, smart radius
and the refinement

brush will typically yield
better results for you here.

All right.

Now, before we look at the shift edge
here, I would just like to scroll

back up towards up here,
and I'm just going to change the view from

onion skin to black and then I'm going
to increase the capacity a little bit.

So at this point, you can see that
we're pulling in some yellow

background
in between the strands over her hair here.

And this is where the refine and brush
becomes really useful.

So. All right.

So with that selected, we can also change
our brush size if necessary.

Again, just hit down to the bracket,
ski on your keyboard

and then you can just click and drag
within the stray strands of hair here.

Now you'll notice that those yellow pixel
values are disappearing.

All right.

So now I'm going to go ahead
and refine this a little bit more here

until I'm happy with the results.

All right.

So in this case,
we're now getting good results here,

but we still have somewhat
like a yellow glow around area.

And we can fix that by coming
towards the bottom here.

And from the properties panel,
we can use the shift edge here.

And by shifting edge, you can either
contract or expand the selection here.

So if you have a yellow values, you
probably want to contract it a little bit.

So I'll just click
and drag this to the left.

And as I do that, you'll notice that
some of those yellow values disappear.

And let me just scroll down
towards the bottom.

And as you can see,
we also have this output settings

where we have
the decontaminate color option.

So this option will essentially remove

any color values
within anti-aliasing pixels.

And if you remember what they aliasing is,
it essentially borrows

from the foreground and background
and creates transitional color values.

So this makes
the edge looks nice and smooth.

Well, instead
having those transitional colors values,

you can decontaminate them,
which will remove those color values.

You can also specify
how you want this election to be output.

In this case, I have a new layer
with the layer mask selected,

but notice you have several options here

and now you can remember the settings
if you want,

but it doesn't make sense
because every image is different.

All right.

So finally, if I scroll up the top,
a couple of other things

I want to point out is this checkbox here
you can show original.

She will show you the original selection
so that you can see

what changes we did on this one.

And as you can see,
we made a pretty big improvement here.

You can also

the edge so you can see exactly the area

in which the refinements are taking place.

All right.

And once you're happy, you can just
come down here and click okay.

And once you hit okay,
you're committing to this selection

also by putting it on a separate layer
with layer masks,

you can always go in and modify
if it proves to be necessary.

Right now I'm happy
with all of the settings that I made here,

so I'm just going to come down here
and click okay.

So once you click okay, you can see that

we've made a pretty awesome selection
here.

Awesome.

So I strongly encourage you to practice
masking, keep on experimenting

on the settings and as you go along,
you will be comfortable

with isolating any subjects or objects
that you want

in Photoshop.

The Selection Mask workspace eventually
gave us the ability to modify a selection,

so it is somewhat
kind of an automated process, but

we did have a little bit of manual control
with some of the tools

within that dialog box.

But for the most part
we were globally changing the selection.

We were either expanding it
or contracting it and so on.

What you want a precise control
on a very manual level,

you'd gain that by using something
called a mask, and moreover,

you would gain that
by using something called quick mask mode.

Now, a mask is nothing more than a visual

representation of your selection
that is stored within the layer.

So we're going to be talking about

mask in layers
in much greater detail on a later lesson.

But for now we want to focus on quick
mask mode,

which is a temporary masking mode
that allows you to paint your selection.

So the review quick mass mode,
we're going to start off by creating

a general selection of this bottle
in the small base within this image.

All right.

So let me just come over here

and just a quick selection tool
with a quick selection tool selected.

Let me just suggest the brush
the size here again

by hitting brackets on my keyboard.

And as we can see,
Harden is set to 100%, too.

So that's all good.

I'll just press, return
or enter to collapse that panel.

Then we'll start making

this selection now by clicking
dragging within this module.

All right.

Just like so.

And you'll notice that it's
doing a decent job after selecting it.

All right,
now we're to select this small base

next by doing the exact same thing.

But then there's a problem here.

We've selected a portion
of the background down here,

and that's probably because the almost
have the same color value here.

So what we want to do
is to modify the selection

and we can do that by entering the quick
mask mode.

All right.

So you can do that here
by coming over to the toolbar

and clicking this button
right here underneath the foreground

and background swatch, use the keyboard
shortcut.

Now, when you click this, you'll see

there are overlay over
all the pixels that are not selected.

So our goal here is getting this
red overlay

to appear
exactly the way we want it to appear.

So we could add the red overlay
by painting black and you can remove areas

from the image out of the overlay section
by painting white pixels.

There's also shades of gray that are
available for any transparent areas.

And if you think about dropped shadows,
shades of gray generally

do a nice job in that scenario.

But for our purpose right now
we can just paint in black and white.

And so remember to remove pixels
from red overlay.

You want to paint it with white.

All right, So let me just come over here
and select the brush tool.

We use the keyboard shortcut.

You can also modify the brush size
if it's too big for the image.

And you also want to modify the hardness
here.

You don't want it to be 100%,

but you certainly don't want it down
here too.

In the lower percentage levels,
you want it up somewhere in the 80

to 90% range so that you'll get
a fairly crisp selection.

So once you're happy with that,
you can press, return or enter and.

That's what we've mentioned earlier.

We want to paint it

white to remove the red that we see here
on this area of the base.

So let's zoom into the base here.

The keyboard shortcut again is spacebar
and control to temporarily activate

the Zoom tool and it will be spacebar
and command on a mac.

All right.

So you can let go of the control
or command key to temporarily

activate the hand tool
if you want to bend around the image.

So if you want
to examine the image and see

if I meant you can do that.

But before we zoomed
in, it's pretty evident

where we need to refine the area.

So again, if your brush tool is too big
for you at this point,

you can just adjust it again
with the brackets key on the keyboard.

All right.

So again, we want the white
to be your foreground color.

And if you're looking at the default
and you see black here, you can switch

the foreground and background color
by clicking this button right here.

And for some reason, it's
if it's not black or white,

you can press D on your keyboard
to get this color back.

There defaults.

Then you can click this button again and

then we can just come up here
and click and drag

to remove the red overlay
from the selection of base.

And so as you can see now,

you can get a really precise
with your selection here.

And we have a little of that,
too much of that here.

So just cleaning that up a little bit,

that looks good.

I'll just continue to pan around
and, check for other problems.

All right. All good.

Now, at this point,
we want to paint with black.

So to flip the foreground and background

colors, you can press X on your keyboard.

So you may also have to reduce
the brush size again

a little bit if you need to.

And now, as we get into the tighter space
here, you can also reduce the brush size,

allowing you to come up further
in between this two.

All right. Awesome.

Okay.

So let me just focus on the bass here.

As you can see at the bottom here,

I still have some pixels that we need
to clean up from the background.

And there's also some of the pixels
here at the top we need to

clean up
will make it as perfect as possible.

And as you use Photoshop,

you'd be getting much more faster
and comfortable with this.

And also you can also determine
what kind of selection tool

that you'll be using
as you get along with this program here.

All right.

So we're almost done here.

Just so doing a little bit of clean up
here, just like so

And I'm just going to have some one last
look here.

All right.

I think this looks pretty good.

Let me just press down Control and zero
or command zero on a mac

and this will get our image

to fit within our workspace.

Okay, So Let me just exit quick

mask mode here
by pressing the Kuki on the keyboard.

And now we can look at our selection
and it looks pretty good.

All right.

So as we look at this

and if we decide that we want to refine
the selection further,

you can just toggle back and forth
between the quick mass mode

and the regular mode by pressing the Kuki
on the keyboard again.

All right.

So you can always return back to the quick
mass mode if you need to.

And again, mass mode is
just one of the great ways to have precise

control over your selection
by literally painting your selection

into the image.

We have learned how we could go about
creating selections on the last chapter,

and now we're going to take a step further

and look at how we can work
with mask and layers.

So this will ultimately give us
more control when we manipulate an image

now, because we're starting to change
manipulating image, there's a good chance

that when you perform an operation,
you're not going to be happy with it.

And with that said,
you might probably want

to undo or redo an operation.

So in this clip, we're going to focus on

how we can undo certain operations
that we perform.

So let me just do something fairly
basic here.

Let's come up to the select menu,
and from the select menu, we can choose

Color range
and what we're going to do here

is to select this flying lanterns.

So what you want to do now is make sure
that you have sampled color selected

and then you want to come over here
and just also click add to sample tool.

Then we will click and drag within
the lanterns to make a nice selection.

So you want it
to look something like this.

So you want the lanterns to be white

and you want the background to be black,

but then ultimately we want to do here
is to leave the lanterns in color

this some orange lanterns in color
and have the background

appear as a black and white. All right.

So once we finished

selecting the lanterns, we want to select
everything but the lantern.

So we need to invert this selection.

And there's two ways that we can do that
here.

So we can just click this checkbox
here to invert,

or we can go to the select menu
and choose invert.

And in my case, I'll just

hit okay, on this one.

And then we see the marching ants. Now.

Now I'm going to come up
to the select menu and choose inverse

and next layer.

So what we want to do
is to apply a black and white adjustment.

So I'll just come over here and click

the black and white adjustment
here on the adjustment panel.

Now, if you don't see the adjustment
panel again, you can just come up

to the window menu and choose adjustment.

All right.

So once

we add the black and white adjustment,
the background is black and white now,

and the lanterns here are in color D So

we chose only the orange lanterns here.

But then, as we can see,
it's doing that for the most part.

Now, we still need to fix this.

If you notice, there are some black and
whites being applied to the lanterns, too.

So we're going to get into this mask
in a much greater detail a bit later on.

But anything black
and this little thumbnail here

that you see is
not part of this selection.

So we want to make

sure that we highlight t mask here.

We can see this highlight here
appearing around a thumbnail.

And then what we'll do next
is just the brush tool on the end.

The keyboard this be in.

You want to make sure that that black
is the foreground color.

If yours is not just press d
on your keyboard,

see the set, the foreground and background
color to are defaults white and black,

and you can just exchange them

right by hitting X on your.

So with the black foreground set here,
I'll just

click and drag over the lanterns
here to add the black to the mask here,

which means you will reveal the color
underneath the areas that you're painting.

And as you click and drag, every single
click that you need is being recorded.

And then we can verify this
by opening up the history panel up here.

And if you don't see the history panel,
you can come up to the window menu

and use history.

You'll notice that I have several steps
recorder here.

We've opened the image, apply
the color range command have been burst

the selection.

We've applied black and white
adjustment layer

then we've been working on
with the brush tool.

If you decide to undo something
you also come up to the edit menu

and from there
you can choose undo, in this case

the brush tool,
the keyboard shortcut, this Control Z.

So as I start to do this,
it might be difficult to see,

but take a look at the lanterns.

You'll start to see that
they're loosing color information.

And if you look at the history panel,
you're

you're going to see that
we're actually moving back in time.

Now, history panel will record
50 states by default.

And what's important to note is
if you get to a certain point

within the history of panel,
like in this case,

we've just applied
black and white adjustment layer.

If I do something else here
within the image,

all these steps that are grayed out
will go away.

They get flushed out.

This is to make room for new steps.

And then now I'm going to go ahead here
and do that.

So as you can see, you can circle
back in time, which brings back

this old steps here, which is what I want.

And now we can just come down here
to get back to the point

where I was before, before I start
making the mistakes on the history panel.

And believe it or not,

we there is

quite a few more features in this,
but This is not about the history panel

here, but rather
I just want to show you how you can go

about undoing and redoing operations
that you may performing.

Just be aware that when you do something
in Photoshop, rarely

is it something that's set in stone
with the same robust history panel.

Chances are you can get back in time.

But from here
on, as we go through the course, at least,

you know how to undo possible changes

that you make inside the program.

I'm working with Layer Mask, not BSD here.

And you can open that
on your tutorial assets folder.

So in the last lesson
we've talked about blend modes

and now we'll be focusing on Layer Mask.

Now when we were working with selections,
we worked with Quick Mask Mode

and we also applied adjustments to layers.

So when we applied an adjustment
to a layer, we created something

called a layer mask.

And a layer mask is essentially quick
mask mode being saved on a layer.

Now the advantage of this is
you can manipulate the mask

at any point in time, you're not committed
to a particular selection.

You can always modify it
and because of that, you can always access

all the pixel information
within the original image.

Now when you work with Layer Mask, you're

typically working in a nondestructive way.

Just really the preferred
workflow in Photoshop.

So let's take a look at the Layer
mask in greater detail.

And the first thing that I'd like to do
in the layer menu is select

the panel options to open up the layer
panel options dialog box,

and they want to select the largest
thumbnail size for the panel.

This will give us a better preview
within the Layers panel.

I'm also going to put it on Layer Bounce,

making it easier
for us to see what's happening.

So there's a couple of ways
that you can create Layer Mask,

you can create layer Mask
from an existing selection,

or you can just create one
without a selection.

So let's look at that

first with the bus sign layer
as the active

layer down
towards the bottom of the Layers panel,

you'll see that there's an added
layer mask button.

When you click it, a layer
mask is added to the bus, same layer.

It's all white, which means all of the
pixels are being revealed by this.

And if you want to hide certain pixels
you would painted

with black just like the quick mask mode.

But the difference in here

is you're painting this matte
which is attached to this bus sign layer,

and you can always modify the mass
at any point in time.

But let's look at what happens
if hide pixels on this layer.

You'll see
you will begin to show the pixels

on the layer underneath it,
which happens to be this image of a sky.

So what I'd like you to do is select
the brush tool by pressing B

on your keyboard, then select the brush
that has a fairly soft edge

going to just drag this hardness
slider down here to 24%.

You can increase the size
by using the bracket ski on your keyboard

and you want to make sure
that the foreground color is black.

If it's

not, press D on your keyboard
to set the foreground and background

color to there defaults, then press

X to swap those colors.

Now it's really important
to have the thumbnail of the mask selected

and from that point you can begin
painting with black and as you do that,

you start
introducing the clouds to the image,

and that's because you're
hiding the pixels on the bus time layer,

revealing the clouds
or the pixels underneath it.

Likewise, you can see the mass
that we're creating here.

If you want to see the mask in greater
detail down the alt key on the Windows

option
for Mac and click on that thumbnail,

then you'll see you get the full screen
view and.

You can see the different areas
that you may have missed.

If you missed some areas,
simply click and drag

black paint overdose missed areas

and you'll see the preview updated.

Now hold down the alt or option key again

and click to return
back to the normal view.

And anytime you paint on a layer
mask, it's really important

to have that layer mask selected.

Right now it's selected
because we see borders, the mask.

But if I were to click on the bus, sign
thumbnail, and if we paint it with black,

now I'm painting black on that layer
and that's not what they want to do.

So it's really important to make sure
that this thumbnail is active.

The other way is to make a selection

and then create a layer mask
based upon that selection.

Let's just look at that.

We need to remove this layer mask
and you can do that

by dragging the layer
mask into the trash can.

And when you do that,
you may receive a dialog box

that ask you if you want to apply the mask
or delete it.

If you do see it,

if you apply it, what will happen.

Is anywhere you have black within a layer
mask, pixels will be deleted

from that layer.

So it's a destructive operation
and one that you probably don't

want to perform
in majority of the situation.

So you can just click on delete
to remove the layer mask.

And now what we want to do
is to create a selection of the bus sign.

We can do this in a variety of ways,
but I'm going to do this by

selecting subject under the select menu.

Again, Photoshop will scan the image
to create a selection.

So as you can see,
we've got a decent selection here,

but some parts were not included,
so I'm going to add to

by selecting the Polygon lasso tool here,

I'm going to hold down the shift key
to add to the selection.

Then I'm just going to click and drag
around this border of this bus sign here.

Also, I'll

just subtract some of the errors here.

Now, you would want to take your time
to make sure you get the best selection.

But remember,
because you're creating a layer mask,

you don't really have to worry about being
absolutely perfect because it's a mask.

You can always make modifications
any point in time so that it's pretty good

now and we can just come over
to the Layers panel.

We can click the Add layer mask,
and when you do that, you'll notice that

the pixels that are selected are preserved
and everything else is masked out.

So it's like we've been in everything else
except the selection in black.

And so now we're revealing the sky layer
underneath the bus, same layer.

I do see some problems.

For example, we have a window here
that we don't want to see,

so I'll just select the brush tool.

I'm just going to paint with black
and I can just adjust the size

of the brush here by using the brackets
you get on your keyboard

and I'm just going to click and drag over
to of that window to get rid of it.

All right, awesome.

So Layer mask are way too essential
to save a selection,

can modify it at any point in time
and ultimately you preserve

the original information on the layer.

This is much a better way
than deleting the pixels

that you don't think that you need.

And at least with this process,
you come back to them

at a later point in time.

Within the document.

In this video, I want to show you how
you can use gradient within a layer mask

to create a software transition
between the pixels on one layer

and the layer underneath it.

All right, I'm working with a document

called Gradient, not biased,
and we can just come over and highlight

the audio layer
and we can just dial back the opacity.

But then this is a global change
for the entire layer.

The entire layer right now
has the capacity of 39%.

However, what if you wanted something
a little bit more gradual,

Maybe you wanted
see the clouds up here in the top,

but you want to see less of the cloud
down here in the bottom.

Well, that's where you can use a gradient
within your layer mask.

So With the car selected right here,

let's just come down towards the bottom
and add a new layer mask.

After doing that, you can come over
and choose gradient tool,

and with the gradient tool in the options

bar, you can select a type of gradient
you want to work with.

So the very first option
is foreground to background

and if you have a black for the background
and white for the background,

you're all set.

But if you're not,
you can select the third option.

So which is a black and white.

Now with that option selected,

you can press, return or enter
on your keyboard to collapse that panel.

And then all you have to do
now is to ensure

that the layer mask icon
is active within the Layers panel

and then we can click from the top corner
and drag down to the bottom.

And when you do that
you get a nice gradual transition

from the cloud to the car.

And any time you reapplied
at the gradient, you're essentially

recreating the mask.

So for example, if I do the opposite here,

if I click in the bottom
and drag out the top, you'll notice

that I'm seeing more clouds in the bottom
and more pixels in the top.

Likewise, if you don't grab quite as far,
if you click and drag,

maybe only this much, you'll notice
you get more transitions.

So using gradient
within layer mask gives you the ability

to create smooth transitions
from artwork on one

layer.

Many Photoshop topics
could almost dictate their own course,

and layer effects is no exception to that.

And I do think it's important
to at least show you how you can implement

a layer effect

without going through all of the details
associated with the layer effects.

And now if you're interested in learning
more about layer effects,

there are some courses
dedicated to layer effects exclusively.

So the first thing I want to do here is
just show you how you can apply a effect.

And we're going to do that by selecting
this layer here, which is the oval ball.

And let's say we decided

we wanted to add a drop shadow
to this image.

We can do that
quickly and easily inside Photoshop

by coming down here
and adding a layer effects.

So you can see there's a little effect
button and if you click it,

a menu will appear of all different
layer effects that are available.

In this case,
we're going to choose drop Shadow,

and when you select Drop Shadow, a dialog
box appears with all sorts of settings.

Here you can modify the appearance
of the layer effects

by manipulating preferences.

But you see here, for example,

maybe we think that the shadow
is too far away from the image.

And if that's the case,
we can back off the distance slider

and you'll notice that the shadow
is being pulled closer to the artwork

and maybe you're not happy
with this spread and we want the

to be a little bit tighter.

Again,
I can just click and drag this to the left

and you'll notice there's less of a spread
associated with this drop.

And finally, you could also decrease
or increase the size of the shadow.

So all of this options have an impact
on the appearance of the drop shadow,

but you'll notice that you can apply
all sorts of other layer effects.

You could bevel and emboss the artwork,
you could apply

a stroke and integral
and so on and so forth.

You can even apply multiple effects
to the same layer if need be.

For example, if you decide that you want
inner glow to the, you can come over here

and select the effect and you'll notice
it has a glow inside.

Now on this box again,
you can control of this option here

to ultimately
change the appearance of the effects.

If you decide you don't want the inner
glow, you can come over here

and these selected
and it's removed from the image.

Once you're happy with the effects,
you can just come over and click okay.

And once you click okay, you can see that
effect here in the Layers panel.

If you want to temporarily turn it off,
you can do that by clicking this icon

and you'll notice that the
image no longer the effect.

If you want to modify it in some way,

simply double
click on it to reopen the layer dialog box

again.

If you want to remove it, simply uncheck
that option here from the effects list.

In this case,
I do want it so I'll leave it selected

and once you're done
you can come over and click.

Okay. Awesome.

So that's the general overview
as how layer effects work.

And like I said,
it's a fairly involved topic, but at least

you have some sense on how you can apply
layer effects to your own artwork

when working inside.

Because we've spent so much time
talking about layers.

I want you to know that you can get
rid of layers by flattening an image

and this can become important
if you need to merge layers together

or if you simply don't need a
of all the content residing

on their own individual layers, but
still need the flexibility of a BSD file.

So now I'm working with a document
called Bulb Not BSD.

And now let me show you what I mean
when I said that.

So let's say for whatever reason,
they want this two image

to be treated the same and they want them
to leave on the same layer.

Now we can do that
by selecting the two layers.

In this case, that would be the oval bulb
and the yellow bulb.

And now, with the both layers selected,

the top right
hand corner of the Layers panel.

And in the panel menu,
you'll notice that you

have several options
for merging and flattening layers.

What we can do here is select
the merge layers, control or command

E on your keyboard is the shortcut
and will merge the selected layers.

Once you select that command, you'll
notice that both of those image now exist

on one layer and you can verify that by
turning the visibility of the layer off.

And the other thing also that

I want to point out is down here
towards the bottom, the document window,

we have an indicator
and if you don't see the same information,

you can click this right
arrow and choose document size.

Now, I don't if you know this,
but before we merged

those still layers, the overall file
size was quite a bit larger.

It was 5.49 megabytes instead of 4.12.

If I can do that controller or command
Z on your keyboard,

you will see that it was 5.49
MI and let me just go ahead.

Now, when we do that again, I'll just
do that using the same keyboard shortcut

so you can see the fewer layers
that you have, the less information

in the BSD file and the smaller
the file size of the BSD file.

So let's say, for example,
your print shop is asking for a BSD file

and you need to email the file to them.

And most likely the print shop
won't be needing the flexibility

of all the content
existing on the individual layers.

So you can flatten the down.

So we can do that
by climbing up to the top right

hand corner again on the Layers panel
and opening up that same panel menu.

You can choose either to merge visible
or you can choose to flap in the image

which will flap in all of the layers
onto one single layer.

All right.

So I'll just go ahead and select
that command.

We now have one layer and you'll notice
that the file size is only one and B now.

So as you can see it

dramatically decrease the file size.

This is a destructive way of doing it
and you will lose

all flexibility
associated with all of the layers.

Now, any time I flatten an image,

I always save a PDF file copy that
contains all of the layer content.

So I have one piece that's large
in terms of file size

that has all the flexibility
of the layers.

And then I also create a copy of one
flat equivalent, which is dramatically

smaller in file size,
but not nearly as flexible.

So this is actually a good practice
so that if you need to change

something in the future,
you will still have a backup

and you can just go back to it
at any point in time.

As we were working with selections,
it is also important

to work with layers inside of Photoshop.

If you introduce a new content
into your image

or make some type of an adjustment,
there's a good chance that you're

to be working with multiple layers.

Layers allows you to separate
content out within the same document.

A good example of that would be a document
that we were working on earlier

when we pasted the basketball
to the basketball court image

the first time you open
an image in Photoshop.

So will have a background layer.

But once you start adding content
like the basketball in this case

to the image, that content by default
is separated on its own layer.

And the advantage of that is

we can work with the ball
independently of the basketball court.

Image.

You'll notice right now

that the ball layer is active layer
because it's highlighted

and if I click on the background layer,
it becomes highlighted.

Now We want to make sure
that we have this layer selected

and what we want to do
now is use the MOVE tool

and from there you'll have the ability
to move the basketball

somewhere else within the image.

And because all the pixels associated to
this basketball

lives on its own layer,
you can turn the visibility of that layer.

And when you do, you no longer
see the ball.

When you turn off
the visibility of that layer,

not only is it
making a visual change in Photoshop,

but if you were to print this image,
the ball would not print too.

So we're temporarily disabling the pixels
on this layer altogether

and we can reactivate them by clicking on
the same icon to return the visibility.

Now there are some unique qualities
associated with the background layer.

The First thing, of course, is

if you select the background layer,
you can't move it.

I still have the MOVE tool selected here
and as you can see, if I click and drag,

you'll notice that I get a warning
telling me that I can move this

and that's because the layer is long.

Another quality of the background
layer here is

you can't change its stacking order.

And as you may know,
one of the great things about layer here

is having the ability to change the order
in which way they appear within document.

If it's a background layer,
it has to be at the bottom layer.

Now if I click and drag to change the
stacking order, you'll notice I get this.

No telling me
that it's not possible to do that.

Finally, if I were to erase the pixels
on this background layer,

I won't see transparent pixels
like I see on the bowl layer.

If I turn off the visibility
of the background layer, we see this

checkered pattern.

This is an indicator
that there's no other pixel information.

It's completely blank and transparent.

Now, if I were to choose

something like the Eraser tool
and with the Razer tool,

I would just come here
and click on the basketball to erase it.

You'll notice
we see the background under those pixels

because we removed them
of course, I don't want to do that.

I'll just hit Controller Z or command Z,

and that will undo what we just did.

And if I were to do that, the background
layer here,

we won't see that
checkered pattern underneath.

All right.

So finally,
if you want to be able to change this

stacking order or c transparent pixels
underneath the background,

all you have to do is unlock it
or rename it.

You could do that by clicking

icon right here and it will automatically
rename the layer.

And at that point
you can change the stacking order

and you can also move the pixels
on that layer.

And if y erase it to, you'll notice
that you see transparent pixels.

All right, So let me just go ahead
and step back then the history panel to go

where we were before
before we made those changes.

But that's the importance
of background layer.

And it's important to know
the first time you open it, the image

in Photoshop,
it will contain a background layer.

All right.

So let me just show you another thing.

And here I'll, just close this one out.

And what I'd like to do
is create a new document here.

So again, you can do this
by clicking this button right here.

You can go to the file menu,
and from the file menu you can choose new

or you can just use the keyboard shortcut,
which is some control, and for Windows

and Command
and for now, what we're going to do

is to change the unit of measurement

to pixels, and we want to set the width
to 1800 pixels here

and a height of 200 pixels.

And finally, we want to make sure
that the background content is set white.

Then after that you can
just come over here and click okay.

And now we have this,
a new document created.

So the next step is we'll be opening up
several different images here,

but I want all of this image
to open in one single document

and have the separated out
into different layers.

So how can we do that?

We can do that by

jumping over to the companion application
called, Adobe Ridge.

And if you never work with Adobe Bridge
before, it's essentially a visual

way for you to find files
that you want to open in Photoshop.

So in this case
you'll want to go to the tutorial assets

folder
that we've downloaded from the site.

And in there there's another folder called
multiple Images.

So you can just go ahead and open that

and you'll see that
we have four files in there

and we can select them all by clicking

the first one
and holding down the shift key.

You can select the last image
or file here.

The other option is to click
and drag the marquee around

all of these thumbnails,

and if you let go of the mouse, you can
see all of them being selected, right?

So once that's done,
you can just come up to the tools menu

and from the Tools menu
you can choose Photoshop

and then you can select load files
into Photoshop layers.

Now what this will do
is to create another Photoshop document,

but it will place each of these thumbnails
on their own

individual layers,
which is exactly we want.

Now, at this point, we have a new document
that contains four layers,

but ultimately we want this images.

In that document we created.

So let me just come up to the window
menu here.

And from the window menu,
you can select a range

and then we can choose to up a vertical.

All right.

So at this point,
we can select all of the layers

in the new document
that contains all of the images.

And we'll just be clicking
on the first layer here.

And I'll also just hold down the shift
key, selecting the last layer,

and that would select all of our layers
here.

Images.

Right now from this point,
all we have to do

is then click and drag
this image to the new document.

And once we let of that mouse
and you can see that

all of the images are now
on the document that we want.

All right.

So let's just return
back to this document.

And again, what we will do
now is down from the window menu,

we will again select a range
and we'll be choosing consolidate tabs.

All right, cool.

Now, if we want to move the images,
we can.

So with the MOVE tool selected,
we can just click and drag and.

At this point, all all of the images
are present within the document,

but then you can't see them properly
and that's because they are stacked

on top of one another.

So as we turn off
the visibility of this layer,

you can see that the images are there.

All right.

Now you're all And then before we move on,

what they'd like it to do
is save the document.

So you can do that by coming up to the
file menu and then just clicking save S.

All right,
So I'll let let's just save this

document here as up the file.

And then once set your name here,
you can just click on.

Okay. All right.

So on the next video, we'll be talking

Layers panel.

We have the same document here
that we created in the last video.

And what I would like to do in
this video is review some of the basics

that you should be aware of when it comes
to working with layers panel.

Well, first of all, we can see
we have these four images

and right now
they're all stacked on top of one another.

But if you select the move
to vertical keyboard shortcut,

you can click and drag
to move this elements.

Now we have smart guides turned on,
which enables us to move them on same

horizontal plane, but you'll notice
that you can move them outside that plane

if you move your mouse up or down.

If you want to ensure
that you are moving them on the same

horizontal plane,
you can hold down the shift key.

But as you move
this object on on different layers,

you begin to see the content of the layer
underneath it.

And that's because they are not
in the same location anymore.

It is also a good practice, an idea
to rename the layers.

Right now I have generic names right here

and we should be like renaming them

based on what they look or what
the image like.

So it will be easier for us to describe

and we wouldn't be confused
when we were looking at our layers here.

So for me, whenever

want to verify
that I'm looking at the right layer,

I just turn off the visibility mode
by just clicking this icon right here.

There you go and you can just turn it
back on my descent clicking the same icon.

So again, when you're working
with multiple layers, naming them

becomes really important
because it allows you to stay organized,

but then nevertheless you will run into
situations where you have so many layers.

You want to reduce the amount of layer
that you're looking at.

For example, we can filter layers

based upon the kind of content
and the indexes within the layer.

And at this point of our layers
contain pixel information.

But if we click this button right here,
we will only see pixel layers.

If we had an adjustment layer,
that layer would get filtered out.

Let me just show you what I meant by that.

I'll just select the layer right here
and apply a black and white adjustment

like we have in the past.

And you'll notice
that adjustment leaves on its own layer.

Right now
all the images are black and white

because this adjustment layer
is all of this images.

If I were to drag it underneath this layer
right here,

you'll notice that this layer is not
being affected by this adjustment layer.

Nevertheless, if we

come back to this filter in click
pixels layer,

you'll notice that adjustment
layer goes away.

Likewise, if I click this button to view
just the adjustment layer,

all the pixels layers will go away.

And that also for type layers

or shape layers or smart objects,

not only you can filter based upon Klein,
but you'll notice

you have all of this other attributes
that you could filter by.

If you want to filter by name,
you could do that if you were

looking for a very specific layer
and you had hundreds of,

it might make it easier for you
to just type it in the layer name.

So as you can see,
as I start typing in yellow here,

you'll notice that the layers filters out
display

only that layer that contains that,
that same name.

And if you want to turn off that filter

temporarily, you can just switch it here.

You can press this button right here.

You'll notice that once you click,
if you turn off filtering capability

and if you click it
again, it turns it back on.

All right.

So let me just switch mine back to kind
and I'll leave of this buttons

these selected.

So we see all four layers here.

If you want to create a new layer,
you can just click this bottom down here

and just click button to add new layer.

So with that, a new layer is created

and it's a generic name in this case
some layer ones.

Again, you can just double click on it
if you want to rename it.

And the other option
you can do is, if you hold down the alt

key on Windows or option key for Mac,
when clicking the new layer, you'll

you will get a dialog box and this dialog
box you can give it a custom name.

Then once you have a custom name in there,

you can just say, I'm coming over here
and just click, okay.

And then you'll notice
that when the new layer is created,

that name is already attached to it.

And if you decide that you no longer
a layer, you can just select it.

Then you can just come here
and click the crash icon here.

And when you do that,
Photoshop will ask you to confirm that

if you really want to delete that layer.

In this case, we do.

So I'll just click Yes.

Another way to delete the layer is to
simply press the delete key or backspace

And when you do that, the layer

that's selected on the panel will go away.

So as you notice,
you don't get that warning box because

Photoshop figures
that if you're pressing the backspace

or delete key, you know what you're doing.

Likewise,
you can also delete the layer by just

simply clicking
and dragging it to the trash.

In this case, you won't get a warning too,
because as you can see,

it's a very intentional move.

It's not something
that you would be doing by accident.

Finally, it's important to understand

you can change the stacking order
of these layers.

Right now I have this layer selected
and I also have the move tool active,

which means if I use the arrow keys
on the keyboard,

I can
then nudge the content on that layer over.

And if you hold down the shift key,
you could move it in

larger pixel increments in this case.

And you'll notice that this image

right here appears underneath this image.

And that's because this layer
is underneath this layer.

If you want it to appear above this layer

right here, you can just simply drag it
to change its order.

So again, be mindful of layers.

So what's highlighted
is the one you're working with.

And even 3 to 5 years from now, I'm
pretty sure you will commit mistakes

with layers.

Like for example,
you want to move one image,

but then you forgot
or you might have clicked the wrong.

And these are the cases where you will see

or you will be surprised that
why did they move the wrong layer?

Or why did the brush painted on this layer
and not on the other layer?

So again, just watch out
for those kind of situations.

All right.

So now let me just show you another way
to quickly select a layer that you want

so you can just right
click on your mouse here

and you can see that
you can choose that layer on this options.

And if you click that,
you will notice that on the layer panel,

it becomes highlighted.

So when, for

example, you have layers also stacked up
on each other, you can also right

click on that and you will see
all the layers underneath of that too.

All right.

So another quick way
is to hold down the controller command key

on your keyboard and click on that image
or layer that you want.

And you will notice that it also
highlights that on the layer panel.

Finally, you can also come up here
and enable all the select.

And when you do that, a unit,
as soon as you click on the image

on your canvas, it will select layer.

Just be mindful also on using this now

as you can easily
create a mess with this enabled here.

You can also see that you can choose
if you want layer

or the group to be selected here
when clicking.

So we'll just leave it at the layers here.

Well, I think it's safer
to just hold down the controller

as so you can see that when we do that

we also toggle auto select,
but in this way

we won't accidentally move other
on the document.

So again, these are the basic features
to help you better understand

how you can interact
with the layers in the Layers Panel

Now we will talk about layer options
in this lesson.

And let's start looking at it
by coming up to the top right

hand corner of the Layers panel here
and clicking just this button right here.

So that will open up a menu of options.

And down towards the bottom
you'll see panel options.

And when we click it,
it opens up a dialog box.

And the first option
we have here deals with thumbnail sizes.

You can go with none,
but the default size is small.

There's also a medium size
and a large size preview for the top male.

So in this case, let me just switch it
over to a larger size here

and we'll leave the thumbnail content
set to entire document.

Now, if we hit okay, you will see that
we're getting a large thumbnail

for an entire document here
and this is because

the document is a thin strip
and also the other images

also has a thin strips here.

So something that you may want to do
instead is to just return back

with the panel options
and just layer bounds.

And when you click that,
you'll see all of the content

within the layer here
now on the Layers panel.

All right.
So let me just do something here.

Just for example, I'll just select this
brush here and then we'll come over here.

And right now
I have the oval bulb selected.

And if I click over here,
you'll notice that the thumbnail

completely changes just to show you
all of the content within that layer.

All right, So

I won't do that,
but this is a nicer way to see

the content on the layer
by using that layer bounce option.

So let me just come back now
to the panel options

and I'll switch it
back to the entire document

and I will leave it
set to the standard for smaller size.

You'll also notice that you have
other options like expand your effects.

There's also use default
mask on fill layers and we'll talk about

fill layers effects and adjustment layer
a little bit later on.

And by default, copy can be added to any
layers or groups that you do copy.

If you don't like that, you can select

the problem with that, though
it might pose a problem of not recognizing

which is the original
or we just duplicate.

And also when you see the word copy added,

it's really kind of a cue
for you to rename that layer.

So again, naming your layers
properly is going to be pretty important

for staying organized
when you're working inside Photoshop.

So again, just

be aware that these layer panel options
exist if you want to change the appearance

of the layers within the Layers panel,
those options are available to you

when working inside Photoshop.

You want to avoid mistakes
as much as possible.

Mistakes such as moving a different layer

or painting on a different layer
unintentionally.

Now there are several different ways
that you can

lock layers when working in Photoshop.

You'll notice in the Layers panel
there's a lock label

with several different images or icons,

and each of these represent

different ways that you can lock layers.

So let's take a look
at how this images impact

what's going on inside a canvas.

We'll start off on the far right here.

We have an icon of a padlock,
and when we click it,

you'll see that
same icon up on our active layer here.

So this icon is the

lock all options, which means everything
is locked right now.

And I have the move jaw selected here.

So you can see now, if I try to click
and drag, you'll notice I get a prompt,

a warning telling me that I can't do that

because the layers are locked.

Likewise, if I select another tool
like the Brush tool,

I also then don't have the ability
to paint the backstops in any way.

So that's what this option does.

It blocks the layer down completely.

However you lock a layer,
you can still manipulate it

here in the Layers panel,
you can change the name.

You can also click and drag it
to change the stacking order.

You're just locking
the contents of that layer

and. Right.

Let me go ahead and select that option
right now.

And to the left of it, it's a newer option
that gives you the ability

to prevent auto nesting
when working with artboard.

So with artboard you can drag content
from one artboard to another.

And when you that that content gets nested
to the destination artboard

and you can prevent that
by using this behavior right here

now because we aren't
dealing with artboard that much.

You won't really
look at that feature right now.

I'm just giving you an idea
of what it represents.

Now, on the left of that,
you can block the position of the content

within the layer if I click this option.

So if I select the MOVE tool here
and if I click and drag,

I get that same warning dialog box.

So let me just hit okay on this one.

However, I choose the brush tool here,

you can see that
I can paint the pixels on that layer.

All right.

So let me just go ahead and do that again
and controller

command Z for Mac.

You'll also notice
that you get a different icon.

And icon looks like a padlock,
but it's not solid.

So that indicates that there's
some type of attribute

that it's a lot over this layer.

All right.

Now, let me just go ahead and select
this position lock right here,

and I'll come over and select
the next to the left,

which is the locking the image pixels.

What that means is if you want to move
the pixels, you can do that.

However, if you want to manipulate
the pixels in some way, like

if I select the brush again, you'll notice
that I don't have that option.

I can't brush or paint
any pixels within this layer.

I'll just go ahead and select that option

and we'll select the last option here,
which is a really useful option.

So this is the lock,
the transparent pixels.

If I select this option
and turn off the visibility of all

the layers, you'll notice there's a quite
few transparent pixels within this layer.

So let's say I wanted the border
of this artwork to have a black stroke.

What I can do here is I'll just select
the brush tool right now

and if the transparent pixels are lock,
if I click and drag,

you'll notice that I'm not painting
the transparent pixels, but rather

just the pixels
that is already contain on this layer.

So this could be a really useful option

if you're trying to preserve
the transparent pixels within a layer.

Awesome

So those are your locking presets
and you can utilize this, especially

when you are working
with a lot of layers here inside

Photoshop.

What if you want your objects

or elements within the document
to be positioned properly?

How do you do that?

We can do this by using the alignment
and distribution options

that are available
when you're working with multiple layers.

In this case,
we want to align everything to the canvas.

So I'm going to select all of the layers,
including the background layer,

because it is the size of the document
which we will be using

as our basis
for outlining and distributing.

Okay,
Now I'm going to select the topmost layer

and then hold down the shift
key and select the bottom most layer,

just like So at this point,
if I want to align all of this

image to the top of the canvas,
I can do that with my move tool.

Select
that again vs used keyboard shortcut.

I'll just come over to this alignment
options up here

and I'll just click this button right
here, which would align all of the top

edges of all of the artwork
that we have here to the background layer.

Likewise, I could align it to the bottom
or to the center,

and in this case
I want to align it to the center.

There you go.

But I
also want to distribute the image. So.

So they're even spaced out.

So what I'll do next here
is to select the background

layer here within the Layers panel,
and you can do that

by holding down the control
key on your windows or command on your Mac

and clicking on the background layer
that B selects layer

from the rest of the group.

Now, with all of this layer selected,
you'll notice

that I have this fusion options
available here in the control panel.

And in this case,
I want to click this button right here

which will distribute
to horizontal Sanders

When you click it, you'll notice
that they're now evenly spaced

horizontally throughout the document.

So these are the alignment options.

You can also see in other creative cloud
application, such as Illustrator

or InDesign,
that we also have this same options.

Again, they work in a way that allows you
to position content relative

to one another, but then you can also
include the background layer.

If you want to position
the content relative to the canvas.

I cannot stress enough
how important naming convention

is when working with layers inside
Photoshop.

It helps you identify
what's on that layer,

and it's not unrealistic to have hundreds
or more layers

within a Photoshop document,
so needing them becomes really important.

Likewise, if you have a lot of layers,
you may want to group them together

to stay organized

and also reduce
the space needed to be able

to view all the layers within the layers
Panel you can easily create layer groups

by clicking this button down
in the bottom of the layers panel.

Now what I'd like to do
first here is to come and select

a couple of players that I'd like to place
within a layer group.

So I'll just select the yellow bulb here
and then hold down the shift

key on my keyboard and also select
the oval bulb, which is underneath it.

At this point.

I can come down and click
the new layer group button,

and that will create a new group
giving it a default name of group one.

Now, a layer group is nothing more
than a folder that allows you to expand

and collapse. Layers that exist within

the layers
that are inside a group becomes indented,

and you can add as many layers
as necessary to a particular group.

For example, if I want the green bulb,
we can click and drag it into the group.

And now you'll notice that the green bulb
becomes a first layer

within the layer group, but then that
sometimes can cause a problem

because in a lot of cases you would want

to maintain
the stacking order of your objects.

So what can you do on this one?

You can just simply drag
the green blob layer

at the bottom of this layer
you just like. So

again, you can change the stacking
order of layers within the layer group

and you can collapse the group by clicking
this icon to the left of the folder.

You can also rename
it by double clicking it.

All right.

So at this point, a coal mine, again,

you can create as many layer group
as necessary.

Awesome.

Let me just go ahead and create yet
another layer

group here by clicking that same button
and you'll notice

that group one is a default name
given to this new layer,

and that's because we renamed our previous
layer group.

All right, So let me just select
the other image here.

I'll just drag this images
and into the group one layer group here,

collapse it.

And at this point,
I have all of this layers.

You'll notice

it's not taking up that much space
because the layer groups are collapse.

And if you want to expand both layer
groups at the same time can just hold down

the control key on your windows
and command

key on Mac and just click it.

You'll notice that both layer
groups are expanded

and you can also collapse it
back using the same process.

Finally, if you

want to create a nested group,
you can do that.

Notice
that we have group one here selected.

And if I come down
towards the bottom of the layer panel

and I click the new layer group, but then
a new layer group is created Group one.

But if you wanted to be inside of group
one, all you have to do is click and drag

it until group one is highlighted,
and then you'll see that Group

two layer is nested within the group
one layer group.

And at this point I could again
just take this image

and drop them into group two
so you can nest groups to further

organize
your content within the Layers panel.

Also again, layer two
groups are nothing more than a way for you

to organize your layers
to make your layers panel more manageable

as you work with a particular document
inside a program on our next lesson,

we will focus on opacity inside the Layers

Panel.

I have two documents open Opacity,
dot BSD and nine dot JPEG.

Both of these documents are available
in your exercise folder.

If You come over and select
the Beagle layer.

You'll notice that we have in the past

the option in the top right
hand corner of the Layers panel.

If you want to adjust the opacity,
have a couple of different options.

The first option is to hover over the

label opacity
and you'll get a scrubby slider.

This means if you click drag to the left,
you'll reduce the opacity,

introducing transparency
within that layer.

If you click and drag the right,
you'll increase the capacity of.

The other option is if you click this down
arrow, you get a physical slider,

you can click and drag to the left
to decrease the opacity

and, click and drag to the right
to increase the opacity.

And as you decrease
the opacity here, you're

increasing the transparency
within that layer.

And as you can see at the moment,

we are seeing some changes
within the transparency of the layer.

Aside from that, we can also see the
layer underneath that showing

if you
need a very precise percentage value,

you can just come in here and click
and type that value.

For example, you want it to be 50.

You could just type in that number.

If you also want to use
a keyboard shortcut, you can do that.

Let me just press enter
to exit out of this specific text.

Then I'll just place my cursor
within the image here

and I'll make sure that the beetle is

still the active layer.

Now, if you press
the one key on your keyboard,

you will set the capacity to 10% to
is 20%,

three, yes, 30%, so on and so forth.

If you want something more specific,
let's say

like 5%, you can press three, then five

and you'll notice
that the opacity is set to 35%,

not only

can you
control the opacity of this vital layer,

you can also control the opacity
of the background layer.

So let me just turn off the beetle

layer here
and select the background layer.

Right now it's turned off
because of the last layer here.

So let me just take that out.

If you reduce it, you'll notice
you begin to see the transparent

checkered at the back,
which is an indicator that you're

introducing transparency
within that layer.

The only exception to this is

if you're working with a background layer
that this lock.

So if you come over to our next document,
use the nine dot JPEG.

In this document, we only have
the background layer with the lock.

And with that
you'll see that the opacity is grayed out.

We can't do anything for this image.

But then if you want to do that,
all we need to do is to just unlock

this background layer
and convert it into traditional layer.

Then we will get that opacity option back.

So again, gives you the ability to play

with transparency within a given layer.

But what is open right now is a document
called Blend, BSD,

and in this video we will talk about blend
modes.

You'll notice in the layers.

Now there's a menu
and right now it's set to normal,

but there's all sorts of different options
within this menu.

And this menu represents the different
blend modes available to you.

And what does a blend mode mean?

Well, what you're going to be doing
is changing how the pixels on the selected

layer interacts
within the layer underneath it.

Now, oftentimes new users
and some experienced

Photoshop users will come in
and just start selecting blend modes

without any real reason
behind their selection.

They're not even sure

what they're going to get
when they choose a particular blend mode.

Now, as you can see, there's all sorts
of different options within this menu

and it would take too much time
to explain all the different options.

So instead what I'm going to explain
is that this pre blend mode

and by understanding this three blend
modes, you'll have a better understanding

as to what some of the other blend modes
might do when choosing them.

You'll notice that

the blend modes are grouped in categories.

For example,
these blend modes are grouped together,

these blend modes are grouped together,
and this blend modes is grouped together.

And if take a look at these three groups,

we have a darkened group,
a lighting group, and a contrast group.

So let's take a look at this first group.

We're just a darkened group, but in order
for us to do that, what I'd like

you to do is to turn off the visibility
of the only layer here.

And when you turn off the visibility
of the outer layer, you'll see this

three square one is pure white when it's
pure black and the other is gray.

Now, I will warn you, rarely
will you have an abundance

of this color value to within one image,
but you will have variations of this color

not yellow, black,
maybe not pure white, or maybe not gray,

but somewhere close and within that range.

But by seeing the purest form
of each of these color

values, you'll get a better understanding
to what the blend.

Modes are doing

so with a square layer.

As the active layer.

I'll just go into the blend mode here
and we're going to choose multiply.

And when you choose multiply,

what will happen is the gray values
and darker values within an image

will make the clouds on the layer
underneath it appear darker.

If we select that, you'll notice
that the white pixel are ignored.

So in this case, where we had the gray
square on the cloud layer underneath,

it appears darker and you'll notice
that the black square is still black

because you can't
get any darker than black.

So that is how the darken blend modes
behave.

But more specifically, that's
how the multiply blend movement behaves.

So based upon
the information that you see,

you can better guess as what this other
blend modes in the same group will do.

Let me just tell you this
There will be some experimentation

any time you use a blend mode,
but at least you have a better

to what
you're selecting in a particular group.

So let's just take a look at this screen
blend on here.

We just the opposite
of the multiplied mode, and in this case,

black pixels will be ignored
and we'll see the white square

and the clouds underneath
the gray square will become lighter again.

Black pixels is ignored
and the clouds appear wider

underneath the gray layer.

And the white square is still white
because you can't

get any brighter than white.

And then finally,
what we want to take a look at

now is another blend mode called overlay.

Overlay will.

Ignore the gray square

and it will make the pixels
underneath values greater than gray.

So in this case, pure black appear darker.

And you can see brighter than white,

which is why this pixel stays white.

So hopefully that gives you
a basic understanding

as to what the blend modes
are doing in Photoshop.

And yes, there's quite a few blend modes
and it will take

you quite a bit of time
to understand how all of them work.

But this a good foundation
for you to work from.

So let's just turn off the squares
layer here

and turn the visibility
of the o.D layer on.

And now what we'll do is take a look at
those blend modes using a real photograph.

So we do have a lot of

dark pixels
in the black pixels in this image.

Likewise, we have a lot of light
and white pixels in this image.

Do as well.

But let's go up to the blend mode menu
and here we can choose multiply.

And when we do it almost,
it looks like the car is a wrap

now in a cloud graphic
because the car has many white pixel

values on it, so it makes the clouds
underneath it appear brighter.

But we don't see the clouds at all

underneath the darkest color balance
within the image.

So let me just come over here
and switch to screen mode.

And when we switch it to screen,
we get interesting effect here.

There is so much black within the image
and it allows us

to see much of the clouds image.

And if we take a look at the car,
the reason we can still see the car

is because it's making the pixel,

the cloud layer
so much brighter than what they were.

All right.

So finally, I will just come over here
and choose overlay.

And when we choose overlay,
we essentially get a darker version

of the cloud image because there's
so much black within the picture.

And then the clouds are very bright
where the white car is.

So while it's a basic example,
I hope that you have at least an idea

as to what the blend modes do
and what they represent within that menu.

But ultimately a blend mode
allows you to control how pixels on a top

layer interact
with the pixels on the layer.

This course is all about how you can
perform crops,

transformations and, warps your images.

We're going to focus on
crop tool in this clip now,

and the crop tool gives you the ability
to change

two dimensions and your image.

And this is pretty useful,
especially with photographers.

So I have this document open.

I thought our JPEG on your tutorial
at it's folder

and now let me just select the crop tool
over here in the toolbar.

Or you could press C on your keyboard

and when you activate the crop tool
you'll notice that you get resized

bounding box
to appear around your document.

You can use the resize handles
within this bounding box

to determine what portion of the image
you will be crop of.

For example,
if I decide that there was too much sky

between the top of the document
and the tower, I could remove it

by grabbing this resize handle
and dragging down towards the tower.

This area now will be

cropped away from the document
once I performed the crop.

Likewise, if I wanted to get rid
of some of the landscape here,

I could just click and drag up
towards the tower.

There's also resize handles on the left
and on the right

and also on this Four Corners right here.

And if you want to change the width
and height at the same time

you can do that
by just adjusting this handles here.

If you place your cursor
inside of the bounding box, you can click

drag to reposition the bounding box.

If you want to perform the crop you can.

You just need to double click

within the bounding box or you can press
return or enter your keyboard,

or you can click this check
mark up here in the control panel.

You can also cancel out of the crop

by clicking this button here
or by pressing the key on your keyboard.

And if you want to reset the bounding box,
you can do that by clicking this month.

And right here now I'm just going to press
escape to exit out of that.

Now I want to show you that you can create
your own bounding box manually.

So when you have the crop to select,
then all you have do is move

into the image and you'll notice
that your cursor changes to a crop icon.

At that point you can just click and drag
out of your own bounding box.

So again, if you want to perform
the crop, you can just double click

inside the image
or press return or enter on your keyboard.

All right,
Let Me use and do that by pressing down

control or command Z on your keyboard.

And then what I will do next

is some I'll just click and drag out
another box here.

You do have the ability to change out
this crop shield

that you're looking at here,
and all you have to do is

go to the control panel here
and you'll see a gear looking icon.

And when you click that, you can access
several menu options

from this icon,
one of which is the crop shield.

You can disable it.

You can change the color and the opacity.

In this case, I'm happy with the crop
shield, so I'm going to leave it and able.

All right.

So let me just click
this overlay button here

and you'll notice that the crop tool
has an overlay associated with it.

Right now we're looking
at the default rule of thirds,

but there's several options
that you can choose from.

In fact, you can cycle through all of this
option by using the keyboard shortcut.

Okay, So let me just come over here
to click away from the menu

and then I'll press on my keyboard
and you'll notice

I'm cycling through all of those options.

Now, if
you decide that you don't like the overlay

and you want to change its behavior,
you can that it will just come over

back here on our overlay settings
and we can just choose never show overlay.

So also another option called
auto show overlay,

which means you'll only see the overlay
when you click inside of the crop box.

This can be a nice way to get an idea to
what the image will look

like without any obstruction or discourse.

I'm going to leave it,
set the default overlay, show overlay

and I'll just hit return or enter

on my keyboard to collapse that settings.

Finally, if you want the crop
mask to be specific size or specific

aspect ratio, you can manually enter
the values up here in the control panel.

Right now, this menu is set to ratio,
but there's several presets in here

not only for rater
but also for dimensions.

You can either choose
ratio and plug in your own values here

within the options bar
or can choose within height

by resolution
and enter in your own values.

If you find that
you would be using your custom value

most of the time and want recall
frequently,

you can always come over to this menu
and save a new crop Presets.

All right.

So when working with crop,
there's really two different ways

that you can work with the tool
in terms of its behavior.

One is the destructive behavior,
and the next is a nondestructive behavior.

And 99% of the time,
you would want to work

with the destructive behavior, because
if you destroy pixels or distribute

them, remove them from the document,
you never really get them back.

And that's only helpful if you're really
concerned about file size.

So what we've been doing earlier
is the nondestructive way of cropping.

I want to show you the destructive way.

So with that said, let me just come over
and select delete crop pixels up here

and then if you perform the crop
by clicking the checkmark,

those pixels are removed on the document

and you can verify that
by dragging out yet another crop box.

Now, before when we were working
in a Nondestructive way,

all of the data was recalled
and on the screen so I could recompose

the image from all the original pixel
information off the document.

Now, when I let go of the mouse,
now I don't have all of that

information anymore.

It's been removed from the document.

All right.

So I'll just press escape
to exit out of this problem.

And I'm just to come back over
to the history panel

and go to the point
where I open the document.

So just be aware of that.

When your working with the crop tool,
you have two options

can work in a nondestructive way,
which is really the preferred way.

Or if you have to work in a way
that will permanently delete

the pixels from the document,
you can do that by selecting that

here on the control panel.

Awesome.

So that's the basic functionality of,
the crop tool.

There are several options
that I like to continue to explore

over the next couple of videos.

As you use

Photoshop, you will find different ways
to do certain things that you want.

Let me show you what I meant by that.

And oddly enough, you can use crop tool
to add canvas to an image.

Let's say, for example
we want to add a border around this image.

We can use the crop tool.

And certainly there are several ways
that you could achieve this in Photoshop,

like using effects, brush tool,
so on and so forth.

But I want to focus on
how you can use the crop tool

to add canvas to a document.

So let me just come over here
and use the crop tool.

And with the crop tool selected,
what we want to do is click and drag out.

Now, in the last couple of videos,
we've taken out these resize

handles here
and we were clicking and dragging in.

But you can also drag out
and you'll notice

that you're adding
transparent pixels here.

The other thing that you may have noticed
is that we were working on a background

layer and now we can see that
it's showing a crop preview layer.

Now if
you're working with a background layer

and you're introducing canvas,
it will never be a background layer again.

And that's because it has to display
those transparent pixels,

so automatically
it gets converted to a traditional layer.

So in this case we want to add enough
canvas on all four sides

to add a border around the image,
and we want to do it in equal parts.

So what I'll do here is grab
one of the corner, resize handles here

and I'll just hold down
the all key on Windows and option for Mac.

And then we can also add the shift key
to constrain the proportions.

And as we click and drag outwards,
you'll notice that you're adding canvas

and all four sides
and you're distributing it equally.

It's almost like you're
dragging from the center of the image.

Now, once you let go

the mouse, you'll see that
we have the canvas on all four sides.

If you want to commit to this crop

can press, enter
or return on your keyboard

and you'll now notice that we have

layer zero right here on the Layers panel.

So let's see, for example, we want to add
matte color around this image.

The easiest way to do that,

honestly, is to create a new layer
and fill it with a color.

We can create a new layer by clicking
the new layer bottom right here.

But what that will do
is create a new layer

above our layer, and we don't that.

We want to add a new layer
underneath our current layer.

And you can do that by holding down
the control key or the command key on Mac.

And then after that
we will just click the button right here

and that would create a new layer
underneath our layer.

At that point, want to fill in the layer
with a solid color.

And again,
there are several options for that.

But I think the best is to just come up
to the edit menu

and under the edit
menu you can choose fill.

Then in the field dialog box,

you have several options in terms
of what color you can use.

It can use the foreground color.

In this case it's black, but there's also
other colors that you can choose from.

The background color,
which is white, also have a here

and you can also select a custom color

could also go with black or white

if you don't have the foreground
and background color here.

But then in this case I'm happy
with black, so I'll leave it as it is.

And when we click okay, you'll notice that

we have a black border
frame around this image.

Now, the problem with using crop tool is

you can't be overly precise
from a measurement perspective.

Let's say you needed half an inch
all the way around.

The best thing you can do with a crop
tool is guess that happened

instrumenting the aspect ratio,
which won't give you even distribution.

So I'll four sides.

So there's a better way
if you have to be incredibly precise

and that is using the canvas size
dialog box.

So let me just go back to our history
panel here first, and

I'll just go to a point
where we just opened the document

and now
let me just come up to the image menu.

And under the image menu,
you can choose canvas size here.

You'll notice
that you have several options in terms

of how you can work with canvas.

You could plug in the numbers
dimensionally for width and height

and then specify how you want
that new content area

to be distributed within the document.

Right now there's an anchor point
in the center, meaning if we increase

the width and height, we can distribute it
evenly on all four sides.

But you can change that anchor point in
any one of these spots within the squid.

So you can anchor up the top right
hand corner and add

all the new canvas on the left
and the bottom of the document.

In our case, however,
what we want to do is add

half an inch
on all four sides of the document.

So the easiest way to do that
is to check this a relative checkbox here.

And at that point you would plug in one

inch for the width
and one for the height here.

Now the question is why not point five
or half an inch?

Well, the reason for that
is we're going to be adding one of height

so that we can distributed
evenly on the top

and the bottom
based upon this anchor point,

which means we'll get half
an inch on the top

and half an inch on the bottom.

Likewise, you will get the
same result for the width.

Now the other

question is what the new canvas look like.

So let's just set our background
color here.

And what I have right now
is the black foreground color,

but then you can select other colors
here on the options.

So again, I'll just leave it
at this settings and then we can just hit.

Okay.

And you'll notice that we now
have half an inch on all four sides

based on the size of this document.

What if you get into a situation
where you want to crop an area in an image

that is not a perfect square,
rectangular circle like this photograph?

If we look at this,
we have a little bit of a problem here.

This photograph was taken in perspective,
and I'm working

this document called Window
That JPEG, by the way,

which is available
inside your tutorial assets folder.

And let's say, for example,
what we wanted to preserve

was everything outside of this window
and get rid of the interior of the room.

Again, this picture was

taken in perspective,
so it's not a clean crop.

So now is the perfect time
to use our perspective crop tool.

And with this tool we can click and drag
a bounding box around this window,

or should I say
within the interior of this window.

And now we have this fairly
elaborate grid.

Now the next thing that we have to do
is to match

the corner points
within the interior of this window frame.

So let me just zoom into this top left
hand corner here.

Again, I'm holding down the spacebar

and controller command key
temporarily here.

Zoom in until I find this corner point

and just want to make sure
that it's in the corner of the window.

All right. So that looks pretty good.

I'll just hold down the spacebar Japan
within this image.

Until then, find the bottom corner here

and I'll just position
within the interior of the window frame.

All right.

And again, I'll hold down the spacebar
here to pan over to the right

to find this corner handle here.

I'll just adjust it a little bit.

And then finally, let's just take care
of the anchor point

up here towards the top
and drag this the right location.

Once you're happy with the position.

Now you can zoom out by pressing control
or command

zero on your keyboard to fit the image.

And at this point it's not zoom out
enough.

So we need to see the whole canvas.

So I'll just press down to control

minus on my keyboard.

That will zoom it out a little bit more.

All right, that looks good.

So let's commit to this crop here
and I'll just click on the mark

here in the control panel and

now we have an image

of the contents of what we were looking at
outside of the window.

So the perspective drop tool
can be really useful for a situation

like there's a downside though,

and the downside
is that this is a destructive crop.

There's no option to preserve pixels

and they get automatically deleted
unlike the traditional crop tool.

You'll also notice that
before we crop the image

that it was not straight out
and after cropping it, it is now straight.

So let me just travel back here
in time again.

And here on our is history panel,
we want to go back

to a point
where we just opened the document.

All right. There you go.

So what if we have an image
that's not straight to begin

with, like this one and
we don't want to do a perspective crop,

we just want the image to be straight out?

Well, fear not, my friends.

Photoshop got us covered.

There are several features
within the application

that allows us to quickly and easily
straighten up the image.

Now I'm going to show you what I think
are the best ways

and then I'll show you some
the other ways.

So the first option is to come over
and use the crop tool again,

CC keyboard shortcut,
and now we can place our cursor outside

on one of these corner resize handles

and you'll notice
that you'll get this a vented arrow.

And at that point you can click and drag
to, rotate the image,

and if your overlays turn
on, you'll be able to line up closely

the roof of this building.

So the grid line

and when you let go of the mouse,
you'll end up with a straight image here.

So in that two simple steps

with one tool,
we were able to straighten up the image.

And as you can see, that's the case now.

All right.

So there's another option here
within the crop tool.

And again,
as I've told you, Photoshop got us covered

now with the crop tool selected.

What we want to do here is use this
straight, an option in the control panel.

And when you do that, your cursor changes
to what looks like a little level

and at that point

you can just click and drag the line
across the roof of this building here.

And then when you let go of the mouse,
you'll notice

that the rotation
has been automatically performed for you.

Of course,
you can double click or press return

or enter to accept the crop.

All right.

So again,
I'm just going to go ahead and do this.

And I think that those are
the best options because most of the time,

if you have to straighten
an you're going to have to crop it

because you're going to end up
with empty bits within the canvas.

Ultimately,
you probably want to discard those areas.

However, there is another tool here
now that you should be aware of.

It's located underneath the Eyedropper
Tool and it's called the Ruler Tool.

With the ruler tool,
your cursor changes to our ruler

and it will behave much like the level
option within the crop tool.

So with that selected, you

just click and drag a line
across the roof of the building here,

and when you let go of the mouse, you can
then come up to the control panel

and click strain and layer

the problem, of course, is
you do have this empty parts

within the canvas
where there's no information,

so you'll be forced to perform
a crop again.

All right.

So that's pretty much it.

Again, I think the best way really
is to just use the crop tool

and with the crop tool can just use one
of the two techniques that we reviewed.

Again,
you can either rotate the bounding box

or you can draw a line
with the straighten option

to ultimately straighten
and crop the image.

When we were working with selections
and doing some basic compositing,

we explored the free transform tool,
but we really didn't go into any detail.

We just used it to scale some artwork.

So in this video, let us dive
a little bit deeper into that tool

because it's really useful tool
and a powerful tool

that you will find yourself
using fairly often inside of Photoshop.

So what I'd like you to do is open up
this document called.

Hello Dot, BSD and again it's available
in your tutorial assets folder.

You'll notice I have a layer here
that reads Hello.

And if we want change the scale of yellow,
we can use the free transform tool.

So again,
you can access the free transform tool

by coming up to the edit menu
and from the edit

you'll notice that there's a command
called Free transform.

The keyboard shortcut is Control
D or command D on Mac.

Now you'll that there's a transfer menu
also underneath it

and there's a series of option
associated with it.

You can scale, rotate, skew,

distort, work with perspective and warp.

Now all of this options are available
from the free transform tool,

which is why I use that tool more often.

If you want to loft the transformation
to one of this specific option, you can.

But for most parts
you're going to be using free transform.

Now you'll get a bounding box
and if you grab one of the corner

resize handles here,
you can resist the artwork.

And if you hold on to shift your constrain
of support portion, you can also adjust

other attributes based upon
what we're looking at in the edit menu.

For example, if we hold down the control
or command key here when grabbing

one of this corner handles, you'll notice
that we can distort the artwork.

So I'll just go ahead and do that.

Now, you can access all of this options

by right clicking within the mounting box,

and here you can access, rotate,

skew, distort,
perspective and warp again of this.

Options are available here, but

it's hard to remember the keyboard
shortcuts associated with them.

So in this case,

if you want to change the perspective,
we could just select that option.

And now the Free Transform
command is locked that perspective option.

So if I click and drag one of this resize
handle changing the perspective,

but notice
if I place my cursor outside of the corner

handles, I'm not getting the option
to rotate the artwork

like normally would
if if it was a free dress from tool.

So to get back the free transform tool,
we can just right click on this and use

free transform again.

And as you can see, it
preserves that perspective transformation

that we've made.

But now we have the transformation
options available.

So if I did want to rotate it,
I can place my cursor now outside of

this corner right here, and then I can
just click and drag to rotate it.

Finally, if you want to warp
this in some way, you can,

we'll just have to come

up to the control panel
and click this button right here.

Now, if you remember
when were working with selections,

we were able to warp a selection,
so it fits around a particular shape here.

If we wanted to do something
similar to the artwork,

we can grab any one of these mesh points
to warp the artwork.

You can also come up to the menu
and in the control

panel and choose a particular style.

If you want to go with ARC or a lower arc
or an opera arc,

those options are available to.

You could also go with something
sophisticated like this flag here,

and when you select that, you'll notice
that it has warp the text here.

Now, I said text,
if you notice this text is an image.

So if you want the warp attacks or type,
you might want to convert it to a layer

because you cannot warp a
or a type inside Photoshop.

So you really need
to convert it to a layer.

Now, if you want to

apply this transformation,
just click the check mark here to top

or accept it by pressing return
or enter on your keyboard.

And if you want to cancel that,
you can just click,

cancel button here
or just press escape on your keyboard.

In this case, I'd like to accept it,
so I'll click the checkmark

and you'll notice
that the transformation is now completed.

So the Free Transform command gives
you all sorts of possibilities

for transforming the appearance
of your artwork

in a particular layer.

I'm working with two documents here,
which is the Paradise Dot,

BSD, and another called content
where not both of

which are available
in your tutorial assets folder.

All right.

So let's say, for example, we want to
reduce the overall will of the image.

But then the problem with the tools

that we reviewed so far, for example,
the free transform tool

is that we're going to compress the image

and store
all of the contents within the image.

So that's really not a viable option.

The other option is to use a crop tool,
but the problem with the crop tool

is we're just going to be removing
portions of the image.

What if you want to preserve the distance

between the haystack
and the cow from edge of the picture?

And you also want to preserve the distance

between this cow and the edge
of the picture over here on the right.

And you just wanted
to get rid of this center area here.

Well, your only option for
that is to make a selection

and delete this pixels and then try
to join the two different hats.

And that's going to be really time
consuming process in one

that's probably not going to look so good.

So there's a better option
inside Photoshop and it's called

content aware scale.

But in order for us to truly appreciate
that command, what I'd like to do

is use the free transform command
to see what the results would be

and compare it
to the content over scale command.

So using your keyboard shortcut again,

we can press control T on the
windows and command T on Mac

and this
opens up the free transform command.

And what I would like you to do
is just kill the width of this image,

just drag
this left resize handle into the right.

And as you can see,
we've distorted everything.

We've just compressed the entire image
and it's not looking good.

But let's just accept this transformation

by pressing return
or enter on the keyboard.

Then let me just come over to the history
panel and in the history panel

we can create something called a snapshot.

This will create an instance
of this document in its current state,

and we can do that by clicking
this little camera icon here.

So here's our snapshot,
which means we can return

back to the content over DOT BSD,
which is the original document.

And now what I would like you to do
is perform a content aware skill.

So now
let's just come over to the edit menu

and under the edit menu
you can choose content over scale.

You'll notice you get a familiar bounding
box like the free transform Command.

Now all we're going to do here
is grab that same resize

handle and we're going to click
and drag to the right.

And as we do this,
take a look at the image.

It's almost magical
in the way that it works.

It's getting rid of low frequency areas
or areas that don't have great detail.

And when you let go of the mouse.

You can press, return or enter
to accept this transformation.

And what I would like to look at
is the before and after of image.

So we can just come over to the history
panel here.

And from the history panel,
if you looked at content where

the snapshot and really focus
on the haystack in the course.

When we come back to the history
step after

we perform the content of our scale,
you'll notice that

if you look at the objects,
there's little distortion happening.

So what we ended up doing here
is removing information in this to cause

some information to the right of this cow
here and a little bit of information

to the left of the haystack.

But you can see that
we preserve the integrity and dimensions

of all this elements.

So let's compare our content aware scale
to our free transform scale.

If I click on Snapshot,
you can see that the cows and really

this haystack are squished quite a bit
compared to the content aware scale.

So just be aware that this is a feature
inside of Photoshop

that really can make scaling content

while preserving the portion
of the content simple and literally

being able to perform multiple operations
within one step before this feature.

It would have been a time consuming
process to achieve the same results.

So now let's just take
look at another situation

here in the Paradise document.

In this case, we want to do the opposite.

We want to create content
to the left of this.

And again,
if we choose the free transform command

and just drag it to this left side
right here, we're going to distort

the entire image and wooden house
doesn't even look the same.

So again, this is not really an option.

All right.

So I'll just press escape here and.

Also, the content aware scale
option will also have some trouble here.

So let me just try and go up to the edit
menu here and use content over scale and.

What we'll do here is to focus
on this portion of the wooden house.

And as you can see,

as we click on this and drag to the left,
you'll notice it's doing an okay job.

But then the wooden house
becomes distorted.

So it's like it's being stretched out.

So really, we're not getting a good result
in this one.

All right.

Again I'll just press escape to cancel.

So what we do have within
this document is a saved selection.

And just to save some time,
I already save it to the document

so we wouldn't
have to create a selection on this one.

But I'd just like to show you
this on selection.

All right,
let me just come up here and select menu.

The select menu.

I will just use load selection

and you'll notice within this document,

if we come over to the channel menu,
we have channel.

And if I select that and hit,

okay, I have this selection right here.

So again, I just wanted to show you
what the selection looks like so

you know what the selection
actually represent,

because we're going to choose this
election as an option in just a second.

All right.

So let me just b,
select this control command D

then I'll just come back to the edit menu.

And under the edit menu, we're going to
choose Content Aware scale again.

But then this time in the control panel,
there's a Protect menu

and we'll just choose the Wooden House
channel on this one.

So now that you know
what the selection looks like

earlier, everything
within that selection will be protected.

And as we click and drag to the left,
you'll notice that the wooden house

isn't being modified at all.

What we're doing
is simply creating more mountains

and trees to the left of this
wooden house.

All right, so now we can just drag
all the way to the left and.

You can press return or enter
on your keyboard.

All right. There you go. Awesome.

So now it's looking pretty good.

And if we undo the operation
and just focus on this wooden house,

it is exactly the same wooden house
that we have

before we drag this to the left here.

It was really protected by that selection.

So again, content aware
scale is a really powerful way

to scale your artwork here inside
Photoshop, I'd like you to open up

jump shot that BSD document for this video

and we were talking about transformation
and how we can adjust

not only our images
but certain parts of our image.

And so in this video
I would like to spend some time

looking at another transformation
command that we can use,

which is the puppet war command.

And it's a pretty specific command
you probably won't use all that often.

But the few times that you run
into a situation where you'll need it,

it's going to save you
an enormous amount of time.

Most of this functionality
comes from its Photoshop sister

animation application
called Adobe After Effects,

and if you work with After Effects,
you work with the puppy filter.

The functionality here is pretty similar,
but then you can use

a lot of that functionality for this image
and not the video.

So let's take a look at it.

This has two different layers here
and there's one called

Girl and there's one called the Sky.

And this layer contains
nothing more than the sky.

And the girl layer
has this girl jumping up in the air.

What if we to manipulate this person's
arms or legs?

You can imagine with the knowledge
that we have right now,

it would take an enormous amount of time
to make precise selections and then

try to choose the right transformation
within the pre transform command

and get this arm and legs
bend to a certain way.

Will the puppet warp
command solves a lot of this problems

If you go to the edit menu and under
the edit menu you can just pop it more.

Now, once you just pop it warp,

you'll probably mesh patterns up here
around this selection here.

And in this case
we have the gear layer as the active layer

so we can see mesh around this girl and.

This mesh is really showing us where
we can drop the bits within this image.

We have a couple of different options here
towards the top.

The first for mode is we have normal,
then we also have Bridget and this stalk

and we'll take a look at this
in greater detail in just a bit.

But when we also have here is a

a dense for the mesh
and we can have fewer points

or we can have more points available

in this case, I'll leave it set to normal.

There's also an expansion option

and this will give you the ability
to expand or contract this mesh.

So for example, if I drag this slider

to the left,
you'll notice I'm contracting the mesh,

and if I drag it to the right,
I'm expanding it.

So for now I'll just leave it
somewhere around pixels.

You also have the option
to show the mesh or not show the mesh.

So in

this case, let's
say we wanted to bend this person's arm.

So what we'll do here is
we'll just drop some pins on the arm here

and I'm going to drop it
where the joints are.

So I'll just put one here on the wrist,
one at the elbow and also the shoulder.

At that point you can
then select the pin you want to move.

So let's say
we wanted to move the person's hand.

We'll just click and drag this pin
right here.

And if you notice, it's
just moving that portion of the arm.

So let me just turn the mesh off.

So we can see exactly
what's happening here.

All right.

There it goes. So as you can see,

as I drag here, I'm kind of above bending
and this pivot point right here.

Likewise, if I drop up in here on this arm
and then drop up in on this hand,

then click and drag
you'll notice I'm moving the entire arm.

But also notice that this person's body
is also moving with the arm.

And that's
because I'm in the normal mode right now.

If I set that too
rigid, you'll notice that

there's some less movement on the image.

So all of this is stationary.

The legs are moving a little bit

because we didn't
put any anchor points on that area.

So that's how this tool works.

It gives you the ability
to kind of drop this pins

and just pick up a portion of the image
and bend it if you choose.

Now, when I press this in this thought
mode, you would notice that it's

sending her hand back closer to the clouds
and further away from her face.

So I'll just leave it set to normal.

The other thing,
though, that I to show you is that there's

this pin death option.

Then click and drag.

Right now this on her face,
you can see that it's blocking her face.

But then what we can do also is
we can just adjust the pin death.

And in this case, if I said it backwards,

I can make her head appear behind her.

So you're not going to make this dramatic
of a modification in most situation.

But if you did need the ability

to make subtitle modification to, bend
some arm or legs,

you could achieve that using the puppet
and ultimately you'd be spending less time

then unlike if you were to use
traditional methods of making selection

and then trying to transform
those selection.

So if you're happy
with the transformation,

you can always just come over here
and accept it.

If not, you can cancel out of it.

And of course, you can also remove all
the fans by pressing this button here too.

In this
case I'll go ahead and cancel out of it.

So again, the puppet work command
gives you the ability to make distortions

and warp within sections of the image
based where you drop the pins.

Again, it's really good to know
that this feature exists

because the more you know about Photoshop,
the more time you can save

and things you want to within the program.

So let's wrap up our discussion
on transformations in this video.

I have this document perspective dot JPEG.

And what I'd like to do is take a look
at a newer command.

That's really a combination

of perspective Transform tool
and the Puppet Work Command.

So this tool is called
the Perspective Warp Command,

and it can be used up at times
when taking pictures.

Context Your because architecture suffers
from distortion many times, like in this

case where the building looks like it's
leaning in towards the right a little bit

and we're going to try and correct
this with the perspective warp command.

So to start,
let me just rename this layer to unlock it

and in this way we can modify it now.

Now to activate the command,
you can come up to the edit menu

and under the edit menu
you can choose perspective bar.

Once you select
the command, you'll notice in the control

panel there's two different modes
that you can work with.

There's the layout mode and,
then there's the warp mode.

So this tool has two steps.

The first step is to create
a layout of a grid, and once you have that

layout
in, you can come over to the warp section

and start manipulating the image.

So now in the layout mode,
what I'd like you to do is drag

a grid to this building
that we're trying to correct.

And once we have a grid
around this building, what we'll do

next is to go up here to the work mode
by clicking warp button.

And keep in mind
that when you're in layout mode,

this beings are not active,
so you have complete liberty

to click and drag them and place them
wherever you want to.

But once you come over to the warp
command, the pins become slide,

which means if you click and drag, you'll
notice that they're changing the image.

In this case, we're

correcting the perspective problems
associated with this building.

In this case,
you will notice that we're doing that

at the expense
of the other buildings here.

So when we click and drag, you'll notice
that we're getting kind of this crazy

distortions throughout the entire image
and that's not what we're looking to do.

We just want this one building

so we can come up here to the control
panel

and click this button here
to return back to the layout mode.

And here in the layout section,
we can create yet another grid

and we can create a grid to preserve
the perspective of this other buildings.

So as I click and drag this grid, now
I'm asking Photoshop to kind of consider

this to be something
completely separate from the first grid.

Now let me just get back to Warped
mode here.

And when the pins are live,
so click and drag this.

You'll notice that I changed
the perspective

of this building, but I'm not impacting
this business at all,

so it's actually doing a pretty good job
until I grab one of these spins.

If I grab one of this spins
and I click and drag,

you'll notice that I'm getting this
weird band right here.

And that's because Photoshop knows that
it can manipulate the area of the image

outside of this spin
until it gets to this second grid.

And at that point,
it stopped this warping process.

And that's where we get this distortion.

So to fix that, I'll just come back again
to our layout mode.

And what we want to do here is to create
a relationship between these two grids.

So I'm going to click and drag this spin
up towards the other grids corner.

And when I get close, you will notice
that the sides of both grids turns blue,

which means if I let go of the mouse,
they snap together.

And so now they have a relationship
with one another.

Meaning if I do make modification
to this spin Photoshop will manipulate

enough pixels relative to this screen
to make the effect look realistic.

So if I come over in click warp mode,

I say click and the building here,
you'll notice that everything else

is kind of moving with it,
but in a way that doesn't ultimately harm

the perspective of this.

Other buildings

now want to click and drag this spin here
and quality to the left, and

I think we're doing a pretty good job here
of correcting some of this distortion.

So I'll just click and drag this spin in
just a little bit.

And once you're happy with that,
you can just come over, accept the water.

So I'll just click the checkmark here
and it will just take a moment,

but then Photoshop will show you

the complete image
once the work has been calculated.

Now we'll just come over to our crop
tool here.

And with the crop tool, I'm just going
to crop off a portion of some edges here.

Awesome Now that's looking pretty decent

and let me just accept this
by clicking the checkmark here.

Now here's our new image with the building
distortion problems fixed.

So let us just look at the before
and after here on our history panel

so I can just go back here to a time
when we just opened the document,

see the before, and then I can just

go back to the crop snap here
so that we can see the after.

And as you can see,
we were able to the perspective

of this building
using the perspective warp command.

So hopefully this tools inside
Photoshop will make it

look easier when you come in to images,

especially when you have to transform them

and make difficult adjustments.

In this chapter, we're going to talk about
one of the most important

foundation, an image which is colors.

More importantly,
we will focus on how we can

adjust colors here inside Photoshop.

So I you to open
car start jpeg high rise, start

the beach dot jpeg and then support jpeg.

And to start off I would like to show you
how we can make judgments to our images.

By using the adjustments panel.

Oftentimes you'll open images
that need some attention terms of color.

Perhaps there's a color gas
that you want to remove, or

maybe you need to tweak the brightness
or increase the contrast within the image.

All these things can be achieved quickly
and easily by using the adjustments panel.

Now, in order for us
to use the adjustments panel effectively,

it's important for us to understand
how to look at that chart

that's available to us as Photoshop users.

And we can do that
by using a chart called Histogram.

So you can open the histogram
by coming up to the window menu.

And under the window menu
you can choose histogram.

So the histogram is a chart representing
where your color values lie

within the image.

So the simplified process of understanding
what we're looking at here

in the histogram,

the first thing that I would like to do
is come up to the top right hand

corner of the panel here
to access the panel options.

And I'd like to change the view
to expand view.

Next.

What I'd like to do is again
to simplify this chart.

So instead of looking at all the colors,
I'll just use the RGV composite here.

All right.

Now, well, we're going to be looking
at the red and blue values here.

And in this case,
with the color of the car.

We almost have an even distribution
throughout the histogram here.

And typically
are the results that you want

unless you're going for something
like a high contrast look.

So there's obviously scenarios here.

You don't want this even distribution,
but for photographs like this

and even distribution makes sense.

You definitely want the in your shadows
you want bright highlights here

and you want a lot of mid tones and we're
getting that based upon this histogram.

If I were able to zoom into the histogram

you would see a series of bars
and really histogram

is nothing more than a bar chart
and you're on the left hand side.

We're seeing all the dark values
within the image and on the right hand

side we're seeing all the bright values
within the image and in the center

we're seeing all the midtown
values, the image.

So again, this image is pretty good in
the sense that it has even distribution.

And if you look at the image here,
it looks pretty solid.

So we're getting verification
not only from our eyes,

but also by looking at the
image here on the histogram.

So Let us look at

the histogram
in the context of some other images.

If I come over and open higher up

ESD here, you'll see that
we have a picture of a building.

But clearly this was lit from the back
and because of that building

is spread dark in terms of the values
that are available within,

we can see a large spike here
and the darker section of the histogram.

You'll also notice
the poor getting spikes here

within the Midtown Range and also within
the brightness area of the histogram.

So even if the image is darker than what
we would like for the buildings,

you're are getting decent distribution
here within the histogram.

Now we can change this source in which
the histogram gets it information.

Right now it's getting the information
from the entire image.

But if we were to focus
just on this building which is isolated on

its own layer, we can do that right away
by changing the source here to selected.

Now you'll notice we have a fairly large
spike here within the dark value range,

but then it levels out
as it moves to the right values.

In fact,
we have a very little bright values here.

So we have some midtown bars,
but not enough brights within this, um,

building itself.

If this is the look
that we're going for a fine.

But then the histogram is just giving you
some feedback

in terms of what it sees
for the color values within your image.

So let us take a look
another example here.

You can open beach JP here
and it's kind of the opposite.

This is a really bright image
and because of that we have a spike

over here on the right hand side
where all the right values reside.

So it starts to drop off for the midterms
and then really drops down here

where the dark values
would be and should be.

Again, when you

look at the histogram,
it doesn't mean that this image wrong.

Your goal could be to have a bright image
and it is successful

by looking at the image, but it's further
verified by looking at the histogram.

And finally we have this or not
cheap here, which is a fairly flat

looking image, and that's because
we don't have a great deal of contrast

as all the color are
within the mid tone range.

We don't have any bright
or any dark values and therefore

we don't have enough contrast
which results in this boring

looking image.

So you see that
there's this little warning sign here.

And what this is telling you
is that the histogram

is displayed using cash data.

Again, cash is a reserved high speed
section of your computer's memory,

which allows Photoshop
to generate the histogram quickly.

Now, the problem with cash
data is it's not as accurate.

So what you can do is to just click it
to refresh the histogram

and will be updated
based upon your images.

Current State.

So the histogram panel will play a role
anytime we come in

and make an adjustment inside.

In this lesson, we will focus on
destructive and nondestructive image

adjustments and learn how you can use
both feel and adjustment layers.

All right.

And now
that you know how to read a histogram,

what I'd like to show
is how to apply adjustments to images.

The first thing
that I would like you to do

is switch your workspace from essentials
to photography.

Workspace.

And this is because the histogram panel
is up here already on the top.

And now what I'd like you to do
next is to come up

to the image menu and under the menu
you can select adjustments

and from here
you can just use brightness and contrast.

Now, after doing that,
it will open up a dialog

and you want to make sure
that the preview checkbox is selected.

So this will give you a real time
feedback within the image

and the histogram
as you make adjustments to this slider.

So if I drag the brightness
slider to the left,

you'll notice
the image becomes a lot darker

and you can see that you're obviously
within image.

It's also verified here
within the histogram.

Likewise, if I tried to increase
the contrast, you'll notice

that image shifts
and the histogram is also updated

so you can commit to this changes
by clicking okay here.

But there's a problem with this.

And with this
we've just perform a destructive edit,

so we've modified the pixels
and there's nothing

you can do to modify them
unless of course if you on duty operation.

But if you now that you wish,
you want to adjust the brightness slider

a little bit, there's
no way to go back to that dialog box.

So this really isn't the best way work.

Now I'm just going to

undo this again, control
or command Z here.

And instead what they want to do
is come over to the adjustment panel

and if you don't see the adjustment panel,

it may be just hidden
underneath the library panel here.

Or you can just go to the window menu.

And under the window menu
you can adjustments.

You can also access adjustments on various
areas like here towards the bottom.

If I click this icon right here,
we will get the same option.

We can also access that here
on the layer menu and under the layer menu

you can select new adjustment layer.

All right.

So within the adjustment,
you can click this

first icon here,
which is brightness and contrast icon.

You can see that
there's all sorts of different icons, but

as you hover over the icons
a little label up

your store to top and it will tell you
what the adjustment is.

Again, we want to apply the brightness
and contrast adjustment.

And when we click this, you'll notice
that the property panels open up

with the same controls that we were
looking at within the dialog box.

You'll also notice that this adjustment
is stored in on its own individual layer.

So this is a nondestructive
way of editing.

And the bonus here is
that you can always come back

further, refine this adjustment
at any point in time, regardless

of how many steps
you've taken already in this document.

So in this case, what I'd like to do
is drag brightness slider to the left,

and I can drag the contrast
slider here on the right

and I get the same adjustments.

I can see it within the image and also
verify that on the histogram here.

And what's good about being stored
on its own layer

is that you can just turn off
the visibility of layer

to see what the image looks like
without the adjustment

and just turn it back on again
so that you can compare again,

this adjustment layer is
completely editable at any point in time

and there's also a layer mask associated
with this layer so you can control

what portion of the image
have the adjustment applied to it.

So that's the advantage.

Working with an adjustment layer,
it has like a layer mask

associated with it
and you can always modify this mask

and because there's a layer mask,

you can control what portion of the image
have the adjustment applied to.

Right now, this adjustment is being
applied to the entire image globally.

So what if we didn't that much
of an adjustment to the sky right here?

Again, remember,
we're working with layer masks here

and we can add black and gray values
to this layer mask to control

what portions of the image
have the adjustments applied to it.

So to demonstrate this,
I'm going to come over to this tool here.

I'll use gradient tool, and then I'm going
to select the black, the white gradient.

Again, make sure the mask is selected
here, and we're going to just

click up here
towards the sky and drag down here

towards the cyclists
and let go of the mouse.

You will notice there's no adjustment
being applied to the sky,

or at least at the good portion
of this line here.

And we can verify that by holding down
the all key on windows

and clicking on the layer mask.

Tell me here.

So when you do that,
you'll get the preview of the mask

and you can see that we probably have
Drew Black up here towards the top,

which means this part of the image
won't have any adjustments applied to it.

So now let me just hold down

the alt or option key here again
and click on this thumbnail.

And now I'm returning back
to the original view.

The other thing that you can do is
you can have an active selection

when you apply the adjustment
to create the layer mask.

So let me just delete this layer here
by clicking on the trash icon

and I do want this layer deleted,
so I'll just click. Yes.

And then before we apply
another adjustment, I'm just going to load

the selection.

I've saved here again,
I made the selection

just to save us some time.

I also applied Feather
to make a nice smooth transition

between everything else and the sky.

Now we will choose this adjustment again

and you can see that
the mask is automatically created

because we have an active selection
when we apply adjustments.

So I'll just drag this slider to the left

and I'm going to drastically drag
this slider to the left also.

Now we have less contrast
now within the sky.

And again,
I'll just hold down the alt or option

key here and click this thumbnail.

You can see that the edges are blurred out

and this is
what makes our transition smooth.

So let me just go back again now
because it is a layer.

You can also the opacity

which will ultimately adjust
the intensity of the adjustment.

So you can see
you have a lot of flexibility

because adjustment layers are, layer mask
associated with those layers.

And you can also control the adjustment

to a very specific portion of the image.

Now finally,
what if you got into a situation where

and you only want to apply the adjustment
on one layer but cannot change

the stacking order of other layers,
Let me show you what I meant by this.

Let's just go to the other document here,
which is our clipping mask, not BSD.

So in here we have two separate layers
and if I apply our adjustments here,

it will be applied to everything
underneath it.

In this case, I only want the adjustment
to be applied on bus sign.

I can change the stacking order,
but if I put it underneath the bus sign,

it will only adjust the sky here.

If I put the sky above the adjustments
in the bus sign,

it will block all other layers.

And this is where clipping
mask comes into play.

What Clipping Mask does is to only apply

the adjustment to only one layer
that's underneath it,

and you can access it on different layers
here.

You can exit here by right
clicking on the name or on the back here

and you will see a menu pops up
and under that menu you can choose

create clipping mask.

You can also access it
here on the property panel.

And then clicking this button right
here will also create a clipping mask.

Finally, you can also access it here
with a keyboard shortcut.

All you need to do
is just hover your mouse on the adjustment

layer and just underline here,
hold down alt or option key,

and then you will see
the cursor to this icon.

And then when you click it,
it will create that clipping mask.

Now, as you adjust the brightness here,

you can see that
it only affects the bus song Awesome.

So now we are familiar with down
feel and adjustment layers.

We're also familiar with them
creating clipping mask on.

The next lesson, I'm

going to start talking to
some of the most powerful and most popular

image adjustments here in Photoshop
and we will get started with them.

Level adjustments.

In this lesson.
We'll be checking up another adjustment.

We're going to be looking
at the curve adjustment, the curves.

Adjustment is a more complete adjustment
than the levels adjustment

which is limited to true
black, true white.

And amid telling where curves gives you
the ability to adjust

all to hundred and 56 levels of gray.

So let's go ahead and take a look at how
we can work with the curves adjustment.

I'm working with an image
called Audi Q3 JPEG,

which is available
inside your tutorial assets folder.

And what I want you to do
is to come over to the adjustment

panel and click on this Curves
adjustment button.

And when you apply the Curves adjustment,
you'll notice that

the property panels opens
with several options.

All right.

We also want our histogram open here,
which we have set to become posted.

So what we have here basically is a chart,

which seems to be pretty intimidating
to many users of the curves adjustment.

So here in the background
we have a histogram.

Then we also have this baseline curve
which stretches

the histogram on the top right
hand corner.

This marker represents
all the bright tones and the marker

in the bottom left
hand corner represents the dark tones.

The gradient wrap here that you see
represent the tonal range within the image

and the gradient ramp that you see here
represents the channels

you are introducing to the image
when you apply the adjustment.

So before we come in here
and start manipulating this baseline,

let's go ahead and take a look
at some presets, this drop menu.

Now, if you

choose something like lighter,
you'll notice that the image instantly

becomes lighter, but you'll also notice
that you're stretching out the

and you can see what the curve looks like

in order to create this lighter image.

So let's come over here now
and choose Medium.

And you can see
now that we're getting two points

in the middle section
of the baseline curve.

And you can also see that
we're also altering the histogram

so let's go ahead and take a look at how
we can apply some of this values manually.

It's going to come back here
and use default from the preset menu

and then notice
that you have the same sliders

also that were available to you
in the levels adjustment.

And in this case

you may want to select the dark slider
and drag it closer to the ramp in the

We don't

have to make an adjustment over here
with the white slider.

Adjusting the sliders doesn't
really correct the image in a way that's

any more powerful.

The levels adjustment as we know,

if we wanted to be able
to manipulate the dark values,

we can click here and if we drag up,
we are going to make the image there.

And if we drag down, we'll be making it
darker again.

There's still an easier way
to work with the curves adjustment.

So I'm just going to go ahead and do that
and we can just come over

to the preset menu and use default
to get us back to the starting point.

Now what we'll do here is
come over and select this tool right here

and this tool doesn't really have a name.

So even if you hover your mouse,
you can see that it's just telling you

what it does.

Now, if you select it,
it gives you the ability

to sample colors within the image
and then you can click and drag

to make the image brighter or darker.

Now, if we think we know where the true
black is, which may be around here

somewhere in the bumper
or down here in the undercarriage

if we click and drag up, you'll notice
it becomes lighter.

And if we drag down, it becomes darker.

So we're basically controlling
dark values here.

And if you also look at the properties
panel,

you'll see
the curve is being adjusted in real time.

If you find an area that, you know,
is that true?

White And you click and drag up,
you really want brighten in anything

this we're already dealing

with the brightness values
but you can back down to darken it

So the curves adjustment
for what it's worth,

is a more precise way
to make an adjustment within an image.

And like I said, it
does take a little time to get used to it.

But fortunately enough, there are several
different ways that you can work

with it, and some of those ways
makes it a lot easier.

For example, you can start with the preset
and then further modify them

to get the image
to look exactly the way that you want.

If you feel like there's
too many options here and it's a little

too complicated, you can stick
with the levels adjustment for now.

But over time you will find that
the curves adjustment

is usually the one that gives you
the most flexibility for making the best

adjustments in your image image.

On this lesson,
we'll be checking out another adjustment.

We're going to be looking
at the curves adjustment.

The curves
adjustment is a more complete adjustment.

The levels adjustment which is limited to
true black, true white, and amid telling

where it curves, gives you the ability
to adjust

all to 150 levels of gray.

So let's go ahead and take a look at
how we can work with the curves adjustment

and working with an image called
Audi, Q3 JPEG,

which is available
inside your tutorial assets folder.

And what I want you to do
is to come over to the adjustment

panel and click on this Curves
Adjustment button.

And when you apply the Curves adjustment,
you'll notice that the property panels

opens with several different options.

All right.

We also want our histogram open here,
which we have set to be composite.

So what we have here basically is a chart

which seems to be pretty intimidating
to many users of the curves adjustment.

So here in the background
we have a histogram.

Then we also have this baseline curve
which stretches across the histogram

on the top right hand corner.

This is a marker, all the bright tones
and the marker in the bottom

left hand corner represents
the dark tones.

The gradient wrap here that you see
represent the tonal range within the image

and the gradient ramp that you see here
represents the channels

you are introducing to the image
when you apply the adjustment.

So before we come in here
and start manipulating this baseline,

let's go ahead and take a look
at some presets in this drop menu.

Now, if you do

something like lighter, you'll notice
that the image instantly becomes lighter,

but you'll also notice
that you're stretching out the histogram

and you can see what the curve looks like

in to create this lighter image.

So let's come over here now
and choose medium contrast.

And you can see now that we're getting
two points in the middle section

of the baseline curve.

And you can also see that
we're also altering the histogram.

So now let's

go ahead and take a look at how
we can apply some of this values manually.

It's going to come back here
and use default from the preset menu

and then notice
that you have the same sliders

also that were available to you
in the levels adjustment.

And in this
you may want to select the dark slider

and drag it
closer to the ramp in the histogram.

We don't have to make an adjustment
over here with the white slider.

Adjusting the sliders
doesn't really correct the image in a way

that's any more powerful
than the levels adjustment as we know.

If we wanted to be able
to manipulate the dark values,

we can click here and if we drag up, we
are going to make the image right there.

And if we drag down,
we'll be making it darker again.

Still an easier way
to work with the curves adjustment.

So I'm just going to go ahead and do that
and we can just come over

to the preset menu and use default
to get us back to the starting point.

Now what we'll do here is
come over and select this tool right here.

And this tool doesn't really have a name.

So even if you hover your mouse,

you can see that
it's just telling you what it does.

Now, if you select it, it gives you
the ability to sample colors within,

the image, and then you can click and drag
to make the image brighter or darker.

Now, if we

think we know where the true black is,
which may around here

somewhere in the bumper
or down here in the undercarriage,

if we click and drag up, you'll notice
it becomes lighter.

And if drag down, it becomes darker.

So we're basically controlling the dark
values here.

And if you also look at the properties
panel,

you'll see
the Curve is being adjusted in real time.

If you find an area that you know,
is that true?

White and you click and drag up
you really want brighten anything

this we're already dealing

with the brightness values
but you can back down to darken it

so the curves adjustment
for what it's worth,

is a more precise way
to make an adjustment within an image

And like I said, it
does take a little time to get used to it.

But fortunately enough, there are several
different ways that you can work

with it, and some of those ways
makes it lot easier.

For example, you can start with a preset
and then further modify them

to get the image
to look exactly the way that you want.

If you feel like there's too many here
and it's a little too

complicated, you can stick
with the levels adjustment for now.

But over time you will find that
the curves adjustment

is usually the one that gives you
the most flexibility for making the best

adjustments in your image.

The use saturation
adjustment is a fairly common adjustment.

It seems like simple, but there are
some complexities associated with it.

Now the complexity comes
within the options.

The adjustment itself is fairly simple
in the sense of what it does.

So all it allows
you is to do very basic color information

and intent to be within the image
or saturation within the image.

Now I'm working with a document
called a final shape,

which is available
inside your tutorial assets folder.

Let's go again to our adjustment
panel here

and apply hue saturation adjustment.

And looking at this,
we can see three sliders.

We have hue saturation and lightness
and at this point

the way the panel is set up
will be modifying the image globally.

Meaning
if we click and drag the hue to the right,

you'll notice that we're globally
changing the view of the image

and you can really see that
within the sky here, within the trees

and in certain areas of the statue,

you could always come over here
and punch in the value as

and you can also

drag the saturation slider
which will saturate the image.

And if you drag it
all the way to the left,

it saturates to point
where it becomes a grayscale image.

Now the lightness slider changes
the overall lightness of the image.

You can make it lighter
or you can make it darker.

So let's go ahead and reset this slider.

So by clicking this button right here
and perhaps a better way to work with our

use saturation adjustment is to come over
and select the tool right here.

And this tool allows you

to click within an image
and then drag to make adjustments.

So in this case, I'll
just drag this to the right

and you'll notice
I'm really saturating the image here.

If I drag, I'm saturating the image,
but you'll notice that I'm focused

more on the blue color balance of the sky,
and that's further

validated by looking at the bottom
of the properties panel.

And you'll see this. Margaret's
right here.

This markers represent color
that you're about to adjust and to follow.

The colors are found here
within this markers

and the falloff is found in between
this two and two markers.

Now, the fall off gives you the ability
to make a smooth transition from colors

that you're changing to the colors
that you're not changing.

Otherwise you're
just going to get a blob of colors.

Now, you can also add colors to this
by selecting this eyedropper tool

with a plus and clicking else.

I'll just click somewhere
here in the trees to add some green values

and you can even remove colors by clicking
this Eyedropper tool with the minus.

Now you
can also come up and choose a preset

and in this case you could choose
something like strong saturation

and you'll get a strong saturation
adjustment.

All right, So I'll just set the preset
back to the default values here

so we can come over here and specify
the color value you want to work with.

And you'll also notice
that the indicator down here towards

the bottom is showing you
that you have Greens selected.

And if I were to drag the saturation
slider to the right,

you're really saturating the greens
within the image.

All right.

So finally,
if you want to create a effect,

you can do that
by selecting the color rice option.

And as you can see, we're
dealing with the red monotone effect.

But if you want to change the color

that you're working with,
can just drag that hue slider to the right

or to the left
to create different monotone effects.

So hopefully this gives
you a better understanding.

You saturation
adjustment inside of Photoshop.

In the last video
we looked at the hue saturation adjustment

and what I'd like to do in this video
now is to look at

similar adjustment
and it's called the vibrance adjustment.

It also works with color intensity, but in
more subtle way, in a more targeted way.

It really kind of hones in on
what Adobe likes to call skin like tones,

which are ultimately color values.

So regardless of ethnicity,
everyone has orange in their skin.

And it's those types of points
that this adjustment targets.

Now I'm working on a photograph

by Alexandra Kovacs,
which I downloaded from Unsplash.com.

Again, if you don't know one splash,

it's a website
where you can download stock photos,

you can go ahead and open it.

And what I'd like you to do

is come over and just apply a hue
saturation adjustment.

Now, once you do that,
you can come over here

and let's just crank up the saturation
a little bit and we'll notice

that as we do
that, the overall intensity in saturation,

all of the color values within
the image are increased.

Now what we'll do next here is
we'll just come over to the history panel

and from the history panel, what we'll do
next is to create a snapshot.

So by creating this snapshot,
we'll be able to come back to this exact

state of the document
and look at the hue saturation adjustment.

So here we have the original image

and here is what it looks like
after the adjustment.

So you can see
we applied an extreme version

of the adjustment,
but everything is deeply

so coming back to when we open up
the image, let's now apply

the vibrant adjustment which is found here
in the adjustment panel.

So when you click it, you'll notice
we have vibrance and saturation

and in this case
we can increase the saturation

and we can also increase the vibrance.

Now we've just adjusted
two sliders here opposed to

one slider with you saturation adjustment,

and now we can go back to the history
panel and create yet another snapshot

and now we can compare all this pre
version of the image.

So here's the original,
here's the hue saturation version.

And again, take a look at everything,

the side of the building
the grass and the sky.

Everything is deeply saturated.

I can tell by looking at the before
and after.

But now what we want to do
is focus on the vibrance adjustment.

And if we click on the snapshot to here,
you'll notice

that much of the tone within
the image is preserved from the original.

What's changing here
is the vibrance of the yellow blue

coming out from the windows
and within the house.

So here's the before and here's the after.

So now that's definitely more vibrant

and definitely a better solution
than the hue saturation adjustment.

So just be aware that it's an updated
version of use saturation in some sense

where it targets specific color values
to allow you to modify to a smaller values

and specific modify
the intensity of those color

values.

I'm working on a document
called Catalog JPEG,

and if you look at this image,
it has a blue color cast

and it would have been great
if it had the warming filter

attached to the lens
since it was taken on a warm afternoon.

But then you don't
have to worry about that

because what we can do is
we can just come over to the adjustment

panel and click the photo
filter adjustment and sure enough,

it will have warming filter available
within this menu.

So when we open that,

you'll notice that there's
all sorts of options available here.

And in fact, you could even come over
and use your own specific color.

But for our purpose, I want filter
selected and I want this warming filter.

Just warming filter 81.

And these are the exact same filters
that you can get for your lens,

and that's the exact physical filters
and that awesome.

But here you can also control the density.

So if I click and drag this

the right, you'll notice
that the image is really warming up.

If we take a look at this before
by coming over here and toggling

the visibility of the adjustment
all in see the difference.

And this did have a kind of color casa
associated with it.

But when we turn it back on now,
it has that nice warm

glow like this
picture was taken on a warm afternoon.

So, again, quick and easy
way to make a simple adjustment

to any image inside
Photoshop is by using this

photo field adjustment.

The last lesson we've

talked about photo filter adjustment
and we've used that transform

an image that has a cool effect
to have a warm effect.

Now let me show you some other techniques
and how to remove color cast.

So I'm working with a document
called Green Dog that JPEG,

and again,
it's inside your tutorial assets folder.

If you look at this photo,
it has some warm effect on it.

And what we to do
is to give it a cool effect.

And if you think of it,

we can just use a photo filter
and just use a cooling filter.

And if we do that, you'll notice
if there's a really nice job here,

honestly, for this image, we're

probably going to get the best result
using this adjustment.

However, I want to show you
a couple of other options

and one option is with the background
layer selected,

just come up to the image menu
and then choose auto color.

Auto Auto color is photoshop's
automatic solution for fixing color cast

and it works with varying
degrees of success depending

upon the type of image
that you're working with.

In this case, it's
probably not going to work all that well,

but there
sometimes you'll find success with it.

Let me just select it
and let's see what it does.

And as you can see, it seems that
it's doing a pretty decent job here.

Awesome.

All right.

Now, let me just go ahead
and do that again.

Command Z, Control Z.

And another option here
is to do average colors.

And you can do that
by duplicating the background layer here

with background layer, select that.

We'll just drag it here down
towards the bottom

of the Layers panel
and you'll notice that you get a copy

can also press down controller
J on your keyboard to create a copy.

And in this case
I have a background and a background copy.

So with this background copy selected,
what we want to do

is come up with the filter menu
and from the filter menu

we can select Blur
and then we can choose average.

And this will give us a blob of color.

But unfortunately we need a color
that complements this color

and we can get it
by coming up to the image menu.

Then we'll select adjustment
and then we'll choose invert.

Once you do

that, you should get blue light color.

Then in the Layers panel, you want to
change your blend mode to overlay.

And remember overlay is a combination
of multiply and screen.

And so when we select overlay, you'll
notice if does remove the color casts.

Now, if I turn off this layer,
we can see the before and then after.

So it does seem like the high notes
are getting blown out to a little bit.

But though we did remove color cast
and you could have use photo

field there and I think we're going
to get a better result with that one.

But I did want to make sure you're aware
that there are other options

outside of the adjustment panel for fixing
common problems that you may find

with images inside Photoshop.

Most of the time, users
will want to convert their colored images

into black and white
images, and often times what they'll do

is come up to the image menu,
and from the image menu

they'll select adjustments
and then they'll choose the saturated,

which essentially gives you a grayscale
image.

The problem with this is,
of course, it's a destructive editing

and it also doesn't give you any control.

So let's go ahead and undo that
command zero control Z And you'll

notice in the adjustment panel
that there's a black and white adjustment.

And if click it, the properties
panel will open up

and there's a series of sliders

that you can use to adjust the appearance
of the black and white image.

Now, you might be not good with
and if you're not good with color,

it might be difficult to figure out
what you should do with this sliders.

Fortunately,
there's some presets and this presets

gives you the option
to go for a particular look.

For example, if you want a high contrast
red filter, you can select it

and you'll see the result.

But then you also see
how the sliders were moved for you.

And if you feel you need to adjust it,
you can

you can drag the science
into deeper areas of black

or you can increase the brightness,
the sign color values within the image.

So it's really up to you to come in here

and further modify
anything from this presets,

but that these typically
are great starting point.

You could

also come over here and click auto
and have Photoshop automatically adjust

the sliders for you, or you can click
this tool here, which you remember.

It gives you the ability

to click on the image
and then drag to the right or the left

to increase or decrease the values
associated with that color.

So anytime you come in here
and make adjustment,

you may want to take a look
at what the original image looks like.

And you can always do that

by temporarily disabling it,
by clicking this button right here.

This gives us the before and after here

again, and black and white adjustment
gives you far more flexibility

when it comes to converting color images
into black and white

images.

Now, in the last module, we look at how
we could make some adjustments

globally to an image
by using the adjustment layers

and you can localize them to some extent
using the mask within those layers.

But what we want to focus on this module
are some of the specific tools

that gives you the ability to target
very specific regions of the image.

We're going to start off
by looking at me toning tools.

So we'll at the Dodge Tool
and the Burn tool,

and we'll also look at the Spanish tool
that gives you

the ability
to saturate and saturate pixels.

Now I'm with a document
called Mottaki Tonight JPEG.

And what we're going to do here

is come over and select
this tool over here in the tool bar.

It's called the Dodge Tool.

Oh, it's the keyboard shortcut.

And when you select the Dodge tool,
this tool

gives you the ability
to light in areas of an image.

The options in.

The control panel comes
in the way of the size of the brush

that you'll be using
and also the hardness of the brush edge.

Anytime you are creating
localized adjustment like this

painting on the image,

you typically want your hardness down
to a very low percentage.

In fact, you probably want it set to zero
in many cases.

And the reason for that
you'll get gradual transition

from pixels, like you're not modifying the
pixels that you're modifying,

but only you can select

brush size in the brush shape,
but you can also target different ranges

and you can target shadows or highlights
or mid tones.

Here for this example,
I'll go with mid tones,

and the exposure option here
is essentially the intensity

of the effect that you're going
to be adding to the image.

A generic leaving the exposure
setting down to a lower percentage value

and gradually building up the effect

as you work on the image.

So the first brush stroke that you make
may not give you the result that you want.

But after going over the same area
a couple of times,

you build up the effect, eventually
get the results that you're looking for

in our case.

So leave the exposure
setting to a little bit higher

here than what they would normally leave
in the real world.

And this is because I want you
to see the result of this tool.

And finally,
there's a protect tones option here.

And this option, when selected,

will minimize the possibility of clipping
highlight shadows within the image.

So again, the Dodge tool
will light in areas of the image.

But then now this is a destructive edit.

So what I'm going to do here
is duplicate the background layer

and I'm going to do that
using the keyboard shortcut command

G on Mac
and it will be control G on Windows.

Now with this duplicated layer
as the active layer,

I'm just going to make

some general brush strokes
within image to like in some areas

right.

So let me just click and drag
over here on her forehead

and you should see the changes as I did
that.

I'll also go ahead and light up the here

on her cheeks and on her shoulders.

And let me also just light up
this section of her hair here.

All right.

So, again,
this will be subtle changes and anything

that's not subtle
won't look good at the end of the day.

And let's see that change here.

Now we turn off the visibility
of this layer.

We will see that we have this before
and then now we have this after.

So again, we're making subtle changes
with this tool,

which is exactly how you want to work.

So that's the Dodge tool.

And again, the Dodge tool
will light in pixels within the image.

Awesome.

So the burn tool does the exact opposite

and you'll notice
it has the exact same settings.

So let's find some areas within the image
here that we wanted Darken.

So maybe I'll darken
this a little bit here

on the right side of her forehead
and we can go ahead and do something

similar over here on her ears here.

And again, I'll just take a look
at the before and after here.

So again, we're making subtle change here.

We're lighting areas
and darkening other areas of the image.

Now, finally, we can come over
and take a look at this bonnet wall here.

And the sponge tool
gives you the ability to either

desaturated or saturate colors
within the image.

Now I'm going to leave it to the saturate
and the flow again

is much like exposure
setting for the burn and dodge tools,

which is really just determining
the intensity of the effect in this case.

I'm going to leave set a little bit higher
because I wanted to saturate

this pretty quickly.

Again, in the interest of time,
I don't need to build up the effects

like I would if I was working
in a real world situation.

But let's go ahead
and saturate her lips here,

just like so again, what we're doing

just this saturating the color
so we're getting gray in black values.

And again, if we come over
to turn off the visibility of this layer,

we can see that before
and now we can see the after.

So these tools are for localized
adjustment

and oftentimes used for photo retouching
and for repairs

and again, the flexibility here over
an adjustment layer is you're targeting

very specific location within the image
without having to manipulate the mask

like would
if you were using an adjustment layer

in this video.

What I'd like to show you
is how you can use some tools in Photoshop

to correct Coleman found within images.

I'm working on a document called Nikolai.

We are not that cheap, and clearly in this
image, this guy has some blemishes.

We want to correct those blemishes.

And so we want to look at different
options available in Photoshop.

We're making that type of correction
now before get started,

what I'd like to do is create a new layer
here, and by creating a new layer,

we can perform all of our healing
on this layer

without damaging the original pixels
on the background layer.

Now we're going to be talking about Spot
Healing Brush tool

because this tool is perfectly suited
for this type of situation.

But I do want to show you
how you can use other tools

because you may run
into different situations in your own work

where you may find this
other tools useful.

And the first tool that I want to look at
is the Clone Stamp tool.

Now, it used to be called the rubber
stamp tool, and it's been with Photoshop

for a very long time.

And what it allows you to is clone pixels.

So with this tool
you can literally take pixels from one

area of one image
and place them somewhere else.

A lot of people uses it for funny things,
like in this image we can put this

guy's nose on his forehead,
but that's not going to be cool though.

But then you may run into a situation
where in you might need it.

Maybe you're working on a project
and you need to clone something.

This tool could be useful
for those types of situations.

But let's take a look at how it works.

The first thing that you need to do is

you need to sample the pixels
that you want to clone, and you do that

by holding down the option
here on the Mac and on Windows.

And then we'll just sample an area here.

But the problem is we're in layer

one right now and if we look at layer one,
it's completely transparent.

We don't have any content on the layer,

so we really can't sample pixels
from layer one.

What we need to do is sampled pixels
from the background layer.

Yes, you can select the background layer
to sample the pixels,

then paint them on layer one.

But an easier way to work is to just
come up to the control panel here

and in the sample menu,
you have the option of current layer,

current and below and all layers.

In this case, either current than below
or all layers will work the same way.

But this gives you the ability
to sample pixels

from the background layer without actually
selecting the background layer.

So in this case, let's say we

wanted to remove this blemish
right over here, and I'm actually not sure

if that's a blemish,
but let's say we want to get rid of this.

We will just hold down the option
or I'll key here

and click
and that's going to sample those pixels.

Then I can just come over and click again
on this area to paint those pixels.

And so you can see now the dot is removed
and honestly the result isn't that bad.

But the problem this stamp tool though,

is it's only cloning pixels
and it doesn't really care about the tone.

So you have to be smart in the way that
you use it to try pull off the effect.

And what I mean by that is if I take
or sample pixels from the right area here

and again I'll just hold down the option
or all of them click right here.

And after doing that
I'll just spend over here

and you'll notice
what a poor correction that is.

It's very bright.

So as you can see, this is a disaster

and not that useful in the sense.

So I'm just going to undo that again.

Command or control Z here on Windows.

Now a better tool here
is something called the healing

brush to just say, I'm located right here

and we're just going to look at this
in greater detail in the next lesson.

But what this tool does differently,
the cone stamp tool, is it does

match the tone.

So we wouldn't get something as awful

if we sampled right here
by holding down the option or all key

before, we click Remember

to come up to the control panel
and change the sample to all layers.

Then if you option click or alt click,
you can sample the pixels here

and if you click over here,
you'll notice that the tone is richer.

You can see that
it did a pretty good job on this image

and definitely an improvement

over the clone stamp tool in the sense
that it does care about the tone.

So let me just go ahead and do that.

And instead what we're going to do
is we're going to take a look at the

healing brush.

Now, the spot healing
brush has many of the same attributes

as the healing brush, except
you don't have the sample pixels at all.

It will sample much tone on the fly

with a single click of a mouse,
so it's far more powerful.

And the other options that it has,
which also make it

more powerful, these type options,

and now in this situation, content aware
makes the most sense.

And what content Aware does is
it will intelligently figure out

the best way to feel area
that you're collecting on.

But there are other options here.

For example, there's also create texture
right over here,

and it works in a slightly way
as what it does is

it will read the data surrounding the area
you're attempting to repair

and will generate the texture pattern
from that sample data.

So the main difference between this
and the other two modes

is that the other two modes repair
and blend using actual pixels, while

great texture repairs and blends
using texture patterns.

There's also a proximity match mode.

And what it does is
it will analyze the data around the area

where you're to identify the best area
to sample the pixel information from,

and then uses that pixel data
that has been sampled

to repair the defective base
those where you're painting.

So it's hard to illustrate
each of these types at the moment,

but I can tell you

Corning Aware will give you
the best results and depending upon image

that you're working on

and depending upon
what you're trying to do within the image,

it would ultimately dictate

which of these types would be best suited
for that application.

So with that said,
there's really no way to demonstrate this.

Now, what you really want to do
is experiment as a user of the healing

brush tool until you gain a better sense
as to what each of these types will do.

And then finally,
we have some blending modes here,

and most of this
are fairly straightforward and numerous.

The blending modes available

within the Layers panel,
except there's a replace mode here.

And what it does is it operates
much like the Clone stamp tool.

So you're not really getting
any of the benefit of the spot

healing brush over the Clone Stamp tool
when choosing replace.

The only advantage for this one is
if you would be trying

clone a high frequency image
at the edges of the clone

area and won't be a solve
as they do with the clone stamp tool.

But other than that you're getting
a similar function now at the.

So we're going to leave this set to normal
and we're going to come over

and sample all layers and watch this tool.

It's pretty magical the way that it works.

I'm going to come over here
and with the sample layers checked here,

I'm just going to click to remove this
blemish and it's immediately removed.

You'll notice it even functions
and operates well within the stubble.

And I can also come over here

and click and drag over other blemishes
that I see within the image.

I'll just come over here
and apply a few more corrections

just clicking on this blemishes.

Now I could spend a lot of time here,
but I think I'd get the get the idea

and we can now take a look at the before
and after.

And clearly there's

a large blemish here too,
and we can use this spot healing brush.

So let me just go ahead and fix this.

I'm just to increase
the size of the brush here and click

and you'll notice that it's removed.

So what the spot
Healing Brush tool is doing in one single

click is matching tone and it's sampling
the pixels that it thinks

it needs to use for that area
all within one click.

So hopefully this gives you insight
as to how you can use all of these tools.

And now that you're familiar

with the Clone Stamp tool,
the Spot Healing Brush tool

and the Healing Brush tool to some extent,
the question you might be asking at

this point is why would you ever use
the Healing Brush tool over the spot

Healing Brush tool?

Well, let's go into greater details
the next lesson

and hopefully
I can answer those questions.

At the end of the last video,
I ask a question

Why would you ever use the healing
brush over spot healing brush?

And it really depends on the situation.

And I'd like to show you an example
that may make some sense here.

I'm working with the same document
that we were working in the last video

and now there is this large blemish

and I just want to show you
what happens using the spot healing brush.

Now, there's a couple of things
that we can do here to improve this,

but I will show you how possibly
the Healing Brush tool could be better

if we zoom in here on his jukes

here with the spot Healing Brush tool
still selected.

I'll just increase my size here
a little bit.

Just going to click here
and once I did that,

you'll notice that we can see
the circle of the brush here.

So we're not really getting
the best results.

Now, you might have difficulty
on seeing this

and it might also be impossible
to see it in this video

that we're watching
because of the video compression.

But if you're following along, you'll
definitely see that it's not as clean

as some of the other corrections
that made.

Now, one way to fix this
is to reduce the hardness of the brush.

And you would probably want this down here
in the lower

percentage values,
and with that, you'll get better results.

Now, I'd like to show you
how the Healing Brush tool

may be a better solution in this case.

So we'll just undo that last brush stroke
that we did,

and I'm going to come over
and use the healing brush.

Now, remember, with the healing brush,
you have to sample an area to clone and.

The healing
brush will match the tone here.

So just looking some
some of the texture here

and really want to come over here
to this side of his cheeks.

And I'm just going to hold down the option
or out key here.

Sample this area of the image.

Again, it's important
to make sure that all Layers is selected

within the sample menu here

and now.

If I click it, it will match the bone
and you'll notice I'm able

to pick up the texture
on the left side of this cheek here

and now I'm getting a better result.

So hopefully that makes sense

in terms
of why you would use over one over the

another solution here, though, is

can you use the spot healing brush here
and then in the option bar

or the control panel, instead of using

where we can choose, create texture.

And this will allow us
to correct the tone, but preserve

a lot of the texture that we have here
within the image.

So I'll just click here and we can see

now that it has made
a pretty good correction here.

So maybe a little blotchy right here,
but for the most part,

this is much a better way
to work than using content.

So this
is a good way to get a better result.

Similar to that, if you are using
the traditional healing brush.

And again, the take away here
is that we did get incredible results

with the spot Healing Brush tool,
but it's not always the best solution.

Sometimes the Healing Brush tool
is still useful and it's also important

to experiment with the different types
that are available for the spot

healing brush.

So I hope at the very least
that you understand,

especially as a new user,
that you will have to experiment

with this options and also experiment
with the tools to get the best results.

Because every image is different,
which means every situation

is different.

In this lesson,
we're going to review the patch tool.

The patch tool is incredibly
for correcting portions

of an image
that needs to be centrally removed.

In this example,
we're looking at the Statue of Liberty.

Again, this is available
on your tutorial assets statue not JPEG,

which was taken by Chris April on Unsplash
dot com.

You'll notice that we have a boat here
coming from the right side

and what you want to do is remove boat,
which might take some time.

We're going to be using the tools

we've tackled so far like the STEM two
or the Healing Brush tool,

and we're just doing it on this water
right here.

Imagine if we have some trees
or other elements

that are included
behind the object that we want to remove.

Now we can do it
quick and easy with the use of patch

to the batch tool, this perform
a destructive edit.

So what we want to do here
is just come over here

and duplicate the background layer
for us again, command

or control J is the keyboard shortcut
and the duplicate layer selected

can come over here now
and use the patch tool

which can be found the spot
Healing Brush tool.

And with a batch tool selected,
we have a couple of different options

in terms
of how the patch can be performed right.

Now it's set to content aware,
and I'm going to say this the majority

of the situation will probably require you
to use content aware.

I'll show you an example in a moment
where you wouldn't want to use it.

In this example, we do.

So we're going to select content
where it uses the same content aware

technologies,
and many tools inside of Photoshop,

and it does consider all the content
around the selection that you make

when filling in that selection
in the new content.

So just be aware that

additionally you

do have options for structure and color.

Structure will adjust.

Adjust how strictly the source
structure is preserved and color

will allow you to adjust How much of
the source color can be modified.

I want to be honest with you here.

You're really not going to know
what this set here until perform a patch.

And then based upon the results,
you may decide

if you need to tweak this values
in some way to get a better result.

But in many situations,
you're going to have take a guess

as to what this value should be
and then see if they work for you.

So it will be a little bit of a game
for you in that case.

But now the default value should work
just fine.

So in this case,

you don't need to sample all layers
because we just want to work on layer one.

Then we have to make a selection.

Before I make a selection, I'm

going to zoom into the boat,
hold down the spacebar and the command.

Here are control key to temporarily
activate the tool,

allowing you to zoom into the boat.

Then with the patch tool,
I'm going to make selection of the boat

and you want to make sure
that you include a little bit of the boat

surroundings here
so we can get a decent patch.

Once you have the active selection,
you want to place

your cursor inside of the selection,
then click and drag to an area

where you want to essentially be copied
into the location of where the boat was.

And now because we have content,

where's the patch option,
we should get a decent result.

Take a look at the patched area right now
before I let go of the mouse here.

And when I let go of the mouse,
you'll see how it's corrected.

If I go ahead and select
this command or control,

you'll notice that we're getting pretty
good results in the background here.

We enough randomness within the ocean
where we really getting

pretty good results.

Now, maybe you can come in here
and make some additional modifications

in this area where the edge of the patch
and the original image meets.

But overall, this is really good.

It was a simple process
that only took a couple of seconds

and it looks like that
boat was never there.

So that's a good example
as to when you use the patch tool.

Now we can come over and a look
at the before and then the after.

So with the boat,

without the boat, not bad at all.

Let's come to a different image here.

We have dog, not JPEG here

and this is also available
in your tutorial assets folder.

So let's do the exact same thing.

Going to duplicate the background layer
commander control J on windows.

Then I'm going to make a selection
of the dog

and again I want to include
some of the grass around a dog

and I'm going to leave
the same settings here

that they used on the previous image
for this image.

Then I'm going to click
and drag to left here

and when they let go of the mouse,
you can see that the dog is gone.

And if we deselect this command
or control,

they can see where we had
the area selected.

And this is because
when Patch Tool is selected using

content aware,
it creates this a blurred edges.

And in this case we have so detail and
we're really not getting a good result.

So let me just undo that again
this time, instead of using content

where we can choose a normal here
and with normal,

we get a couple of different options
so we can work with source,

which is the same way that we're working
with the content aware mode

and we would make a selection here.

Then drag it to the destination.

You could also work in the opposite way.

You could select the destination
and then patch that over.

I prefer the source option here
when working with Patch Tool.

Then finally there's also diffusion.

You'll notice that we could select
the value between one and seven.

What Diffusion ultimately represent is

how quickly
the transition will take place.

So if you want a smoother transition
between the area that you're patching

and the original image,
you would bump this number.

If you want less of a transition,
you would leave it lower in a case

where you have a lot of detail like this
grass, you want the number to be lower.

So what we're going to do now
is make that same selection around a dog

and we want to be sure
to include some of these grass here.

Once we have this selection.

You can click and drag to a new location.

When we let go of the mouse, you'll notice
that the patch looks a lot better.

The normal mode.

Let's go ahead and select
this command or control D again.

Now you can see that it's pretty difficult
to tell that there was a dog here.

We're pretty good results so we can turn
off the visibility of layer one.

So that's the before, just the after

with the dog without dog.

When you look at the before
and after right next to one another,

you can tell that

we have sharpness here within the grass
and then it works out a little bit.

Again, there's some things that you can do
to back off that transition a little,

but for the most part you can see that
this is giving us a much better results

than the content though,
where option for the patch mode.

So hopefully that makes sense in terms
of when you would use the patch tool

and what the patch tool is good for for.

In the last lesson,
we've looked at the patch tool

and what I'd like to do now in this
video is show you a less sophisticated

way to take advantage of content aware
technology, and that is content aware.

Phil So breaking
now with a document called Gram, that JPEG

which is available inside your tutorial
as it's folder

and what we want to do here
is to remove this drum

and I'm going to do it now
by using content aware feel.

So let me just come over here and select
the lasso tool and did select that.

And you'll notice
I have a feather here of one pixel,

so I think that's okay for now.

And then we'll just click and drag
a lasso around this drum here

and notice that we also have a shadow too.

So we want to include some of that shadow
within this selection.

You also want to include
a portion of the sand here and right now.

This isn't a bad.

So let me just come up here
to the edit menu and from the edit menu

we can choose to fill in this case
for the content.

So we're going choose content over
and remember content over.

It's just

that Photoshop is aware of the surrounding
content when filling this selection,

and it's going to use that information
to hopefully give us a good result.

The other thing that you want to select
here is color adaptation.

By selecting that you are getting better
blend between the colors

that you're seeing inside
and outside of the selection.

Without this option,
you might get some gray likeness.

So let me just come over here and click
okay.

And once you click okay, you can see that
it didn't do a horrible.

Now, it's also not the best job.

If I select this command or control,

you can see that
the sand also looks really good.

And to be honest with you
looking at this picture,

you probably wouldn't even notice
that we have some issues.

They just wanted to point out
that content over field does exist

and you will really find it
useful in cases like this.

And for something that only took
just a couple

of seconds,
the results aren't really that bad.

Now. A more realistic use of content aware

field
is typically to extend the background.

So let us just come over to our

other document that they have open,
which is the barn dot JPEG.

And what it would like to do to

this image is to add
a little bit of canvas here first.

And you could do that
by coming up to the image

and then we'll choose canvas size.

At this point, I'm going to leave relative
selected and change this to inches.

I'm going to put my anchor point over here
on the right hand side

and I'm going to add eight inch
to the left hand side of the canvas here,

and we'll just leave the background
set too wide here.

And then after that
we'll come over and click, okay.

Now clearly
we want to get rid of this white area

and fill it with more of the fields
and the sky here.

And we could do that again
by using the rectangular marquee tool.

So we'll just make a selection here.

Now we want to make sure that we include
a little bit of the sky in the field here.

Then we'll just come up to the edit menu
and just fill in again.

I'll select
color adaptation here for Content Aware,

and when you click okay, you get

more of the

sky and you get more of the field
and it looks great.

Fricking good actually.

So there's a more realistic reason to use

content aware feel again, just be aware
that this option is available

inside of Photoshop and it's just
one of the tools that you can rely on

other than the physical tool
when working inside

this program.

Since we're on the topic of tools
that use this content over technology,

I want to show you another tool
which is called the Content Aware

Move Tool, and this is located
underneath the Patch tool.

What this tool allows you to do
is move content.

So in this example,
we just the beach mode, not JPEG.

Again, it's available
in your tutorial assets folder.

I want to move the boat from the left side

of the image over to the right now.

A few years ago
this would have been a time

consuming proposition, but
with this new tool it's incredibly easy

and it will only take a couple of seconds.

What you want to

do now is come over and choose
one type of your selection tool.

Here I'm going to select the lasso

and I'm just going to click
and drag around the boat now.

And when you do that, you can be somewhat
generous in your selection,

including the shadows here
and some of the ocean in this election.

But once you have it,

you can then come over and choose
the content aware move tool here.

And with this tool you want to make sure
that then the most set to move.

Since we're going to move the boat here

structure in color where the same options
that were available for the patch tool

and if you think you're going to want to
or scale the artwork when you drop it

can have this option selected,

which will give you a bounding box
being a drop it.

Now, I don't think I need that,
so I'll just leave this option D selected.

Now if I place my cursor inside the boat
and click and drag it to a new location

and when I let go of the mouse,
the boat is some remove

on that area
and now appears on this area right here.

Now if I d select this again command

D or control V can see that
it did a pretty good job.

Awesome.

Now there's another option
associated with the content

our move tool and that is the extend mode.

Now, in order for us

to look at the extend mode,
I'm going to open up another document here

and the document is called Beach
Extension.

SD And in here what I want to do
is extend the background. Now,

this could be problematic if you didn't
have the content aware move too.

So let's think about some of our options

so we could
just use the rectangular marquee to end.

We could select this copy
and then paste it here

and then with the regular move
we can just move it over and you can see

that we're not getting a good transition
here from the old to the new pixels,

and we have this hard line.

So really not a solution.

You could do it,
but you would have to manually blend

these two images together
and I really don't want to do that.

That's really time consuming.

Now, instead, what I'm going to do
is I'm going to use the content Aware

Move tool and I want to make

that same selection of this content
right here.

So we're
also leaving out the white background

and then I'm going to choose
content over Move tool

and then we'll
change the mode from move to

now I'm going

to click and drag to the right.

And when I let go of the mouse,
you can see that the transition is better,

but you can see that though

we have some issues around this area,
the color seems a mess here.

So this is where experiment thing

on the settings up here on the control
panel comes into play.

So let me just undo that.

And now what I will do
is adjust the structure and the color here

a little bit and do that selection again.

All right. Awesome.

Now you can see that
the transition is so much better.

So again, Tool uses
content aware technology to simplify

more complicated edits that you need
to perform inside of Photoshop.

I'm working with a document called Rubix

Dot JPEG, which is available
inside your tutorial assets folder.

In this lesson, we'll review how some of
the eraser tools work inside of Photoshop.

Now, I'm pretty sure that these are not
the tools that you're going

use all that often, but even though you're
probably not going to use them,

should still probably know
how they function.

So let me just come over here and select
the eraser tool.

E is the keyboard shortcut
to activate that tool.

You'll notice

that we have several different options
within, the control panel here.

But the most important,
of course, is the mode,

and we'll look at the different modes
that are available.

We have a brush pencil and block
for right now.

We'll leave it, set the brush
and then you can see it there.

This behaves a lot like a paint brush,
but of course instead of painting pixels,

you'll be erasing pixels.

So with the brush mode,
you can use a brush size and a hardness

for your brush
and anything you're painting with a brush,

the hardness percentage will typically be
in the lower percentage range.

And this is going to give you
a nice gradual transition

within the pixels
that you're erasing in the background.

There's always an exception,
but for most, for anything brush

related, you're going to have
a lower percentage here.

So after selecting a brush and hardness

can also control the opacity,
which is the transparency of the eraser.

And also we have the flow here,
which is how the racing will take place.

If you have a lower percentage here,
the erasing effect will be less dramatic.

Hopefully that makes sense.

And again
every image is a little bit different.

So these numbers will change depending
on the image that you're working with.

But then the eraser tool
just erase this pixel.

That's all it does.

Before we erase
anything here, let's go ahead and unlock

the background layer,
convert it to the traditional layer.

Now, if you click and drag,
you can see that we are just

erasing pixels
and that's all there is to it.

But there are some other option,
of course, and this is the brush mode

that we are using right now.

There's also a pencil mode.

You can see that when I click
that the flow option went away

and the difference between a pencil
and a brush is a pencil

doesn't have any way
of providing a soft edge.

Everything is alias, so you get a crisp
edge and this can be helpful.

But for most part,

if you need a crisp edge like this,
you don't want a circular tip.

Instead you want to block.

And that's exactly
what the black option is.

It's just a block
that allows you to erase pixels.

There's nothing more to it than that.

There's a couple of tools.

However, you need the eraser tool, one of
which is the background research tool.

This tool is a little bit more interesting
and has some more options

and it can really be useful.

It also has different modes and the
first mode here is sampling contiguous.

So any kind of an odd option,
it just kind of goes through fake sales.

But there are some other ways to constrain
how it behaves upon its limits.

You can find edges and it can be
contiguous or just contiguous.

If you remember when we worked
with the Magic One tool, we talked

about what contiguous
and this contiguous represents.

And again, contiguous means

that it's going to erase
all the white pixels in front of it.

If I click and drag here, you can see that
they're really deleting them.

And then of course we have fine
and just here and from the word itself,

it finds edges, which is areas
in the image that contains high contrast.

We can see some edges here
and in this image for example,

and the tolerance just controls
the intensity of all this limits

you want to protect the foreground color,
which is literally the foreground color

we have sampled here in the foreground
swatch, you do that,

but for now on,
leave it set to the default.

And if we click and drag
now here, you'll notice

that it's erasing pixels.

They have fine edges selected here.

So you'll notice as I click and drag,
you can look at this across here

and you'll see within the eraser
if I get that right,

the edge of the shape,
it finds that edge and honors it.

It's not going to erase the black at all.

So that's
where this option could be helpful.

If you have the limits of fine
and just set here.

And of course,
there are other options here.

And this next option makes this tool
a little bit more interesting.

If you choose a sample once,
what that means in its

most basic form
is if you click and start erasing,

it will only erase that that are the same
as the area that you've clicked.

Now, the variation of that,
of course, are tied to the tolerance,

a higher tolerance.

You would consider more color value
still be the same.

And again,
you have the same limit options here.

And I'm going to set this
at two contiguous

and leave the tolerance set to 40%.

Again, experimenting with this value
just makes

the most sense depending upon the image
that you're working with.

So I don't know what I'm going
to get the 40% here, but if I click

and drag, you'll notice that I'm erasing
the green in this Rubik's Cube.

So if you want to do just delete a certain
color value.

This could be a way to achieve that.

Now, there would be some times
where you might need more than what

you should, and that would be the time
to work with a lower tolerance.

So this is one way that you can work
with the background eraser tool.

Another option is to come over and select
this third mode,

which allows you to erase color values
that are set in the background Swatch.

So in this case, I'm
going to choose this option, but they may

temporarily come over here
and activate the Eyedropper tool

and then click right here
to sample this color.

And then I'm going to swap this
to the background.

Now, while I still have the Eyedropper
Tool selected, I'm

going to click over here again
and the library area of the Rubik's Cube

and set that as the foreground color.

So let's return back to the eraser tool
and in this case

I'm going to erase the color values
that you see here,

because that's
what's set to the background swatch.

And this will give me the ability
to really just get rid

of the blue on this face
outside of this cube.

So say click and drag, you'll notice
that's happening.

I and as I get to the other blue
here, really of preserving those lighter

blue values and I'm
just getting rid of the dark blue ones.

Finally, we have the magic eraser
tool here, and the way this tool works

honestly is almost the same as the magic
wand tool.

The difference being is
you're not going to be making a selection,

but rather just erasing the pixels.

And if I come up here into the white area
and click

all the white base, those are gone.

Except,
of course, those ones within the edges.

So those are the eraser tool
inside of Photoshop.

They can really be useful.

And now that you're aware
that they exist inside

a program, it's up to you to utilize them
or not utilize them.

If you wish to.

In this final video

chapter, I would like to show you
how you can go about sharpening an image.

In this case, I'm working with a document
called AI for Airplane dot JPEG,

and you can see that
the camera might be autofocus here

and that's ended up locking on her curls
right here instead of her face.

So what I'd like to do is bring back
some of the details within her face here.

Now, there's all sorts of techniques

for sharpening images
inside of Photoshop there,

but then there's really no right or wrong
technique.

You just have to figure out
what's best for the image.

So the first thing that we're going to do
is duplicate the background layer here

by using the keyboard shortcut command
and it will be control G for Windows.

And then what I want you to do is come up
to the filter menu from the filter menu.

We're going to come all the way down here
and jump over the sharpening filter,

believe it or not.

And we're going to come over to other

and then we're going to select high pass.

So what high pass will do is increase
edge contrast,

which you will ultimately bring back
detail here.

Now you have to come up in here
and adjust the radius slider.

You definitely want some details here,
but you don't want to take too much

because it will introduce
way too much noise within the image.

Now I'm just going to leave it
set to something between three or four,

probably something higher than I would
normally use in the real world situation.

Just want to give it
a little bit of an exaggerated effect

so you can see what this filter
is actually doing.

So let me just come over here
and click okay.

And at this point you're probably like,
that does not look good.

And we have all of this gray values
within the image or within this layer.

But then we also have a lot of detail
within this layer.

If we could just get rid of the gray
values, that would be incredibly helpful.

Well, if you

remember when we were talking about layers
and more specifically blend modes,

we had a blend mode available
that will just knock out the gray

and remember in the blend menu, we can
select overlay, which ignores 50% gray.

And now if you look at this closely,
you will see variations of those gray

values.

That's what's going to introduce
noisy to the image.

But for right now, I'm okay with noise.

I just wanted to sharpen her
eyes here and some details

within face.

And once we select overlay notice,
we have more detail. Now,

if I turn off the visibility here of layer
one can see that before

and now here is the after.

So that's a good go to technique.

Let me show you another way
to achieve this.

So I'll just delete this layer,
create a duplicate

layer again, again,
command or control J here.

And what we're going to do
is to go to the filter menu

and from the filter menu
we will not pass through.

SHARP
And this time and we will select smart.

SHARP But once you click that smart,
sharp and dialog box opens up

and in here you will have a few options
that you can tweak,

can play with the amount radius and noise.

Here, you can even control the shadows
and highlights if need be.

But for now, I'm going to leave it all

set due to its default
and we'll just click okay.

And now if you look at it,
this is the before and this is the after.

So it really did a nice job here.

The last thing that I want to mention
is that we have three tools here

that you should be aware of in terms
of how they function.

But again,
you won't probably be using them

all that often, but that they're located
over here, the toolbar.

So we have

the Blur tool, the sharpened tool
and the Smudge tool.

Now let me just start off
with the sharp tool here.

I'm going to tell you right now,
that you're not going to use it

and it's not that useful.

It's a destructive tool
that doesn't have much control.

Let me just show you quickly how
it operates so there are options up here.

You can choose a brush size and
you can select the hardness of the brush.

And there's different blend modes
available for the tool.

And you can also specify this strength

higher the person page,
the more powerful the effect is.

And you can try also to protect detail
which will minimize specialization.

So you use this tool, but as you'll see in
the moment, that's not all that helpful.

So let's select the background layer
and then just

click and drag a couple times
here over here.

And once you start to notice
something happening, the image is ruined.

It just makes everything so high.

In contrast that the effect isn't usable
for really anything except the Blur tool.

So it works
in the opposite way of sharpening tool.

And if I go over this a couple of times,
it blurs that out.

Now finally, we have this much tool here
and that allows you to push pixels around.

So if you want, for example, lift
her chin here a little bit.

I can use this smudge tool
and say click and drag.

Here.

You can see that
it is pushing that pixels upward.

But again, these are destructive edits.

I just want you to be aware
that these tools exist.

After all, we want to learn everything
here in Photoshop as this could help us

choose what chores is the easiest
and quickest to use in order

to achieve our desired results.

On this module, what I want to focus on
is how you can work with type tool

and how you can use things like the guides

and the grids to position elements
within your document.

Now the type tool gives you the ability
to add type to your Photoshop document

type inside of Photoshop, it's
vector based, so you get all the advantage

of working with vector graphics
when you're dealing with type.

Remember the difference with bitmap
images and vector

based images
is that bitmaps are created with pixels,

which are little squares of color
information, whereas vectors are created

with vector points
and mathematically connected.

So if you think about a letter form
like a B or a Q,

we have a lot of curves in those letters
and it's hard to make curves with pixels

because they're square.

Obviously there's things that Photoshop
can do to make the edges appear

more crisp, but at the end of the day,
if you go to print an artwork,

if you have vector based type,
you'll get crisp edges.

Then bitmap graphics could never produce.

So it's really impressive
that Photoshop has vector

capabilities for type inside the program.

You no longer have to use Illustrator
or InDesign to set your type.

With that, let's come over and select
a type to the the keyboard shortcut.

You'll notice that you have options
for typeface size.

You also have an anti
aliasing option and alignment option here.

You can also select a color if you want
and you can even walk or text here.

In this case,
what I'd like to do is just type

hello up here in the top right
hand corner.

To do that, I'll simply click here
and you'll get a blinking.

You'll also notice that a new type
layers created with the blinking cursor.

Now all you have to do is type in sex.

And in this case it's going to be hello.

After typing it.

You made the say that you want to

change the appearance of the type
and you can do this in order for you

to change the appearance of the type,
you need to have it selected.

And you can do that in two ways.

You can either
come over and clip it in drag.

So all the text is highlighted or you can
highlight the different tool for us,

like the move tool, leaving the type
layer as the active layer,

but then switching back to the type
by pressing D on your keyboard.

And at that point you can come over
and use a different typeface.

Now, one thing I'd like to show you
is that you get previews.

This typeface, as you go over
each of the fonts within this menu,

and you can see that happening now.

So as I hover along this

font styles here, you can see this
type here changes its font style also.

So that's a really nice way
to see if you're selecting the right

font can even work.

Typefaces from Adobe's Typekit here,
which is a service

you have access to
if you are a creative cloud subscriber.

So as I scroll through this list,

I'm going to look for a typeface
that I want to use.

And once I find that I'm happy with it,
I'll simply click it to select it.

You notice in this menu that you have
all sorts of different filtering options.

First, you can choose the class
of the typeface that you're looking for.

If you're for a sans serif font,
you can select it from this menu

and this latest now filter to display
just sans serif fonts can even filter

by fonts that you've installed
from Typekit or my one.

This your favorite
and you can mark fonts this favorites

by clicking this little stars
here to the left here.

And if you choose a font
you can always come back to this menu

and filter based upon similar fonts.

So now we're getting typefaces
that are similar

to the one
that we currently have selected here,

and I'll go ahead and choose
this typeface.

The other
nice thing about working with type inside

Photoshop is that you can use
the free transform tool to scale it,

and you'll notice that the point size will
automatically increase as you scale it.

Let me show you.

I meant let me just activate the free
transform tool by using the keyboard

shortcut, command or control
key on Windows.

Now let me just grab one of the corner
sites handles here

and hold down the shift key
to maintain the proportions of the type.

And once you press return or enter

that transformation, you'll notice

point
size has been increased appropriately.

There is also a different
anti-aliasing option,

and this really is designed
to anti-aliasing text when.

It's displayed on screen,
not for printing.

So if you choose crisp, you'll notice.

Maybe you see the edges appear
a little bit more crisp,

but then in this case, when we're dealing
with sans serif font, you probably won't

notice too much of a difference
between any of this anti-aliasing option,

but they can be helpful for serious fonts
and, swift fonts.

So you may want to experiment with that
a little bit.

And of course,
if you want to change the color and click

on this color inkwell here
to pick a different color.

And once you're happy with the
color, you can click okay.

And now you have some type

inside of your Photoshop document
and it's vector based type, which means

if you do send this to print,
it will print in a nice

crisp manner.

In the last video,
when we use the type tool, what we did

is do we click to get blinking cursor
within Photoshop.

That technique is called point type.

But there's another way to work
that a type inside the program

and to demonstrate that,
what I'd like you to do

is to delete the low layer here
we created earlier.

Then we'll just come over and choose
that type tool again.

Remember to use the keyboard shortcut.

And what I'd like you to do this
time is to click and drag.

And as you do that,
you will define a box to hold your type.

And instead of typing Hello,
we're going to type in a row.

Now I say type in here,

you'll notice I have to add a space
and then start typing out the word world.

I would say
get closer to the edge of the box.

You'll notice
that you automatically get word wrap

because here will can fit within
the width of the box that we created.

Yes, you can transform this box.

You can expand the width of it
if you want to accommodate that type,

that is one option and the other option.

You don't have to rely on the word wrap.

You just break the line by pressing return
or enter on your keyboard.

So here I'll go ahead and type in world.

Now the opposite can be true as well.

You could not have enough height
for your boss and you wouldn't

be able to see two characters
that are exceeding the height of the box.

But again, you can always come over,

change the height
by grabbing some of this resize handle.

You'll also notice that there's
a little icon over here on the far right.

So there's a plus sign here,
which is an indicator that this index

is over set, meaning
that you have too much time for the boss.

But again, at any point in time
you can resist the box to accommodate

your type good.

Even position
your cursor outside of one of the corners

and rotate your type
if that's what you want to do.

So area type from point type in the sense

that you defined a box
that will hold your type.

All right.

Let me just exit out of this edit mode
here and we have a couple of options in.

Come over and use a different tool.

So the other option to exit out
this editing mode is

you can just press enter key
on your numeric keypad on your keyboard.

If you don't have numeric keypad, chances
that you have

an F and or a function modifier key
somewhere on your keyboard.

So you can just hold that down
and press the return or enter key

if you're working on a mac,
will see the word enter appear in smaller

letters on your return key
or you can just simply press down escape.

Also, if you go ahead and do that, you'll
notice you exit out of that dialog box.

Other than that, all the other editing

capabilities that we looked at
in the previous video apply.

And if I want to change
the variation of the font,

then I'm using, I can do that.

If you want to change the size and color,
all those options are available to you.

But do note that these are the two
different ways of working with type tool

can work with point type or area type
and there's a ton of capabilities

when it comes to setting type inside
Photoshop.

Obviously we're just
scratching the surface here, but least

now you have an idea
of how they work inside the program.

Anytime you start working with type inside
Photoshop layout becomes a much issue.

Fortunately, there's several
different aides inside of the program

that can help you layout content,
one of which are the rulers

you can view the ruler
to be coming up to the View menu.

And from the View menu
you can choose rulers command or control.

R would be the keyboard shortcut.

And once you select that option,
you'll notice that you have horizontal

and vertical ruler here

and that you

can change the unit of measurement
that are associated with this rulers.

So let us just come up
to the Photoshop menu on the Mac

and that will be the edit menu for Windows
and that will choose preference.

And then you can select units and rulers.

So this will open up the preference
dialog box with the units and rulers

category selected in the top left hand
corner of the dialog box.

You'll notice that there's a unit section
and here you can change the units

of the rulers to any one of these units.

I'm going to go ahead
and cancel out of this and show you

a couple of other ways that you could
change units of measurement.

Now, an easier way
to access that dialog Master, just simply

double click on the ruler
and when you do, the dialog box

will with the units and ruler options
already selected for you, yet

there's still a faster way
to change the unit of measurement,

and that is to just simply right
click or control, click on the ruler.

And in a contextual menu
you can choose different options.

So in this case I'll go with pixels
and you'll notice

it's updated to show me pixels.

Now I'll go ahead and switch
back to just here.

Finally, you'll notice that the 00.

is two at top left hand
corner of the document here.

You can change that.

So you can just simply place your cursor
inside the box in between

this two rulers here and then you can and
drag to the point where you want the 00.

to be.

And when you let go of the mouse,

you'll notice that your zero zero is
now those two tiers.

So now zero is here and here.

And now that you're working with rulers,
do you have access to yet another age

when it comes to laying out content
and that is called a guide.

And we'll look at guides in greater detail
on the next lesson.

As I mentioned just a moment ago,
one of the great powers of working with

rulers
is having the ability to work with guides.

Now there's several different ways
that you can add guides,

and the most obvious way is to come over

and click one of the rulers
here in this case horizontal ruler

and simply drag down to the point
in which you want the guide.

Now you'll notice that there's a heads up
display indicating exactly

you're going to drop the guide,
and that's you drag it.

If you want the guide to snap to the thick
marks and the ruler,

you can just easily
hold down the shift key.

And when you hold down the shift key,
it snaps to each of those stick marks,

making the placement of the guide
a little bit more precise

as you're dragging the guide,
you decide that you really don't

want to be breaking the horizontal guide,
but rather a vertical guide.

You don't have to return
back to the ruler.

Instead, you can use a keyboard shortcut.

So it's option
on the Mac out on the windows

and it will flip the guide
to the opposite orientation.

Once you drop a guide,
if you decide that you no longer want it,

can just drag it off back to the ruler.

And when you do, the guide is removed.

Now, if you have several guides
and you decide that you don't want

any of them anymore,
you can always come up to the View menu.

And under the View menu you can choose
to clear your guides command

If you need a guide to be dropped
in a specific location,

you can also come up to the View

menu again, and under the View menu,
you can choose a new guide

and when you select new guide,
dialog box will appear and you can specify

if you want horizontal or vertical guide
and at what position.

So this case, I want one at three inches
and I could just type that in here.

And I also want a vertical guide.

So when I click okay,
you'll see the guide appear here

after you drop a guide, if you decide
you need to move it, you can,

but you need to have the move tool active.

And when you do, just hover over guide
and you'll see you'll get a two way arrow,

which is an indicator that if you click
and drag, you'll move the guide.

If you drop the guide

in a specific location, you know that
you don't want to move it by accident.

You can come up to the View menu

in Under the View menu,
you can choose lock guides.

By doing that, you will no longer
have ability to move the guide.

Finally,
there is an option to snap to the guide

and this can be really helpful
as you drag objects around

within the document,
it makes content snap to the guide.

Again, we can come up with a view menu
and under the view menu you'll select

SNAP two and then you want to make
that guides is selected.

If it is, then anytime you have an object.

Let's say for example,
I was going to create a selection here

using the rectangle or marquee tool,
and as long as I'm close

to the guide,
you'll notice that it snaps to that guy.

So this guide can be really helpful for

precision within

your document.

In this lesson,
we're going to be reviewing

how you can create the horizontal center
and center guide.

Now there's a feature that's really useful
for web designers and new designers

that are creating website or application
mockups.

It's available under the View menu
and under the View menu,

you can go to guides and then you can
choose a new guide layout.

And in this dialog box,
you'll notice that you can create guide

layout with a specific number of columns,
and even a specific

number of rows can come in here
and add any number that you want.

If you want 12 columns,
go ahead and punch it in it.

Also specify the with an A gutter size
and if you already have guides

within the document, you can clear them
by selecting this checkbox.

Anytime you come into a dialog box,
there's a good chance

that you want to reset

and most of the dialog but in Photoshop
do have a reset capability

and you want to do just hold down
the option on Mac out on Windows

and you'll notice that cancel button
changes to a reset button.

I'm going to go ahead and reset this. Now.

I'm interested in
creating a wide horizontal center

and the vertical center
within the document,

so I'm going to get rid of the
got there in here

for two columns.

I'm also going to do the same for rows.

I'm going to have two rows
with no glut there.

So type in zero here and you'll notice
I now have a horizontal

and vertical guy that appears
in the center of the document.

When you're done,
you can come over and click okay.

And we now have a nice grid system
that allows

that center of this document.

Anytime you work with guides,
you may want to change

some of the preferences associated
with the guides, and you can again do that

by coming up to the Photoshop menu
on the Mac, edit on the windows,

and then you can come over to a preference
and you'll select

guides, grid and slices.

And in here you'll notice
that we have a specific options

Artboard guides and canvas guides and

because we're not working with Artboard,
we're looking at Canvas guides.

We can change the colors.

We can even change the appearance
from a solid to a dash line.

So you also have options here
to manipulate these other guides here.

Now I'll just come over here
and click cancel.

Finally, what I'd like to show you
is that you can temporarily

hide the guides
if you find them to be distracting.

You necessarily
want to clear them in all situation.

You probably just want to temporarily

their visibility to get a clear
look on your artwork.

And you can do that from The View menu
and you'll select show

and then you'll deselect guides.

You'll notice that the keyboard shortcut
is command or control semicolon.

So this lets you toggle
the visibility of the guides

within your document.

As we talk about guides inside Photoshop,
I think it's important to talk about

guides in order for us to review
Smart guides.

I'm working with a document
called Smart Guides of BSD,

which is available
inside your tutorial assets folder,

and this document contains through shape
layers.

In a shape layer is a special layer inside
Photoshop that contains vector content

and you can create this shape layers
by using the shape

tools located down here at the bottom
the toolbar.

Now, unfortunately,

we don't have time to talk about shapes
in any great detail in this course,

but if interested in learning more about
shapes, you can go back to our website

and check some of the other courses
we have on Photoshop.

With that being said,
we want to review this smart guides

and in order for us to do that,

we need to make sure
that the smart guides are visible

and we can verify that
by coming up to the View menu

and the View menu

you want to select show
and then just make sure

that the smart guides
asset check next to it.

So the way the smart guide work
is still up here intelligently, as you

move content around within your document

like you to do here is select the shape

one copy layer
the topmost layer and it's shape piece.

Down here in the bottom right hand corner.

It's important to have your move
to selected be the keyboard shortcut.

And if we click and drag this to move it
as we get closer to a certain point

within the document,
like horizontal center or vertical center

will begin to see this smart guide.

Additionally, if we move closer
to other objects within the documents,

again, we'll see this smart guides
so they help us

position content as we move
elements around within the document.

And again,
you can turn off their visibility,

but my guess is you're going to find them
very helpful.

There's also other ways
that you can work with smart guides.

If I come over to this layer here
for this shape

and we can select that layer
by clicking it on here in the Layers

panel,
let's say want to duplicate this shape

and you can do that by holding down
the option deal on the Mac on Windows.

And then we'll just click and drag.

As we do that,
we will get instant readouts

in terms of the distance
between the elements that you're dragging.

So this is really helpful
and it helps you position the content

as you duplicate here,
I can see the distance

between the first shape
and this a new duplicated shape,

not only the horizontal
but also the vertical as well.

And you'll also notice
you get additional readouts

if you are going through
staggered content.

So this is really useful,

but what if you want to have
all of that information after the fact

when in this case I still have
this new layer as the active layer

with it, the active layer, or you can
click any other layer to make it active.

You can hold down the command
or control key

and hover over
content inside of a document.

And as you do that, you'll notice

that you will get these readouts
to see the distance between this object

and the top of the page and the bottom,
the page,

and also that distance between the left
and right side of the page.

So all of this information

is intelligently being displayed
because of smart guides.

So again, I just want to point out
that these smart guides exist.

They can really be helpful as you position
content inside a program.

Of course,
if we come up to the reference dialog box,

we do have some options for smart guides.

We would go up to the Photoshop menu
on the Mac,

the edit menu on a Windows machine.

Then you would preferences,

then you can choose
guides, screens and slices.

And again here inside your preference
dialog box, you can change the color

of the smart guides.

If That's something that you need to do.

And again, I'm
pretty sure that you would want to keep

this guide enabled
as it will really help you work

inside the program.

Photoshop can be used
for so many different things.

You can use it as a layer,
can use it for paintings and drawings,

and there are a lot of people
that don't start in the digital space

and start with a piece of paper
and a pencil and oftentimes

they use graph paper to plot out
where things will be positioned.

Fortunately,

there's an option inside of Photoshop
that gives you that wrap paper like feel.

It's called the Grid.

You can turn it on by coming
up to The View menu, and under the View

menu you'll select, show
and then or choose Grid.

At that point, you could also choose
to SNAP the content to the grid,

and then you just have to come up
with the view menu.

And from here I'll choose a snap to
and then you'll

just have to make sure
that grid is selected.

Now, as you start dragging elements
within the document, it will fill it,

snap the different grid points
within the document.

And it may be difficult to see here
within the video if you're following along

as you click and drag this elements,
you'll definitely feel it snap into place.

There are other options for the grid
in terms of its size and its appearance,

and you can control those options
by coming up to the preference dialog box.

Again on the Mac, it's
Photoshop menu on a Windows

machine, it's the edit menu,
then you'll select preference

and over here you will choose guides,
greets and slightest.

Again,
this will open up the preference dialog

and you'll notice that we have grid
section here.

You can control the size of the grid
by specifying

how many grid lines
you want per unit of measurement.

And here set to centimeters by default.

And you can also specify
the number of subdivisions.

You'll also notice that you can control
the style of the lines

that are being used within the grid.

And of course,
you can also control the color.

So the grid this really flexible
and you can change it to accommodate

whatever it is that what you're
trying to inside a program,

not a huge feature,
but something that you should be aware of

if you ever have the need to have
a graph paper reference inside a program.