10 Powerful Photoshop Skills/Techniques You Need to Know

[Music] everybody welcome into this Photoshop tutorial brought to you by tot vidcom I'm really excited for this one it's 10 photoshop skills that you absolutely need to know these are so powerful they're kind of hidden in fact I didn't just go for like obvious stuff like a the brush tool layers stuff like that they're kind of like hidden powerful features in Photoshop and I also I'm proud to announce shored up my desk so no more of the wobbly monitor really should cure the issue I spent some time and are really sure that that's a homemade desk it's got really tall skinny legs and that's why my desk would wobble as much as will wobble but it is nice having a sturdy desk I'm not going to lie so 10 hidden powerful features in Photoshop let's jump right in and take a look here the first feature is liquefying facial features you might say Oh liquify filter we've all done that well here right click on a layer we'll convert it to a smart object because that's just good practice and then we're gonna go filter liquify now in liquify and this is a newer feature of Photoshop we have this kind of head option you can see it's called the face tool the hotkey is the letter A and we've got these kind of heads-up displays where Photoshop will automatically detect whether or not their faces in your image sometimes doesn't do that good a job now for the most part it does a really really good job but sometimes if a head is tilted a little bit too much in one direction or upside down I might have some trouble you may have to actually rotate your Photoshop document to target that face if you absolutely need to make a change we have these heads-up display options where like we can grab one of his eyes here and just resize the eye and you can see that it's going to size both eyes so we've made both eyes huge we could like stretch them out make them wider or make them more narrow and same thing for the top and the bottom we can make them kind of taller or maybe not quite so tall whatever you're doing we're gonna make his eyes kind of ridiculous for her we can make her eyes a little bit bigger right big nice eyes for her push her nose in a little bit you can push the nose in from the sides or even spread it out you can say I can do the same thing over here with his face I'm going to pull down on his forehead maybe a touch we can narrow up the face a little bit narrow that make the jawline a little bit more narrow and either pull the jaw out we push the jaw in over here with the mouth we can pull the upper lip up here at the top of the mouth we can pull the bottom lip down make it kind of fat you want to be careful using that we can stretch the mouth out we can make them out a little bit more narrow probably stretch it out a little bit and then the controversial feature is the smile feature where we can make women smile we can also by the way make men smile it's not it doesn't discriminate I'll put it C that way so you can make people smile you can make them maybe not smile quite as much it's just a kind of a really neat somewhat powerful feature sometimes it's not quite as convincing as others but this is a really cool option here in Photoshop so I'm going to hit OK to commit that a couple things we can do here so because it's a smart smart object this is a smart filter you can see liquify we can shut it off we can turn it on we can see we've done I'm not saying we've done an amazing job here that's not really the point of this little example we can go back to filter liquify and apply a second facial liquify if we so please and this time check this out over here we have face aware liquify tools we can choose whether we want to work on face one or phase two and you have all of these sliders where I can say hey you know make his eyes bigger make them huge all right make the eye size there we go monstrously large and wide and we can you know we can even tilt the eyes I forgot you can do that by the way out here with this you can sort of tilt the eyes and and by the way the eyes member you're working on eyes they always work in conjunction with one another so if you make one eye bigger or smaller or fatter or skinnier it's going to do it to both eyes and same thing with nose you can do all this stuff with nose jump over to face too if that's your thing make her eyes a little bit bigger and I mean we're going ridiculous now with what we're doing but you can do so much and if you hit okay you're going to see here that it actually stacks to liquify filters one on top of the other so we could in theory stack a ton of liquify filters and make some like crazy caricatures if we wanted to and we can always go back and edit them later because after all it is a smart object now before we go on to step number two I want to let you guys know that I'm selling a course over on touch vidcom a link appeared somewhere right up over there you can click on that link and check it out if you decide to pick up a copy of the course it helps out tut vid helps me create more of these tutorials and I really appreciate it if not there's plenty of free content here and just watching and liking or commenting super cool with me I love you guys all right let's talk about step number two or feature number two hidden powerful feature number two and this is the color lookup table or the lots now the way we get our lot and what it does well we're going to be applying our color lookup table to this image I have a PSD open in fact if I go window down here to djk dot PSD i've got a photograph of a guy then I took a picture of and you can see I've added all of these adjustment layers essentially a color lookup table is going to allow us to mesh all of those color or all of those adjustment layers into one kind of convenient stashed place so we can apply it to another image without having to select all these adjustment layers and copy it over now it is typically good practice to like have just clean you can see here my my layer masks are all nice and white and clean they're not like partially hidden partially showing it's just nice to have that and I need adjustment layer so what we can do is we can select this we can go file export where's X where there's export and choose color lookup tables now I'm going to get an error here you're going to see it's going to say look I couldn't export it because this document has no background so what you need to do is select like the layer you want to be your background right there photo and I'm going to go layer new and just choose background from layer it's going to give me that locked background layer Photoshop needs that alright so we're going to go file exports and choose color look-up tables as our option you can give it whatever description you want this isn't really the file name I'm just going to say djk grading as in color grading grid points a medium and high both work really well I'm going to stick with medium here 32 grid points is great and my format is going to be cube it's just the one I usually go with you got a couple little options you'll see that we can play around with we're going to hit OK and it's going to say hey where would you like to save this I'm going to call this deep - mood dot LUT I'm just going to save it on the desktop just for the sake of simplicity you can see it's going to just process that out really quickly and then let's go window and go back to our color let's a peg now I should preface this by saying this is a simple 8-bit JPEG it's not really a raw image so you're going to see the image is going to degenerate a little bit when we apply this color lookup table because there's such a drastic color change that we're about to apply to this typically you're making these big color adjustments and tonal adjustments you want to be working with RAW images 16-bit images if possible you're just going to get better results smoother color transitions things like that let's go ahead and do this anyway over here and add an adjustment or even up here layer new adjustment layer you have this color lookup option the color lookup table is this icon right here go ahead and hit that and you're going to see you get a new color lookup table adjustment layer now here under 3d lut file number one you've got a lot of interesting presets that you can use here like let's see what moonlight does oh wow okay that's kind of crazy we could look at what is three strip look like alright you can see kind of changes things give you a little bit of like a faded look crisp warm what does that look like alright whatever but beside all of these presets you have load 3d lut so we're going to load this and we got deep mood dot cube right there on our desktop we're going to select that and choose to open it you're going to see what it's going to do is it's going to apply all of those adjustment layers right here within this one single color lookup table adjustment layer one of the cool things you can do that that hold dot cube thing we can change the data works we can go like instead of RGB BGR and it's gonna give us like this blue skin tone which is kind of cool if you're doing an ice queen thing but if you flip also the table order over to RGB you get this kind of very like dirty gritty faded you know visco Instagram you look it's actually kind of cool it's just it just is a different way of applying the information from those adjustment layers so I'm gonna go ahead and just set that back to RGB and a BG r4 table order and that's it that's a color lookup table in Photoshop let's go on to the number three feature this one's actually kind of quick so when you're creating a a selection in Photoshop you're not always going to place in the exact spot it needs to be so you can hold down the spacebar and you can move the selection before you commit the selection so let's say I I want to select that there we go I've got it but then when you're looking at it you decide you know what the selection is not quite right you can right-click on the selection and choose transform selection and bring up your transform options you can do things like perspective change to your selection so I can like squish it in like that right click and scale it and I like stretch it out this way maybe stretched out this way a little bit right click go back to free transform we can rotate the selection a little bit like this alright commit the change and you have a vastly different selection than just your standard like rectangular marquee that you would drag out so being able to move your selection but also then right-click within that selection and free transform a selection once you actually have placed it super duper useful in a command or control D to deselect that let's come over here to this file we're going to talk a little bit about something called frequency separation very powerful it's not really a hidden feature in Photoshop and it's actually not really a feature at all it's a technique more than anything a lot of people have done tutorials on it but i jus want to give you a quick briefing and some of why I like frequency separation it's an amazing way to retouch a photo especially skin but really any retouching it's such a great way to use the Healing Brush so here's how it works you would select the image that you're retouching and by the way with this girl she actually has really great really clear skin but there's some lines here in her forehead maybe we'll knockout and again it's just for the sake of this tutorial maybe we'll take this little red bracelet off of her so we're going to duplicate the background layer command or ctrl J I'm going to do it twice I'm going to name the top layer hi - freak so high frequency and then this is going to be the low - freak for the mom I can't spell today there we go low freak for low frequency I'm gonna shut the high frequency layer off I'm going to zoom back out so we can see the entire image so I've selected the low frequency layer now on the low frequency layer we want to preserve the colors of the image basically we're going to try to split the colors of our image from the details of the image so to just preserve the color down here we're going to blur this image filter blur Gaussian blur and usually something like 15 pixels is great depends on the size of your image you're just looking to basically soften out all the details and make sure you preserve all of the color that's essentially the goal here so you may be able to get away with 10 pixels you might need 25 again just depends on the size of your image hit OK for the Gaussian blur then turn on the high frequency layer select the high frequency layer we're going to go image apply image now here under apply image we got to do a couple things number one we want to apply our high frequency layer to the low frequency layer so you need to select that from the layer drop-down menu channel RGB that's great this is also very important blending mode of subtract is a must opacity of 100% and a scale of 2 and an offset of 128 almost always is going to be exactly what you need so scale of 2 offset of 128 and hit OK you can see we're getting this very sort of blown out ultra high clarity high-pass looking effect these are all the sharpened edges of our image these are all the details we're going to set this to a blend mode of linear light you're going to see it's going to blend us back down to essentially looking exactly like our initial image looked but the advantage is and we can edit the details of the image without affecting the color so let's just I mean just a very very easy example would be something like her forehead here so we can grab our let's go with the healing brush on the Spot Healing Brush with the healing brush we're gonna make sure we sample just the current layer we just want to work on this details layer and I'm going to grab my Wacom pen here and make my brush a little bit smaller I'm gonna hold my alt or option key I'm gonna sample from up here and we can paint right along here and get rid of that little liner for it you can see we've got some messed up action happening there we can just paint that right away just such a fast beautiful way to get great great skin texture and you can just go over your skin really as finely as you want and retouch every tiny little blemish all the way down to the pixel and you'll get kind of that very beauty beauty style retouched skin if you if you really like that let's move down here to our wrist here and let's check out this little bracelet I'm going to come by brush a little bit larger and I'm going to sample right up here because I'm going to move over the bracelet right here and paint that away and then move up over her skin and you can just see how just how cleanly and easily this is retouching now there's a little bit of red residue left behind because remember the color is on the low-frequency layer we're just getting rid of the detail of that bracelet we we're going to jump down to the low frequency layer next and eradicate the color I'll show you exactly how to do that but for now we're focusing here on the detail so I'm going to sample up here on her wrist we're going to duplicate the wrist there where it kind of runs into the blue dress top and I'm going to make my brush really small and just get rid of that little bit of bracelet detail left there and you can spend as much time as you want really making this perfect I just want to do this kind of for the sake of making this nice and clean or then we get unto the low frequency layer and you can do a number things you could try just using the healing brush right like this and go over the colors that tends to be a little wonky with the such with with a layer full of such soft color and really not much detail so I typically will go with a clone stamp brush set to an opacity of 50 or 60 make that brush much much smaller here we're at a huge brush and then I would just sample make sure that you're sampling just the current layer by the way sample like right here and just go ahead and start painting over the color and you can see it's going to blame in the skin so quickly and so easily it's really quite amazing so just like that we can go ahead and get rid of that uh bracelet there's a little what later line there we'll get rid of that now you may be asking why a frequency separation this is a very simple skin retouch job we did here but if you're doing something ultra complex this is such a great and even non-destructive way to go in and do highly highly detailed skin retouching and all virtually all the best retouchers use a technique fairly similar to this if not this exact method to their skin retouching it's just so good it gives you so much control it gives you so much power you don't have to worry about mixing different colors you really preserve true skin tone as much as possible while getting beautiful uniform textures so let's shut those two layers I just want to give you a quick comparison so if we zoom in on this bracelet here and we grab the healing brush and I say alright let's let's just get rid of this so I'll sample up there just like I did with just like I did with the frequency separation I paint over all of this you can see I'm getting this very noticeable light track mark across her arm there and we get kind of that there so part of the advantage to frequency separation is you're just going to have smoother color transitions so that's without frequency separation that's with frequency separation so you have two very different results using really the same tool but the technique is different in the technique is frequency separation it's a really powerful technique to know definitely something you want to get familiar with especially if you're into retouching or especially the high-end retouching game in Photoshop so let's move along to number five and number five is using calculations but using calculations which maybe you've never heard of but using calculations particularly to make hair selections now we're going to make a very very fast selection of this young lady here so it may not be as perfect as it should be but I've got a bunch of other tutorials on selecting hair and you'll see you can check out any of them and you'll see that this is an amazing technique but we don't wanna spend 20 minutes working on one image so I'm going to try to blow through this pretty fast here's what you do you open up your image we've got an image here I am kind of cheating here because while she has frizzy hair it is over a relatively contrasting background again I have tutorials on advanced hair selections you'll want to check some of them out if you're interested in in really you know diving into the nitty-gritty of selecting hair right so we go images calculations and what I've got here this is a pretty standard setting and you can see it did jump straight to it because Photoshop knows I use it a lot in fact I must have used it recently here's what I typically do everything kind of stays normal in fact if you if you fire this up here's probably what you see just like that red channel being mixed with red channel no inversion set with a blend mode of multiply we want her hair to appear white that's basically it if her hair appears white and everything else appears black we know we're gonna get a great hair selection so what I like to do first is just invert both of these channels so when I do that you can see alright that what we want selected is lighting up pretty well her skin is pretty dark but what we can do is just select that with like the lasso tool and fill it with white I'll show you how to do that in a second and then you just kind of add different channels together and see what gives you the most contrast see green channel to green channel is actually pretty good here I think green Channel to green channel is actually the best it gives us the most lightness where we need it with her sweater and her hair and the background is as dark as possible blend mode of multiply is almost always what you want to use you can use add and subtract as well but they're a bit hit and miss it all depends on the image we're not going to get into that here hit OK now oh you know what I probably should undo that I need to show you what one of the important things here go back image calculations I still have all my settings I'm outputting this to a new channel so result new channel hit OK and you can see here over in the channels panel there we go great we've got a new channel one of the first things I'm going to do this channel is hit command or control L to bring up levels and I'm just going to boost all the blacks and I'm going to boost all the whites I want to be careful boosting the whites there's a ton of edge detail there along her hair where we've got like frizzy frizzy bits of hair that are that are definitely that are definitely still hanging out there there we go something like that alright that's probably cool something like that hit OK so we're just looking to make the background a bit darker and her a little whiter I'm going to grab my lasso tool I'm going to generally make a selection here around all of this interior stuff very rough selection I'm going to fill it with white so for my Foreman Roller set the white alt backspace or option at delete on the Mac command or ctrl D to deselect that and then I grab the brush tool this is kind of where the cool stuff happens grab the brush tool and set it to a blend mode of either overlay or soft light I'm probably roll with soft light because it tends to be a little bit a little bit softer and watch what we can do here so I'm painting with white I'm going to right-click I'm gonna make my brush very soft make the size a little bit larger and I'm going to paint with white over the edges of her hair so you can see what's going to happen is this the brush is only going to target the areas that already have some white in them and kind of intensify the white now the nice thing about this is not only can we get kind of a nice edge selection it's going to be far from perfect guys because we are we're blowing through this and I'm not even really honestly I'm not even really worried about the edge of her sweater you can use the pen tool or some other selection tool to just grab a selection of that I want to fill my foreground color now with black I set my blend mode look let's make sure we're in the right image here there we go set my blend mode for the brush tool back to normal I'm going to paint with black out here and just fill all this junk out here with black just because we really don't want to select any of this stuff we're going to work on the edge obviously the edge is really what needs our help all right so we get rid of most of that stuff and then we set this black black back to the blend mode of soft light and we can even zoom in when we do this if you're really concerned about you know cleaning things up and making it nice we're just going to paint away and you can see that even though black is hitting areas that are painted in with white it's really not just automatically making it disappear and filling it with black because it's more or less working with areas that already have black pixels and simply increasing the contrast which is going to sort of push back the hair that's sticking out and flip it back to white here and push this out a little bit what I need to be careful of is if I have too much white coming off of the hair we're going to get like a really strong halo all around her all right I want to invert this channel so make commander control I all right just like that you can see this is I mean this is kind of a mess down here but again we're not gonna be too too concerned with that that's not the point of this tutorial it's our only RGB composite layer we're going to command or control click our alpha channel here we can shut it off select RGB the RGB composite go back to layers and here for the background layer we're going to add a layer mask so there we go we make everything else disappear now I can tell on the edges of her hair it is still a little bit see-through let's just drag her over to like the the color of the color lookup table image and actually you can see I mean it needs a little bit of help in which case we would grab the brush tool again just have it set to a blend mode of soft light you can see we need paint white to make hair come back so the white area of the mask is what's showing through make sure we're painting with white and we can just paint over the edges of her hair and bring back more of the detail on the edges of her hair and you can see even though I'm painting over areas that definitely should be showing the background because they're solid black in the mask it's not really letting us bring that stuff back it's just bringing back great edge detail on her hair so it's not the most perfect selection but you can see how fast it can be to use calculations to make complex selections even if it's not hair to make really complex selections in Photoshop with relative ease and and kind of quickly let's move over here and talk about selective sharpening I'm going to set my brush tool back to the blend mode of normal so selective sharpening in Photoshop this is how I typically do it let's say I have an image here I'm just going to I'm going to change the hue/saturation that's just a little bit maybe make it a little bit more pink and dump a touch of the saturation just like that alright so I have an image let's say there's like 80 layers I would merge it all to a new layer so use the hotkey ctrl shift alt e' that's command shift option key on the Mac and this would be my sharpening layer so actually you know what I'm not even going to name it so here's what I would do I would do something like jump into quick mask mode right so that's this little button here you can also hit the letter Q jump into quick mask mode that will click on the quick mask mode icon actually and just make sure that you have color indicates selected areas checked the default is masked areas we want to go to selected areas make sure we turn quick mask mode on and we're going to paint with black I'm going to paint with black here in the side this boat just a very rough selection alright because inside of these boats I want to apply very fine sharpening so I'm just painting over these areas to get like a very rough selection you can be as precise or not precise with this particular technique as you like alright so once we did I hit the letter Q it's going to load all that as a selection then I'll do something like choose select modify feather and maybe give it like a 250 pixel feather great I'm going to commander control J now it's going to grab the interior of the boats pop them up to a new layer now on this new layer I'm going to go filter other high pass you may want to zoom in to 100% make sure you're zoomed in nice and close and you can see that we're going to apply this nice high pass adjustment I'm going to hit OK and I'm going to change the blend mode of this layer to over so what we've just done is we've applied sharpening just to the interior parts of the boat the reason this is interesting is because let's say we want to apply even more sharpening to like the water areas where we would go back to that sharpening layer from which we were sampling we're going to jump back in a quick mask mode by hitting the letter Q and I'm just going to paint a rough selection over all of the all the water out here all right like so something like that maybe I'll even grab the little dock walkway area here hit the letter Q again I just like to go select modify feather just to feather the edges and 250 anywhere between like 250 and 400 pixels is typically what I'm looking for here I'm gonna hit command or control J again to pop that up off of the background layer and then I'm going to go filter other high pass now for this high pass I want to crank up the radius quite a bit so maybe something like 7 or 8 you can see it's really gonna bring out some detail in the water it's not perfect you can see even a little color haloing if you see color haloing image adjustments desaturate can be a good idea just like that and you can set this to a blend mode of like overlay or soft light something like that and the whole point here is we have two different levels of sharpening we have a very fine sharpening that's going into the middle of the boats and a very kind of bulbous radial sharpening that's being applied out here where there's soft or details this is particularly useful if you're doing portrait photography you know eyes nose lips skin maybe needs one level of sharpening hair might need another level of sharpening the blouse might meet another level of sharpening or the guys jacket and then pants or shoes and the background and the scene might need even other levels of sharpening this is a great way to sort of layer in sharpening exactly where it needs to go it's so fast it's so easy it's just a way that I've kind of fallen in love with and obviously you would want to name your layers and really keep track of all of that right there in your layers panel as well all right let's move on over 207 or the seventh step and this is color range within a mask so this is a really cool little feature of Photoshop we've got this image of this girl she's holding a little gift and let's say we get a note from the editor hey we want to change every red thing in this photo we want changes red stripes and the red bow too like a hot pink I was yeah you know what we can do that and here's how we can do it we can do something like hue saturation adjustment layer of course and we can say hey great we'll just target the reds and we'll we will shift the hue back til it's like pink right but the problem is you can see her skin is also all jacked up from it that does not look good at all when it's that Pinker hair is all funkified things are not looking great so check this out you can actually select the mask on an adjustment layer and right down here in the layer mask properties panel choose color range now here in color range what we can do is we can select any area of the photo we want to constrain our color to and you can see here it's picking up the those red stripes right away but like let's say I select her skin I can use the fuzziness slider and just keep that pink applied to her skin obviously we don't want to do that I do want to select the red in her shirt so we're gonna and then I'm gonna hold down shift maybe in sample more of the Pink's something like that great can I get this out here yep I can get that out there that's great we're still getting some pink up here in her mouth we can probably manually mask that away what about the Pink's here in the in the little bow that's great and we got some on the edges of her fingers but it will manually mask that away we hit okay and you can see that color range has automatically made that mask for us now what I'll do is I will zoom in with my brush tool what I'll do is make sure I have the mask selected I'm working with black and white here I'm going to hit the letter X to set black as my foreground color flipped my foreground background color paint black up there make sure we don't have any of her mouth change in color and then also we want to get rid of the pink here on her fingers up we got rid of some of the pink there on that bow and the nice thing about this is we don't even need to be exact where with where we paint because remember the hue/saturation adjustment layer technically is only targeting the red areas in the image so that's great come in here and get rid of all of that stuff and I'm painting with white now I just the letter X to flip my foreground and background colors and any of these areas in here where it didn't quite convert to pink you can go in and just paint it paint it white and it's going to you know switch it right to pink it'll be nice and easy great-great-great-great-great cool that looks good and maybe even we could take a look see what it looks like if we sort of make her lipstick very very kind of candy pink and it's going to obviously match the shirt or be relatively close to matching the shirt pretty well and I'm just painting with white here and you can go back over the lips as many times as you want paint black wherever maybe you have some of the color you know spill into our mouth or out here under skin something like that we don't want our teeth looking purple or cheeks there we go is I can back it out and you can see just like that very quickly we create this hue/saturation adjustment layer and we change the color of the Reds to this kind of very magenta hot pink and using color range in our mask like that is so fast and so easy and so amazing it's definitely a feature that you've got to know so powerful all right let's move over here to the next image when my favorite features a Photoshop and it is curves or use a curves adjustment layer here it's this icon right here now here's know how curves work I've got a bunch of tutorials on curves by the way I'll try to remember to link one up here in the tutorial here's our curves works you pull up you add light you pull down you reduce light you make things darker whenever you click on a point in here you add a point so you can see I click to add a point I just drag away to get rid of a point and everything returns to normal we also have this little finger slider here so let's say we move our mouse up here we say we want to make this brighter we click and we drag up it's going to make that brighter then we say hey you know what we need to make the crowd darker so I select down here with the crowd drag down make the crowd darker all right something like that you can see the byproduct has been we have a much more contrasty image I'm going to delete this curves adjustment layer let's create a new curves adjustment layer we also have a histogram so over here is the darker darkest parts of the image so let's say we pull down a little bit here in the darker parts of the image and we pull up a little bit in the brighter parts of the image we've created an s-curve here in curves and that's a very easy way to quickly increase contrast I'm going to just drag these away you can also do something like drag up on the black point maybe drag down on the white point and you get like a very faded effect right reduce contrast we can also go into the color Channel so in the red color Channel if you pull up on red you obviously add red but the opposite of red is cyan so if you pull down on the red Channel you introduce cyan let's actually introduce a little bit of red here to kind of some of the mid tones so I just dragged up a little bit but also have a green channel now a green channel obviously you pull up on green it's going to add green you pull down on the green channel is going to add magenta because the opposite of green is you guessed it magenta let's add some attention to the shadow to the shadowy areas and some green to the highlights in fact a lot of green to the highlights something like that we'll go down to the blue Channel now if you pull up on the blue channel you get blue if you pull down on the blue channel you get yellow the opposite of blue is yellow so let's infuse some blue into these shadows here and then maybe pull some yellow into the highlighters maybe pull the highlights back kind of in line with the way they were so you can see there's before there is after one of the amazing things about curves is it's such a powerful way to quickly edit and adjust the contrast the tone and the color in your photos and you have so much control over there's so much precision and I'm really just touching the tip of the iceberg here with the curves adjustment that's the basics of how to use it in my mind an absolute must know as you continue your journey here through Photoshop there's so much you can do with curves and again I've got some other tutorials and I'll try to remember to link one of them here but curves are super powerful and really really amazing alright let's move on to number 9 adjustment layers don't forget to pair adjustment layers with blend modes you can really do some amazing things with them take a look at this we can do something like a channel mixer adjustment layer take on monochrome monochrome and we'll set monochromatic monochrome and maybe adjust our sliders don't don't blow out the image too badly and then just set the blend mode to something like multiply this will typically give you like a very moody muted type effect on your photo not every photo is conducive to this effect but if the Lighting's right the subject is right it can be a really cool effect channel mixer monochrome set it to multiply reduce and adjust the opacity until it looks good what's something else you can do well you could add a levels or a curves adjustment layer if you like and just set the blend mode to soft lights a very quick way to just increase the contrast of your image you can see there you go we just increase the contrast just like that levels adjustment layer set to the blend mode of soft light you can also do something like a gradient map choose one of these you know any of the default grading maps or I've got this custom when I create it which is kind of a blue going to like a seafoam green and then set it to the blend mode of soft light and we kind of this cool color effect it's a it's a very great way to color great images and another kind of interesting thing you can do here is you can actually use solid color adjustment layers new fill layer solid color I'm going to say okay here I am going to let's go with like a blue so we'll just hit blue and we'll set this to the blend mode of hue you can see we're looking to change the color of her skirt here from green to blue so then we would select the layer mask a commander control eye to fill it with black just going to flip it from black to white and then you can zoo man with your brush tool obviously you probably know the drill here set your foreground color to white to make the brush to a little bit larger and you can just paint in here or you could use well I'll see part of the problem with using something like color range is probably gonna pick up the stalks of the flowers so you just go through and paint in wherever you want the blue to be and that's it so I'll just sip through this real quick and we'll be right back alright so you can see it's a rough paint job but very very quickly using a technique like this you can very realistically change the color of all kinds of objects whether it's a shiny object or a dull object black and white can be difficult to introduce color because black and white are really the the absence of color or just like color completely maxed out in the case of black so those can be tough to adjust but any kind of color in between you can do a lot yellows in general tend to be tough for some reason in Photoshop but a lot of colors you can very quickly very easily change you get the hue blend mode and you also have color if you want to change the saturation of the object underneath as well the between those two blend modes you really want to just play with them and see what works best depending on your application sometimes color is going to just be dynamite sometimes color is going to just look weight like just way too much way too much saturation whole nine yards alright so number 10 kind of this crazy photo I just had to find a way to include this in one of my tutorials the Camera Raw filter and specifically using D haze to kind of introduce contrast in an interesting way so I'm going to right click on my layer here and choose convert to smart object just again good practice smart filters just tend to be better filter Camera Raw filter and it's got open up the camera roll dialog box particularly useful when you're we haven't shot raw you only have access to a JPEG but you want something in the camera roll the camera roll dialog box two of the things I find really helpful are the temperature sliders the white balance sliders temperature in tint alright if you need to just make an adjustment something's too orange or too blue and you want to quickly come in and make a couple adjustments amazing to have this that as a feature that you can use on any layer in Photoshop anything that you'd bring into Photoshop and then also over here D haze to kind of boost up our contrast in a really interesting way it's very different from like a curves contrast adjustment or a straight contrast a contrast slider adjustment and when I do that I got to go over to HL and make sure I knock down the saturation of the Reds and the Blues something like that and then hit okay and you can see very quickly we infuse this really cool mid-tone punch contrast adjustment to our image and in fact when I look at this here I'm going to just drop this down a double click on Camera Raw filter camera also has really great sharpening so we can just throw some great sharpening in there pull the masking up a little bit just so we pull some of the sharpening out of the wall so as not to really add even more noise hit okay and there we go so that is pretty much it but actually before I let you go I want to give you five quick tips on the way out the door pretty much anywhere in Photoshop where you see these opacity sliders like this if you hover over the word opacity or fill you get a little scrubby slider very quick and easy way to change opacity if we grab the text tool this is tip number two and we type something in here like pig at the office to quickly commit the change for your type command return ctrl enter on the PC and you change whatever bit of text that you are editing another thing you can do is on the or in the history panel window history you can go to the settings here and you can choose history options you can choose to tick on make layer visibility changes undoable why is this important well because if I shut off the text then I realize that you know what I want to back that up and see what it looks like with the text again command or control Z and it actually will toggle layer visibility for you I can be really useful and really nice to have one of the other nice things is let's say we have a bunch of layers here in this document and like three of them are shut off and we're looking to clean up the document you can go layer delete and choose to delete the hidden layers in the document Hey would you like to delete aidan layers absolutely and there we go we're down to just one layer of text and our background image and also one of the other really cool things is if you select the move tool and you make a selection like so let's just select this wall over here right or just generally select the wall and then we select the move tool we have these align options so I have the the type layer selected right here I can choose to align vertical and horizontal centers right there within that wall commander ctrl D to deselect and those are five little tips on top of the 10 hidden slash powerful features in Photoshop so for facial liquification for color grading and look-up tables for curves and frequency separation and about six nine nine other things no ten eleven other things in Photoshop math was never my strong suit for all that stuff in Photoshop that's it get it got it good Nathaniel Dodson Tuck vidcom [Music]

Channel: tutvid

Views: 651,474

Keywords: Photoshop Tutorial, Creative Cloud, Photoshop CC, How to use Liquify, How to use Face Tool in Photoshop, Photoshop Face Tool, How to set up Color Lookup Tables, Color Look up tables, LUTs, How to use LUTs, What is Frequency Separation, Frequency Separation Skin Retouching, How to select Hair, How to select difficult hair, How to sharpen a photo, How to Create a Mask, Use Color Range, What are Curves, How to use Curves

Id: GroghArZo7M

Length: 36min 20sec (2180 seconds)

Published: Wed Sep 07 2016

Reddit Comments

[u/whatup1009]

Some good stuff in this. Thanks!