Photoshop for Lightroom Users | Matt Kloskowski

[Music] all right well guys thank you so much my name is Matt and and I am old enough to have kids that drive in Tampa Florida my website's Matt Kay comm ma TT k comm clear up a couple of people have asked oh and if you've if you've seen any of my tutorials or anything before I worked for Kelvin media group for about 10 years that was from 2004 to 2014 I did a I did a brief almost 18 months stint at on one and and then last June I struck out on my own with my wife and so now I just primarily do photoshop & photography training over at my website so I'm here today on behalf of being H and Adobe we did a little project together it's kind of part of that whole little coupon thing that he mentioned before so make sure you say thanks to everybody there and this class Photoshop for Lightroom users so if you were around in the morning you saw we do a lot of stuff in Lightroom jumping Photoshop a little bit mostly around landscape photography this time we're going to you know kind of what comes after Lightroom so I'll do a little bit of Lightroom work when necessary you know I'll try to start photos from from scratch and kind of walk you through the workflow sometimes it gets a little monotonous so I'm not going to keep going through over the same same things over and over again what I want to do is I want to expose you to a lot of different things that Photoshop can do because there are so many reasons we could want to jump over there so I want to try to expose you to as many of those reasons as possible okay all right let's go jump in so I'm going to go I'm going to go simple simple kind of need that I think can arise which is sometimes we can do our Lightroom stuff I think presets are a big a big part of our Lightroom workflow a lot of times you may you may do something in a preset that is too much and maybe you want to fade that preset so we'll take a look at a couple of options that we can go and do here first off let's hit the develop module for this you know not too much work I would go in here and maybe maybe crop a little bit of that left-hand side out and maybe crop that black area on the right out from here exposure wise I think we're pretty good maybe pull back a little bit on the highlights just because they're they're wearing a lot of brighter shirts how many of you guys ever do like you know you do like a family photo shoot and everybody shows up in white shirts like seriously white so that's why we can pull back on the highlights a little bit there you know not too much not too much work to do here one of the things that I will do I didn't really cover this too much more talking landscapes because we don't have too much of a problem if we go over here into the transform section you notice you see the column kind of tilted a little bit there and then as it goes off into the distance you can also see there's a little bit of tilt going on so we can fix that inside of this transform panel which by the way this used to be before the transform panel which is probably a year year-and-a-half ago this used to be something that we would have to jump to Photoshop for but we've got these upright options here where I can do like auto you see they'll kind of tilt it around I can do level let's doesn't do anything I can do vertical which is close to the same thing I do full which is about the same they don't always look the same like that some of them look very different but if you ever can't favorite like sometimes it's a push and pull right if you ever can't get it the right way you can go to your guided which is that little icon up here or just click on guided and the way guided works is you drag two lines drive one line down one side like that and it's not going to do anything until I drag another line down the other side like that and you'll see it'll go and now it's going to make it so those are vertical everything in between again it's easier usually just go through the go through the two or the the presets in there but if they're not working this is a good place to go all right all right so from here I think we're looking good so let's jump over to our presets panel I am as you can tell I am a preset junkie I might have a few presets inside of here so I reach toughs I think they're a great starting place I can't say I always use them but what I find as I get to as I get to know Lightroom where I just started with it a couple weeks ago as I guess a no Lightroom a little bit more as I guess I you know as you become more advanced in it I think what you'll find is you kind of use them as a stepping stone it kind of gives you ideas especially on photos like some photos you look at you know exactly what to do none of their photos you have that photo you're not sure why you like it you want to like it you're not sure if you like it and then if you click through some of those presets sometimes you're out I know we responded that for maybe it's a color tint or certain toning to the photo one of the little tricks we can do here is if you open up your Navigator paddle if I go down here to my preset if I hover over you'll see I can get a little preview of what the presets look like so I mean we could do a cut ladder there's a couple in here you know what I'm going to go I think I have let me see here I've got a folder called Mac style these are not matte as in matte me but these are you know that matte that faded type of a look that's really popular so I got a folder of those types of presets here let's go something with a little bit more color there we go how about that yeah oh and there must be something in that preset that mess with my transform too okay so I've got my preset added let's say you want to split the difference all right and and presets like this could be tough because you don't even really know what's inside the preset especially if you bought it from somebody else you know you don't know like is the exposure a factor of I need it to increase the exposure for the photo or is it part of the preset so when that happens what you can do is right-click on the photo you choose create virtual copy so a virtual copy you'll always be able to tell because it's got that little page curl icon on it that means it's a fake copy of the photo I didn't just duplicate a 40 megapixel photo it's a fake copy I can do whatever I want to it I'm not taking up any more space and it's not good you're not going to see it on your hard drive you're only going to see it through Lightroom so I can have this virtual copy I'll go back to the original one and I'm just going to hit I'm just going to go just kind of reset my highlights my shadows my blacks you see vibrance clarity saturation all these settings that the preset went in there and added let's just go in there and we'll just reset everything it's could probably have some split toning to it if you want a little shortcut - this is like one of those secret handshake shortcuts you'd never know it if you hold down your option or Alt key any panel you're in it'll say reset four or whatever settings that you have here so in basic I hold out option or alt see it says reset tone so I can reset the tone going here and change it alright I go to my where we're on split toning hold down reset highlights reset shadows so that can be that can be a real lifesaver because it'll let you go in here and you don't have to go necessarily reset every single slider it's a real quick way to do it okay how we'll go down here let's reset that one too I think we're all good so now I have my original photo but it's cropped a little bit and then I got the matte faded look that we were doing before what's that want to do is split between the two I can shift click and select both of them go photo edit in open as layers in Photoshop and if you were here earlier you saw this one but what it does is it takes both copies of the photo it'll bring them over to Photoshop and I'll just stack them on top of each other into the same document so I don't have to go through open one open the other copy/paste blah blah blah so now you can see here is our original here's our preset I can go take the scoop put the preset one on top and that can reduce the opacity maybe you want to play with the blend mode to soft light gives you a little bit more contrast so I can reduce the opacity I can change the blend modes and I can blend these two photos together a little bit better and then when you're done you just hit file save file save a copy and you'll see now you have your new version right over here inside of Lightroom so you're working with presets a lot it's probably one of the most common questions I get which is how do you fade a preset and if you made your own preset it not seem like that big of a deal because you'd know what slider is to go in and fade but if you didn't make the pre so there was a long time ago that's where it gets tricky because you don't know you don't want to poke through every single every single little panel there alright so that is our that's our presets let's take a look at so here is a here's one here's one that I think is a Photoshop tool you can use it for purposes of evil but if you you it's an incredibly powerful tool for you sometimes you think just portrait retouching but there's so many other uses we can have for it that's the liquify tool so if we start to think alright you know I got a portrait I'm going to go into Lightroom I'm going to go in the Lightroom I'm going to do my basic edit you know I'll open up the exposure a little bit here maybe pull back a little bit on the highlights certain things if I can get done here inside of Lightroom I'm going to do you know follow min on the eyes and I think you know maybe the eyes are a little bit dark I could go grab my brush tool bring that exposure up a little bit and really zoom in here bring that exposure up a little bit and I can brush some exposure I am brush a little bit of exposure onto the eyes just to brighten them up so if I can do that I'm not going to go to I'm not going to go to Photoshop just to go another thing you might want to do would be teeth you know teeth whitening in fact Lightroom actually has a preset called teeth whitening right down here this comes with it all these are these numbered ones are presets I created in here but if you go one of your default ones it's called teeth whitening so what does it do it brings the saturation down and it makes the exposure a little bit higher so we'll go in here we Alex and will crest whitening strips going on like so a little side tip for your teeth whitening adventures is sometimes you might have to tweak that saturation slider you don't want great teeth so you know whitening is really more about removing the color tint than it is about brightening the teeth but you definitely don't want great teeth so sometimes they'll come up and I'll increase that saturation so I'm going to get my Lightroom work done as part of that workflow when I can anything I do in Lightroom I'm going to try to but let's just say where we want to we want to move and shape and sculpt one of his teeth there's got a little bit of a sharp tooth there oh you know what one more thing is we can go grab our Spot Healing Brush hit the left bracket key and click there also if it's ever a birthmark if it's ever something like I think I have one on like one of my eyes or something like I would know if somebody removed it you know but ever a birthmark if you want to just lessen it then you just go over here to opacity and you can bring the opacity down so that way you're just kind of reducing the impact you're not getting rid of something that someone's going to look at me like and know that I had that there all right but let's say at this point we are ready to jump the photo shop so photo edit in we're not going to do that Laird Fanning this time because we don't have to we just want to open up this one photo so I choose edit in Photoshop if it's a raw file that's automatically going to go there I think some of my demo files I just have them saved as JPEGs because they're a little bit smaller easier to move around so if it's a non raw file it's going to ask you what do you want to do do you want to edit a copy with Lightroom adjustments or do you want to edit the original there's not many places where we use the middle option so in this case I don't want to edit the original because this is the original file as a JPEG I'd be overwriting it so I choose edit a copy with Lightroom adjustments and that will jump us over into Photoshop maybe there we go so now the liquify tool this one's pretty cool so what I would do is press command or control J make a copy or your layer and that way you can work on a duplicate copy here I can come up here to the filter menu go down to liquify and liquefies got all kinds of neat stuff in it it's pretty amazing so like look it's got a whole eyes section and watch what happens so and I can link them together so it's got eyes it's got eye height it's got eye width it's got eye tilts it's got eye distance and it is I mean it's really it's amazing that it does it yeah you don't have to select anything its nose mouth that's that kind of smile not smile so we're not going to use any of those for this what we're going to do is we're going to zoom in because I actually don't use liquify to malaika I think if you're doing that stuff you're that in that kind of next level of portrait retouching magazine that type of stuff you know you're just shooting events and in portrait sessions you usually don't have time to go through and do all that stuff for people though it's go into a magazine or whatnot I think usually spend more time but this kind of stuff so this very first tool here this forward work tool what we can do is you use it and you just basically click and nudge and you can Reese Culp things and if you look at what I'm doing I'm not grabbing an edge and moving it because that's where it gets pretty unpredictable right because now there's so many things under my cursor doesn't know what to do but if I start inside the tool inside the tooth and I nudge I can start closing that up little moves I don't have to do great big drags with it so probably right about there click okay so let's take a look let's get it right about there I can turn off that layer since I made a copy but simple little changes like that I use this tool a lot let me show you another example here I used this tool a lot for show you my retouching one here so again this is it's going to seem you're going to laugh it's going to seem silly but you know a lot of times I think sometimes were own worst critics with photos and sometimes people have something about themselves in a photo that they just don't like and so like I review here's a photo like this is a big guy he's kind of leaning into his fiancee a little bit you know so makes him kind of look like he slouched over he's really not but just because he's you know she's shorter than him he's kind of leaning in so again commander control J I always like to do it in on a duplicate copy but let's go filter liquify and I'm going to hit the right bracket key because this is a brush so right and left bracket keys make it larger or smaller and I'll make it big kind of about the size of his shoulder even bigger again small nudges nothing crazy like you don't want you wanted to go like that small little nudges with it and then even by make it a little bit smaller we can we can actually hear the Exodus this is a good example there is a little tool over here called the freeze mask tool so what I could do is I could paint over here and what I'm doing where I paint I'm freezing it I'm saying don't mess with this all right I probably be a little bit more particular do min but now I can grab that brush and I can even you know just tuck that in a little bit come over here same thing go freeze all of this so we don't start to warp it and now this tool changes to be the booty shaper shhh rap you go that forward but you know we can just kind of tuck in it's great for tucking clothes in little edges of clothes you said missed the edge there so it's not going all the way but it's really good for just tucking any Flyway clothes or anything like that so we'll click OK again nothing crazy before after so small little changes like that so that is liquify as you have seen you can use it for purposes of evil none of you would do that none of you would ever say I'm going to take this gentleman and take his nose maybe a little bit of eye there we go yes what else can we do with it oh yeah chin height ha ha ha ha we got some fun with this upper lip let's take that away you even need an upper lip lower tulip either what's that if there's two people in the picture look at this if there's two people in the picture what it's going to do is you should see you should see there you go face 1 and you'll see it'll say phase 2 I always wondered what it'll do with the person with an eye patch on like a pirate what's it going to do with the eyes all right that is our liquify [Music] next up let's talk while we're talking about portraits let's talk about shine all right so this this one's really difficult to do inside of Lightroom alright so Lightroom does have ways to do certain things so you're going to you know shadows/highlights get your overall basic toning done for your portrait but shine is going to be a tough thing to remove inside of Lightroom so and shine can really can really ruin a photo so again we jump over into Photoshop just like we would on our other photos here there we go alright again I always try to make a duplicate copy of the layer just so I I do this a lot it's good to work just non-destructively and I also do it just so I can easily show you guys a before and after alright so we've got our duplicate copy of our layer up here now there's a lot of tools we can use for this that will work on a separate layer so I'm going to create a blank layer and my layers panel here again if you guys were doing this you could probably come in here and skip that copy layer part because you don't have to show people before and after ok so what we want is a blank layer and we're going to go hop over here to our Spot Healing Brush zoom in so the way the Spot Healing Brush works is remember it's a brush right and left bracket keys make it larger and smaller is all we have to do is paint you know what the sample you'll have to do anything you just paint so if I want to get rid of a if I want to get rid of a little hot spot oh I have the wrong tool selected there we go but I want to get rid of a little hot spot all I have to do is click and paint I'm going to turn this off because I want to show you what happens because that's the default so if I click and paint what happens nothing right why because I'm not sampling on the right layer right this Spot Healing Brush has to sample from the photo to fix it but right now it's on a blank layer so it's sampling from a blank layer so if I go ahead and turn on sample all layers that basically says sample from whatever is underneath my cursor don't worry about what layer is on just whatever is underneath it so now I can go over here and paint looks great doesn't it so sometimes the Spot Healing Brush is going to work great like I think I want to say work good over here and then you can reduce the opacity and kind of blend it in but a lot of times it's going to do one of two things it's going to if you use it in a large area it's going to pull in from something you don't want it to let's see here it's starting to pull us a little bit from the eyes and the eyebrows if I try to do too much over here it's probably going to start to pull from just parts of the photo we don't want so if it actually didn't do as good of a job on the nose as I thought but it usually yeah that's not too bad but when it fails that's when we go over to the Healing Brush so the difference is is the Healing Brush will let you sample from something all right takes a little bit longer but it will let you sample so what I mean by that is is I hold down my option or Alt key and click see a little crosshair so I click the sample and now I can brush same thing over here option or alt sample and then brush and now I can start to fix those areas we can even try the chin again and then a larger area like this that's where it really starts to shine yeah what intended huh but you see I can paint over those areas now you're always going to follow it up by reducing the opacity and what I'll usually do is bring it down to zero and then just gradually climb until I split the difference probably ought to be able to get rid of all of it but all we're really trying to do is just reduce it a little bit take some of the super shininess away okay so remember spot healing brush easy quick just click paint you don't have to sample you don't have to do anything healing brush that's what I want a little bit more control I can sample from something and then paint over and it will pull it'll keep pulling from my sampled area all right let's go jump into here's a neat one so another example would be we've got two images and along your Lightroom Photoshop endeavors whenever your your clue that you're going to have to jump into Photoshop is you've got two images Lightroom won't let you combine two photos together right so if you've got the best of both worlds you've got two images that you've shot and you want to try to get the best of both worlds that's going to be a Photoshop job so here's a good example we got photo of guy swinging a golf club out of the sand and then we've got that one so and by the way I'm thinking more artistically I took the photos it you know if you're putting them up to a wire service or whatever you're fine never going to do any of this stuff so this is more artistic type of stuff but artistic or creatively is and that's why I'm not a sports photographer because I can't get away from the creative part creatively I like that shot of him better doesn't have the ball right but I like that shot better I like the spread of the sand I like everything else so what we can do is we can select both of these just shift-click like we did before and we go photo edit in we're going to open these layers and bring them both in the Photoshop just like before it's going to stack them on top of each other so now you can see we have the bottom layer which is kind of the shot that I like and then the top layer which has the ball and they're both off acne other they're not matched up or anything like that so this is pretty neat go to your layers panel and what you're going to do is shift click so shift clicking in Lightroom selects multiple photos shift clicking inside of Photoshop selects multiple layers so you shift-click to select and target both of these layers you're going to go edit down here to Auto align just choose the auto option click OK and what it did is it just you couldn't really see it happen too much but what it did is it just adjusted all the main parts of the photos so that they overlap ok so now all I have to do is go to this top layer here I'm going to add a layer mask if you're new to photoshop I know we have a lot of varying degrees of skill levels in here so really quick if you're new to photoshop you haven't done a lot of layer masking the way to think of this is as I added a layer mask the layer mask is white until I paint on it with black nothing's going to happen so I grabbed my brush tool set my foreground color to black paint on it with the opposite color whatever you know if it's white paint on it with black and so now wherever I paint with black I'm going to be revealing it's almost like a racing I'm going to be revealing the layer below here's where it'll change so now I can bring those in so now I get the ball and I get that pose that I wanted from the shop so again I'll undo select your brush tool B for brush foreground color to black just paint and if I happen to paint and paint so Oh too far what do you do switch your foreground color from black to white and just paint it back Oh switch back to black there we go all right and then when you're done file save I deliberately didn't crop it there this will take us back over to Lightroom where we have our new image here and then I deliberately didn't crop it there because I wanted to let you guys know this this Lightroom Photoshop Lightroom workflow don't get too hung up on oh god I forgot to do something before I went to photoshop I think you how many guys have been kind of messing around with digital stuff for at least 10 years so most of you so you guys were you guys were probably paying attention back in the day when we had a very specific workflow right it's like you had the crop and then you have to fix your color balance and then you had to fix your exposure and then you have to fix your detail in your shadows and do noise reduction last you you probably remember the days of a very very specific workflow it's not bad to do that I don't want to say throw that away but what I'm telling you is that it's not as important as it used to be okay you're not degrading the file if I decide hey you know what let me tweak the shadows a little bit more right it's where you lose the quality as if I went from a raw photo the foot I had a blown out sky and I didn't do anything with it then I went to Photoshop maybe removed a soda can from the foreground then and I had but now I had to render that raw file into a PSD or TIFF now I came back to Lightroom now I've lost a little bit of flexibility because my shadows and highlights in that that new file are not going to be as good as they were in the raw file I'm not going to be able to pull when I need to but in this case if I want it to do a small change like bring the exposure down or add a little bit of contrast or go over here and crop out that weird word spot on the right hand side I'm not losing anything on the photo not degrading it in any way you're going to say it so there's a workflow it's okay to follow your ear steps but don't necessarily be chained to them and think like oh man so you know 10 years ago I had to do my noise reduction last or my photos going to explode because it just it doesn't work like that anymore okay close that up clean some stuff up here let's talk selection complex selections no less so let's take cute fuzzy animal here absol you know what no will do simple I'll do two we'll do a quick we'll do a quick kind of photo composite this is another one of those Lightroom things that you're not going to be able to do if you want to composite two photos together you got to jump over into Photoshop so here I've got a background and then right next to here I've got I've got this little dancer dude so what we'll do here is oh gosh I hope okay so shift-click to select both photo edit in open as layers so that I'll stack them both on top of each other inside a Photoshop you can do it there we go that's one that's two okay let's put our background at the bottom there select my top layer use the Move tool I'm a little bit off by the what it looks like one photo is larger than the other one you can see that's why that one's so much smaller so we could do a couple of things I'm going to cheat because you'll never be able to see it on a computer screen I'm going to make him bigger I just did that with edit free transform okay no all right so we got him on the we got him on to our layer here so it will start off selections and I think selections before I before I even dive into it so this is a good topic if you're how many people were in the earlier class today right one of the things you heard me say was I have different degrees of like or love to a photo and I think you know we all we all kind of talk that a lot of you guys are like that you know you like a photo really like a photo I absolutely love a photo this is going in my web portfolio it's going to be full screen I'm going to put in a photo book I'm going to make a big print for the wall on like I love this photo so we've got all those different degrees if I think I really love a photo then I'll come a lot of times over in a photo shop and I'll make some adjustments that with a selection tool to the sky or to the foreground and then in the class this morning you saw a lot of me using the graduated filter and kind of feathering adjustments and everything those are great and it's awesome for quick but if I really like a photo and I want I think I might mean if somebody's going to be able to examine this it may be it's a photo contest I'm taking it to a camera club when I'm going to submit a contest and you know somebody might see the details a little bit more then I'll spend time to do a selection in Photoshop so even though something like this needs to be done in Photoshop selection tools in general are one of those things that take a photo to the next level we can't do that in micro so we'll go grab our our quick selection tool and you kind of just outline it's basically a brush and you just outline whatever it is you want to select okay now once I get close I'll zoom in it'll take a minute or two but it's worth spending some time to just try to get it as close as you can all right so go in here you know make sure we get his fingers you can see look how it expands and as soon as I let go of my mouse it contracts like Photoshop looking it's looking a little wider and then it'll contract back in you go too far option or alt-click and you can subtract and you're going to see I'm not going to get too picky around the fingers because number one we have a limited time number two we won't have to when you see it over the new background so I'm holding down my spacebar key now going around the edges and all I'm doing is painting when I see that it missed something okay now see how it went too far there option or alt-click and gets rid of it and it learns that's what's interesting so it went too far that first time and you'll see I'm painting in the same spot this time and notice it didn't go back out over there again it actually learns as you go as you go and you it goes too far and you pull it back in its adaptive so this work around the edge grab his knee I know this is enthralling to watch isn't it I pick an easier photo next time that's looking good up so we missed the whole middle part here we don't want to add subtract almost done I promise ten more minutes that looks good grab the other part of the shoe jeans jeans pushy grab that at that all right we're done I'm calling it quits okay so we got a selection surprisingly enough the furry animal that we're going to do next is easier believe it or not so we got our selection we're going to go up in here to the select and mask dialog box it's going to open up and you got a couple of different views up here you can do the onion skin view which kind of lets you change opacity between this foreground background you can do the you know red overlay you can do on black on white what I like to do is on layers because remember he is already in his new background so had I had I left the photo the way it was before this would be more difficult because I'd have to guess what it was going to look like but now that I've dropped him already onto his background I can choose on layers because now it reveals a background so now I know you know if I were to put him on a different background made like the fingers it's gray his backdrop was gray I will not picky around that area so sometimes it'll save you some time so we can zoom in we actually did actually did a pretty darn good job I think it's a little Jaggi around his legs if that happens what you can do is there's a brush right over here the middle brush the refine edge brush and what you would do is just paint paint along that edge there and then sometimes you know you have to experiment a little bit with it sometimes I'll start on the inside or the outside now that's not going to do it not liking it oh yeah trust me this stuff out I mean this is I could show you like the gimme photo where it works perfect but then you're going to get home and it's not going to work perfect so all right so it's the refine edge brush isn't working it usually works pretty good you can see here it's kind of just leaving it smudgy let's try down here we'll go down here to radius so what radius does is makes it worse apparently what radius does is it actually starts to look around and starts to try to fix it if you look at you can give it a larger like five pixels means it's going to go five pixels on the on either side of it to try to fix it so radius isn't doing the job we can try smooth that helps a little bit feather is just going to soften it so I don't think feather is going to get us what we want we'll leave that down contrast is going to make the edge a little bit contrast here that makes sense so now you can see it's starting to starting to mold in there a little bit more okay so I think that definitely looks better if you miss like you can see here then we can go see this third tool here this is a straight brush so basically when you use this tool it's think of it as a selection brush you're saying I want to add to the selection or take away with a brush so see what it did there just added that area and I'm going to undo what I would do is option or alt-click and then smooth it out okay all right so we got him on his background let's go ahead and we get to output this to a selection we can output it to a layer mask or a new layer I usually jump in here and just output this to a layer mask click OK and you'll see it leaves that little mask in case we ever want to go back to it but that's our selection process if it looked good let me good so that's our selection process if it looks hard this is about the hardest thing you can do in Photoshop okay the hardest things you can do in Photoshop just as a general photographer I'm not talking graphic design or anything like that the hardest things you can do in Photoshop replacing a person's background it's not natural don't think it's going to come easy replacing a sky changing a background moving a background blurring a background like doing a fake bar in the background these are the hardest things you can do in Photoshop and the world all need to collide and combine and be perfect for it to really work so I want to scare you away from that I probably am but I just want to set your expectations like you know it takes you looking I mean this is this is sitting up here like me moving kind of quick and it takes a while to do this stuff so it is it is definitely difficult stuff if if we're really trying to make this work what I would do here is a commander control J duplicate that layer and then go to edit or edit go down here to transform I would flip it vertically and then take my move tool and move that down and reduce the opacity a little bit there guess a little bit of a reflection and if you really want to get picky I know we're going to wait like this is going to turn into a compositing class if you really want to get picky though I'd go to my background layer add a new layer on top of it the one thing it's really missing is a shadow so I take my brush tool I'm just going to click back gonna use a smaller and a really feathered brush here there we go just going to click and then reduce that opacity just a little bit of a shadow right under a shoe there okay all right so let's do warm fuzzy little animal ah so let's uh let's blur the background of this guy a little bit all right there's really nothing nothing to speak of that we need to do here inside of white room so let's just jump straight over to Photoshop because this is actually a very different selection than the last one we go grab our quick selection tool make a basic quick selection like so all right and then we will hop up to select the mask so in the last example we had to do quite a bit a little edge work there there is a tool that we saw here and it didn't work so good on the last example and I think probably because his pants were a greyish color and his backgrounds of greyish color but when you have something that's pretty got a decent distinguished difference from its backgrounds this tool right here this refine radius our refine edge brush is amazing so what it does is we just paint around and it goes and it takes care of all the little fuzzies for us so if you're not sure if you can't see what's happening let's switch it over let me go on to maybe a white background let's go try black background so take a look see will show original checkbox here that's before that's what I see he liked it that's what I came in here with and just by brushing that's what we're at in fact I'll undo command or control Z but look at that so let's go down there all right so it looks like we got a lot of the edges and then from here so let's just go to we'll just click ok let's output this to a selection so now I have my selection and then what I can do is maybe I want to blur the background a little bit more maybe I want to make the background darker oh I can go select inverse which just flips it so now everything but the animal is selected and then I can go to like filter blur gallery I can go to to field blur you can see here I can add a little bit of blur to the background give it a second to catch up by the way if you ever see selection edges you can usually just press command or control H to hide or go under your view menu and you can see where it says show and I can hide my selection edges look at that though pretty cool filled by yeah just go filter blur blur gallery filled blur if I wanted to darken the background then remember I already have a selection active you're just not seeing it right now if I wanted a dark in the background I could go do brightness and contrast and now I have control so I know it looks more complex but it's actually easier sometimes than what we're working with before a lot of it is also it's it's these tools all these selection tools they work based on contrast they work on the contrast of your subject in front of its background so you know I think one of the most common questions I get whenever I teach this topic is what do I do if I have a person with black hair and maybe they're standing in front of this monitor that's got a lot of black maybe they're in front of a tree that's in the shade is black good luck you're not going to be able to do it it's just I hate to say it's impossible but it's pretty much impossible because there's no contrast there's nothing for any tool to be able to do so and you won't be able to manually go in and paint out every little hair so there's got to be contrast which is generally why anytime you see anybody teaching the topic of compositing they're teaching it with people shot in the studio on a white in front of a white or gray background because you have to set yourself up for success so all right let's take a look let's do that let's see a smart object one this is a this is a good one for a good one for a little bit of selection and a little bit of kind of diving into to what I had said before anybody that was here this morning saw me do something along the lines of developing the photo where I went let's in fact we'll develop this photo I'll go to the crop tool I'll take my my straighten tool let's straighten the straighten that open up the shadows maybe make it a little bit brighter overall and then I did something along the lines of taking the graduated filter brought the exposure down and then I can darken the sky all right and then I've got these little tricks you can crank up the shadows the shadow you if you start to darken your trees too much right you can crank up the shadows I could take the there's a brush that goes along with the graduated filter I can take that brush and I can paint I can paint the effect away from the mountains it's all hard to see it's make a door there we go I can paint this away from the mountain so we've got these tricks and things that we can use to try to be pretty quick about it go back to what I said before which is how much do you like the photo just kind of like the photo by all means do the fast quick way if I really like the photo like if I think I'm going to go to the next level with this photo then that's what I want to jump over in a Photoshop and do it in a little bit more of a controlled way so what would that be for this photo what that would mean is I want to get control of the sky and the foreground separately so I'm going to go ahead I'm going to kind of develop the photo for what I think the foreground should look like all right so I think we got it fairly straight maybe warm it a little bit here open up my exposure a little bit more option or alt-click wife is going to be hard because I think my white point you know you can't always set a white point hopefully you kind of know so it's not a formula we can look for a white point and then you got to look at the photo like I got it there but that doesn't look good on the photo so we're going to want to pull that back a black point we can try to set that again I'm not going to go too far with it a little bit of clarity but overall I'm kind of liking where we got the foreground I think the sky is too bright but I'm liking where we got the foreground here maybe a little bit brighter so we got the photo going good we're going to go to photo edit in and we're going to jump over to photoshop this time we're going to do it as a smart object alright so what that's going to do when we get over to photoshop we're going to have a normal document you're gonna have a normal layer in there and it's going to have this little smart object icon in it we call this we call this little trick double processing so you're basically double processing a raw file Salo icon as the universal symbol for smart it means that this is a smart object what does a smart object get us smart object gets us a couple things inside a Photoshop it gets us non-destructive filters so if I were to go to filter blur gallery filled blur like we did on that last example crank up the blur click OK you're going to see that that filter is going to show up as an editable little stack underneath my smart object meaning that I can now click on it I can I can go to my smart filter here I can go to my blur gallery I can change it all right I can go I can go click on the little eyeball iconic and turn it on and off now it's good it's a big this is a big file which is why it's taking a while but it's a rillette it'll filter so smart filters get us that I don't really want that for this example so I'll undo smart filters or smart layers also get us non-destructive raw editing over and over again and what I mean by that is is if I double click this layer it's going to open back up inside of Adobe Camera Raw Adobe Camera Raw in Photoshop is the same thing as the develop module in Lightroom they share the same code they're the same basic things just different interfaces so now I can change whatever I wanted if I wanted to do that click okay I change the photo well here's where we can use this so rather than try to work a graduated filter in the brush and fiddle with all the sliders I'm going to make a copy of the smart of this layer here so I'm going to right click and I'm going to choose new smart object via copy so now I have this top layer here so now what I'll do is this is going to be my sky in fact they'll double click and rename its sky this is going to be my sky layer so the first thing I need to do is I need to make a selection of the sky so let's go to our quick selection tool click and drag zoom in it did a good job along the mountain range I mean we figured it would it's a pretty easy edge the trees are probably not going to be as good when we go in to select and mask that's what we go in with remember we can take our little brush over here that refine edge brush and all I got to do is just paint just like that and I know it's hard to see what's happening but take a look that's the original okay so let's output this to with selection so now we have a selection of the sky if I click on the layer mask icon don't answer out loud thank yourself if I click on the layer mask icon what happens what's selected stays right so if I click on this layer mask icon and make a layer mask what's selected which is the sky stays what's not selected which is the foreground is now hidden now this is a duplicate of the same exact layer so we don't see a change but let's go back double click bring my exposure down click OK see it so now it's different if it's too dark double click bring my exposure back up a little bit click OK double click maybe bring my exposure down a little bit more maybe make it a little bit more blue because we warmed it earlier click OK it's too dark now here's a neat trick for you one of the things I don't like I actually don't mind it over here one of the things that looks fake to me is this transition between the mountains and the sky so I can go down over here to this bottom layer and remember if I double click that now I have control over that smart object so I can make it brighter and the layer mask is keeping everything intact right the layer mask is making sure nothing happens well I can go down here to this bottom layer I could go and take like let's say my graduated filter and I could feather in a little bit of darkness along that edge in fact you do it along the whole thing here and what's going to happen I know it's not it doesn't look right in the sky but we're never seeing that part of the lair because that's part of this layer here I left the photo like this that would look weird but now I need to keep going back and forth and kind of kind of adjusting but that was a nice easy way for me to paint the top of that mountain range and never have to worry about an edge I already did that work with my selection before so now I can go down here to this layer and I could take my brush tool you know I could do this right we're never going to see the part of the sky all we're going to see is where it bled over into the mountain I don't want to do that but that's the idea behind it so go back over here to our grad filter I think it was probably a little bit too dark but kind of pull that back a little bit maybe even pull back on some of the highlight in there click okay so that's I think we our question before about smart objects powerful stuff I don't use them all the time you're limiting I can't I can't brush I can't go to a smart object layer and grab my Healing Brush tool I can't brush on it I can't clone I can't heal on it there are certain things I can't do to a smart object layer because you're probably thinking will I just use smart object layers all the time like if they have all these benefits that's the problem as they come they come with some limitations to them too so I don't use them all the time and then from here same I'm not gonna do it every time but file/save brings us back over into lightroom and would save that layer document all right uh hero let's uh let's finish up here so this is a neat this is a neat little uh that we're couple things we'll finish up with this is a neat one again assume people I sadly assumed that some people are like me which could be bad oh you got it who got Lightroom presets cool so we got our presets we love our presets I think as photographers and especially if you're not doing this as a full-time job alright this is more you know maybe maybe you do some shooting gigs on the side maybe you really love photography you're doing this kind of as a hobby I think all of us go through phases of stylistic changes and stylistic differences you know one week we're like all into black and white and then six months later you're not doing any black and whites or vice versa so what I'm about to show you is one of those at least it's one of those things that's happened for me some changes in some stylistic presets that we can use in our photos presets and Lightroom are great and I do think I do think they're really good starting place to do some things to photos as I hover through and I can see what can be done as I look through my presets one of the downfalls of presets are they're going to change the whole photo all right so if you include exposure in the preset if I go over to this photo and I set the exposure the way that I want it I could go to a preset that could very well change that exposure so totally I've created the photo that I want now I want to style to it Lightroom presets don't distinguish those two well alright Lightroom presets they they really merge in with each other quite a bit so let's say tonally you get the photo the way that you want we're going to jump over to photoshop and there is a tool it's actually been around for a while it's a tool that was put in there for video it's called color look-up tables or Luntz all right you might have heard the term color grading you know if you've done anything with video we have seen did it if you ever watch what some weird talking about it before the last class Game of Thrones who watches Game of Thrones seriously there's only like two of us in this whole thing that watch Game of Thrones I can't consciously Jane man and last week was such a good episode you'll understand like like last week what we've all been waiting for for five years and Game of Thrones finally happened it's I don't want to spoil it too much I've noticed there's dragons and we've waited for five years to see these dragons in action because they were eggs when we first saw them and last week we got to see the Dragons and all of their fury it was awesome anyway I don't even know where oh so when you watch these shows Lord of the Ring come on come you gotta say Laurie Laurie when you watch these shows you notice they all have a tint to them you have Game of Thrones like when they go to the winter scenes the you know the girls when the girls has red hair red Kate's there's a reason why they dress them like this and they cast it like this but then the faces go very blue and very pale and that's that's what color grading and so what color grading these color look-up tables do is they map one color to another color so you can map skin tones to a bluish muted pimp and then you can map red tones to a saturated pin so why when you watch these movies of you know there's a redhead in this wintry scene the red hair and whatever clothes they're wearing pop out but everything else appears muted and desaturate it the nice part about these color look-up tables in the way that they're created is they take a lot of the tonality differences out which is what we're we're having we have a little bit of a problem in Lightroom sometimes so it's really literally just mapping color to color color to color and it's leaving shadows highlights exposure all that stuff out of it all that to say if you go to your adjustments panel inside a Photoshop don't see just go to window adjustments the little grid over here color lookup so the ones you really want to worry about are going to be these 3d lut files there's some other ones down here I found the cooler ones are in the 3d lut file ones so I'm going to skip these are some presets that I'm working on so let's give all the Matt Kay ones come down here to strip look interesting look at see how the Reds kind of stay a little bit different tone but see how the greens are getting really muted that's almost like the Game of Thrones three strip come down here bleach bypass look now it's too much on this photo but Nelson saying you can't go to your opacity and pull it down let me see it gets candle lights a little bit weird Chris warm I like this is one of my favorites I really this looks awesome on fall photography so like fall fall landscape photos but I think it looks really like to me it makes this photo go from I mean it's got a nice look to it but kind of almost looks like you know summer morning summer late afternoon again you've got control of opacity which is something people always ask about inside a Lightroom I apply a preset how can I kind of reduce the opacity of it you really can't ah let's see here Chris winter drop blues edgy amber fall colors fall colors believe it or not looks good on fall colors film stock foggy night I've actually tried it on night photos it looks pretty neat a couple of these Fuji ones these foods you they get pretty cool you'll see you'll see a lot of that matte type of a look with some of these futuristic bleak horror blue codec that's kind of Annie I like that one anyway I'll style I'm going to say I won't go through all of them and I pretty much gone through all of them teal orange plus contrast that's probably one of the most common ones that you see out there teal orange type of a look soft warming is nice - I kind of like sophomore me so you don't really mess with them there's not really any settings that go around them if you wanted to learn more about them there if you do if you just Google 3d lookup table creators it's really on that for video but there's programs that can create these you can buy a program to create these and it then saves it as a lot file that you can then import into Photoshop a little bit convoluted but you get really geeky over this stuff you actually can make your own but as far as we're concerned it's just a lot of neat presets there's some pretty cool stuff that you can do inside of here so don't forget they all have opacity and then you've also got blend modes so if I do what was one of the ones that I liked before it was a follow Chris warm Chris warm I could go to Chris warm and then I could go to the screen blend mode it's going to make it brighter I could go to soft light it's going to make it more contrast II see this was normal so play around a little bit with it but that the goal of it is is you know I've taught it before and the question comes up isn't that what Lightroom presets are for yeah but I know sometimes I think we either get bored of using the same presets over and over again or there really is a difference a Lightroom preset morphs in and out of tonality changes where these are really meant to go color to color and give you some pretty neat things and they also are an adjustment layer here so you can turn it on and off and and if you save this as a if you just go to file save it saves as a layer so you'll always be able to go back in because it's an adjustment layer you always be able to go back and either delete it turn it off or double click and change it because it's just like every other layer okay alright so let me jump back over here I think that wraps ah going to show you our I'll show you what I'll show you one last one I'll even even do it on the same photo here which is one of the reasons member this is Photoshop for Lightroom users one of the things I see people do a decent amount is add texture to your photo again that's something you can't do inside a Lightroom you can't you can't combine photos on top of each other but let's go jump this one over into Photoshop and then what you would do is just select all you copy your texture and then go paste it over onto another document I will cheat and free transform it there we go and so all you have to do to get the texture to take is change it to soft light or overlay see it so it's supposed to blend in and you don't have to do you're not restricted to those to blend modes screen will blend it it'll just make the whole photo brighter multiply it will blend it it will make the whole photo darker so you're not stuck with those two but what you'll find is overlay and soft light will give you the most neutral will keep your photo fairly the same and just bring the texture into it that makes sense see the photo stays generally the same a little bit more contrasting but it brings a texture in so and then of course you know you've got your opacity and everything but that's something I see a lot of people do between Photoshop and Lightroom as well okay got I'll hang out for a few minutes if you've got a question in the meantime thank you very much for coming by appreciate it thank you

Channel: B&H Photo Video

Views: 26,566

Keywords: b and h, b&h, bh, photo, B&H Photo, Video, BH Photo, video, bhvideos, bh photo, photography, for, lightroom, users, matt, kloskowski, matt kloskowski, adobe, mattk, photoshop, adobe photoshop lightroom

Id: nTgwZEWtENc

Length: 77min 13sec (4633 seconds)

Published: Fri Sep 15 2017