Photoshop Masterclass: Using GenAI for Photo Compositing with Howard Pinsky

good morning everyone and welcome back to Adobe live my name is Howard Pinsky senior design evangelist here at Adobe hope you're all doing well on this what day is it Wednesday Wednesday morning afternoon or evening if you are tuning in live here on beans let me know in the chat who you are and where you're tuning in from we've got Frank and Robert and horg and Carol and CJ great to see all of you hope you're well if you attended Adobe Max was it last week or the week before time is weird I don't know hope you enjoyed it hope you soaked in all the exciting news and announcements some of them are going to be going over today hey Oliver great to see you as well all right so what are we going to be tackling today well we're going to be diving into a little bit of photo composition in Photoshop using generative AI I did deliver this session at Adobe Max whenever it was two weeks ago one week ago something like that uh this one was not available online because I took over a class from Julianne cost um so hers is available online so definitely go check that out but mine is not so I figured we'll touch on some of the topics that I kind of explored during that session today all right let's go ahead and hop over to my screen and before we dive into photoshop on the desktop I do want to showcase photoshop on the web very quickly because we did release this publicly a few weeks ago actually myself and Ashley still were at the code conference which was really exciting and we kind of unveiled this it was it's been in beta for a while but it's now officially available to the public uh Hey Andrea and Marcy great to see all of you Oliver says Max was the week before last yeah see I don't know time anymore it's especially when you get home from a conference you just rest for a while and then you just forget what time even is all right so photoshop. adobe.com you can access photoshop on the web from all of your different devices uh works great on Chromebooks which is wonderful and a lot of the features that that you're familiar with in Photoshop on the desktop are now available on the web which is amazing so let me just hop open this document for a second and they all sync with your desktop documents as well we've also brought generative fill and gener of expand to the web so you may have seen this demo I for some weird reason I like removing dogs but in this case it's Justified because this dog is a bit blurry it's out of focus right so you want to remove the dog so I'm going to go ahead and grab one of my selection tools and you might notice in Photoshop on the web we've grouped tools a little bit differently but slightly more intelligently so if you do like that kind of grouping let us know you can also you know do that manually in Photoshop on the desktop as well but one thing I was while I'm making this selection one thing I talked to a lot of people about at Adobe Max is especially new users what do you want to see on Photoshop on the desktop to improve your experience I would love to hear some comments in the chat so I've gone ahead and made a selection around this out of focus dog and then down at the bottom we have our contextual taskbar on Photoshop on the web I can go ahead and pop in there and then press generate it's going to start that process of doing exactly what it does on Photoshop on the desktop now on the web which is wonderful in a few seconds we should see some you know three different results for the removal of poor whatever this dog's name is right so there's one not bad there's two it added a pillow in there which is great this one's a lot better he's kind of manspreading which may not be what you want but it again it added a pillow in there for him to rest his arm it can kind of Photoshop I guess detected a little bit of a pillow right there right so it just created the rest so even if it wasn't a perfect generation this one's pretty close it probably got us like 80% of the way there and it just transformed this image which is wonderful all right so enough of Photoshop on the desktop I mean the web we'll probably do another stream on the web in specific but one more thing I want to show off that kind of snuck under the radar at Adobe Max especially For You Lightroom users is we added lens blur to Lightroom so what does that mean well you may have taken a photo whether it's on your phone or on your camera and the f- stop was like F-16 or 22 or whatever so you don't have a lot of blur in the background right golfing last week I think again time is weird I don't understand it um went golfing took a selfie cuz that's what you do I suppose and I want to blur the background a little bit more so in Lightroom either on the desktop or on your phone you can find lens blur which is down here at the bottom I can go ahead and ply that and it uses AI to generate and figure out the depth right so you don't have to take a portrait photo or a shallow depth of field photo which is wonderful right so I can adjust the amount of blow I can make it really blurry if I want or just a little bit blurry we can also control the different bokeh bokeh B bokeh however you pronounce it uh so you have all these different options here you can also adjust the focal range so if you wanted more of the foreground uh in Focus you can kind of pull that or you know out of focus I should say or if you wanted let's say maybe the golf bag in the background right so if you take a look here my scraggly beard right so here it's a little bit out of focus and here it's more in Focus so you can very easily kind of pull this slider right over here to the right but you can take it even a step further you can visualize the depth right so if you wanted somewhere around here but then you want to add in manually the bag the golf clubs in the background you can turn visualize depth on it's going to show you what's in focus is kind of in yellow what's out of focus is a lot darker so what we're able to do is we can choose what we want to brush in Focus or blur so I want to maybe brush in Focus right and I can control the brush size all this fun stuff maybe I'll lower the brush size and I can literally just paint in what I want to be in Focus it's a terrible job but I when I turn that off you're going to notice it's now in Focus so it's mind-blowing right here's one more very quick example this was actually generated using Adobe Firefly so I can turn on lens blur it's going to estimate the depth of field and give you this really nice effect in the background you can blur it quite a bit if you wanted to and look at that bokeh back there right you have all these different options it's just fancy all right Marcy saying part of what amazed me about generative Phil is that all of you who present have to go live not knowing what the results Marcy you have no idea sometimes you get results and it's gotten better but sometimes like 17 arms pop up on the thing you're generating and sometimes it just doesn't go through if the w-i is not working it's a lot of fun uh but that's what makes my job enjoyable all right let's let's go ahead and hop over to photoshop on the desktop cuz that's what all of you are here for I do want to showcase a few things that I demoed at Adobe Max specifically around photo composition so the first thing and some of you may have seen this already is extending images in Photoshop using generative fill and generative expand so we have this image here wonderful image from Adobe stock I might want it to be a little bit larger all of saying only 17 arms it's gotten better so now now we're down to 16 uh all no honestly Firefly 2 if you haven't used that yet um Firefly adobe.com mindblowing stuff and hopefully soon that will come over to photoshop so so generative fill and generative expand will be astronomically better so stay tuned for that so the first method I want to showcase is generative expand in Photoshop really simple stuff right so if I go ahead and zoom out and grab my crop tool shortcut keyc I might want to expand this out maybe in both directions right now previously you can expand it just transparent so you just have some transparent sections on the side or content to wear fill let's start with that and in this example it probably won't be too bad it's not bad but what content content aware Phil is doing is it's really kind of grabbing existing areas of the image and kind of pasting them almost it's almost like copy paste right so you can kind of see that this tree here probably exists somewhere else you have part of this fence that had just plopped in there I don't know what's going on over here and on this side here so content to whereare fill definitely works for some cases right but for this it's probably not going to do so I'm going to undo that and this time we're going to use generative expand so if I'm going to enlarge this a little bit go up to the top we can do generative expand either on the options bar or down at the bottom on your contextual taskbar and I'm going to press generate now instead of Simply copying and pasting elements from the existing image into the transparent missing area it's literally regenerating new areas I forget what the word is that our Engineers use um but it's just creating the stuff that didn't exist and it giv three different options right and like I mentioned before once Firefly 2 Finds Its way into photoshop on the desktop these images in these Generations will be higher quality and higher resolution so hopefully that shows up sooner rather than later but you know this tree does not exist anywhere else in the so it's not copying pasting it's got done a much better job at reconstructing what was outside of those bounds that didn't exist before now there is another way you can extend an image using Photoshop and I want to show you that because this is kind of fun so I'm going to hop over to finder and I do have a bunch more images from Adobe stock that I licensed and by the way if you don't have images you want to use in your photo composition workflows if you do go over to Adobe stock stock. adobe.com there is a completely free section so if you want landscapes for example landscape right and in terms of Landscapes we have 69,990 results which is great and all of these are available for commercial use so you can license them knock yourself out have some fun with them obviously we've licensed quite a few of them um but it's great that there's a free section on Adobe stock which is available to all of you to use so back to finder let's find another image that's sort of might blend with this one but also may not blend let's see this one's not too bad I'm kind of looking for on the side something that would maybe connect with either the trees on the left or the right so maybe this one over here right we've got some trees on this side this one could work so I'm going to drag this image into Photoshop Boop there we go I can accept that now obviously we want to somehow connect the trees over here with the trees over here right so maybe the the first thing I'm going to do is I'm going to flip this particular layer so under the edit menu down to transform and then flip horizontal right now I want to move this over on this side now obviously can't see much of it right so I'm going to just kind of shift it over to the edge now I can either use my crop tool and extend this outwards making sure I don't use generative expand in this situation or what I can do is I can go up to the image menu and then reveal all there we go so now showed everything that I kind of want to use for this particular blend right I do want probably a little bit more space in between these two images so I'm going to shift this over a little bit I could if I want to reveal all one more time and now I have this big block in the center and I'm going to use this to blend the two images together and the way we're going to do that is we're going to grab our rectangular Marquee tool or any other selection method that you might want but I think the rectangular Marquee tool works well and instead of Simply selecting just this area here I want to select a little bit more and I can hold down my space bar to move this around and we'll do something like you know what maybe we'll select a little bit more just to give Photoshop a touch more room something like that right so right now we have a selection that contains a little bit of the left image a little bit of the Right image and that block in the middle and what we want to do now is want to go to generative fill within our contextual taskbar and press generate unless you had something very specific that you want to fill this area in but I want to give Photoshop the wheel let it do its thing and figure out how to blend these two images together right these trees are very different got some dark orange and red trees on the left bright green trees wow and there you I'm always Blown Away by and it's only going to get better this one's pretty good it's only going to get better once Firefly 2 makes its way into photoshop on the desktop these results even though they're great now they're continuously going to get better right so it's figured out how to blend in and it didn't just make a like a gradient blend from the left image to the right image it literally created this transition of trees where some of the orange trees are kind of mingling with the green tree it's weird this technology is weird these days isn't it so now we have this image that blends really nicely together and even the sky you can see a little bit of a line here especially if you zoom out what that is sometimes the layer mask down here is creating a little bit of a harsher line sometimes you can just disable it so you can hold down your shift key and click on it or if you just want to get rid of it delete the layer mask and there we go Robert's saying not what I expected I wasn't expecting that either but I'm kind of liking it I think it worked I mean this one's kind of cool too I know we'll stick with this one now one more thing I might want to do to this image is change the Sky the sky is not bad it blended it quite well but we might want something maybe a little bit warmer possibly um so what we can do and you know what honestly I'm probably not going to use this entire image so I'm actually going to go back now that I've showed you how to use a generative fill to expand your extend your images right let's actually just go back and focus on this image here so I might want to change the sky the blue sky is great but I might want maybe a a warmer maybe a sunset something like that right so we could use generative fill but we're going to save that for a moment under the edit menu we're going to go down to Sky replacement and this kind of uses AI but not the new fancy AI that we're all using for our generative technology right um so you're going to notice something once I start selecting some of these Skies so this one o that one's kind of fancy right so if I turn this off and then back on you're noticing a few things right obviously this sky has changed but if you look closely especially in this area here the foreground color is changing as well right and that's because we have these options down here at the bottom to control our foreground lighting so we can increase our foreground lighting here which is really going to affect this area that kind of connects with the sky oops wrong one right I think I definitely want it on the right side we have Edge lighting kind of the same thing and then we have color adjustment so if your foreground is a little bit on the cooler side right you might want to increase this quite a bit so that everything warms up now obviously we want to strike a balance cuz this looks like a nuclear apocalypse so we might want to just bring this back just a little bit somewhere in this range here you can also adjust the sky itself so if you want it a bit more brighter maybe less warm right you can definitely adjust the temperature and then if it's not connecting well with either the trees or the mountains you can shift The Edge and then fade The Edge if you want as well cuz what you might notice is that in some photos especially where the sky is much brighter towards the mountains or the sky you know this area here is going to be blown out so fading The Edge can will help kind of fade and blend the new sky with the old foreground CJ is asking the question I'm just about to get to is it possible to replace the sky reflection to match so within Sky replacement no because like I mentioned this is using old AI technology and it's just not that smart right um so the answer once I fade this to my liking I can tweak this forever the answer is within here no right so what we're going to do is we are going to Output this result to new layers and what that's going to allow us to do is it's going to give us a whole group of all the adjust Ms that it used for the sky and also the color adjustments for the foreground right which is great but we still have that old sky in the reflection down at the bottom certainly don't want that right so there are a few ways we can do this the first way is we can experiment with generative fill so what what I'm going to do to start is I'm going Hey general Kenobi I'm going to grab the bottom layer cuz when you want to make a selection of something you want to select the layer that you're selecting right so the background layer and I want to select the sky so I'm going to grab my let's try the object selection tool and I'm going to Simply make a selection I'm going to drag a selection around this area here and okay it did a pretty good job it selected most of the sky excluded the trees which is exactly what we want right if we wanted to we can also grab something like the quick selection tool and exclude the mountains just by brushing over top of it there we go all right we have like 7,000 different selection methods in Photoshop and all of them are useful for some reason which is mind-blowing which is great all right so we have now the sky reflection selected now we want to make sure that if we did output this as separate layers in this group here right we want to make sure that we're on top of the group otherwise it's not going to detect the sky and what's really cool about generative fill is it's not just looking in the vicinity of your selection it's looking at the entire image it's understanding the image so it's going to hopefully understand that there's a new sky in the sky right so I'm going to go to generator Phil and let's just give Photoshop the wheel again and see what happens sometimes you might have to type in something like Lake reflection something of that nature but let's find out going back to Marcy's Point earlier okay and this kind of shows you know highlights what I was telling you about it's understanding what's happening in the entire image so it understood that there's a new Sky up there and it understood that we selected water and there's a reflection and the reflection isn't perfect and it just created a new reflection for us before after that's just wild right and then from here you can go ahead and experiment with different blend modes Maybe if if you want to blend it a little bit more with the original layer underneath it right or you can simply just drop the opacity a little bit so it's not too harsh or apply adjustment layers all sorts of interesting things that you can use to you know fix your reflection if it's not perfect another way you can do that if you don't want to use um hey Jenner up I already said hi but he said this is Pinsky material it's gold so was the sky terrible joke all right another way um you can hey Jack great to see you another way you can you can use the outputed layers to create the reflection so what I'm going to do is I'm going to grab the old Sky which is this one here now what you might notice is that when you first output it it's output with the layer mask unlined so first we want to link it together otherwise when we duplicate it and move it it's going to be all over the place second we want to duplicate it so I'm going to hold down my alter option key drag this up to the top and now I have a separate Sky layer so I have one here and then one over right over there right but you're also going to notice that there's a link over to the right so if I move this around it's going to grab the old sky as well and move that around as well which we don't want right so I'm going to right click and then unlink layer it's always difficult to find exactly what you're looking for when you're streaming and there's a long list of stuff here unlink layers there we go so now what we can do is we can move this Sky separate from the original right so I can go Ahad edit transform and then flip vertical now of course it's not going to be it it's close right cuz the reflection is almost there but the angle is probably a little bit off so what we can do is we can either edit the current layer mask or we can delete the layer mask right and then now that we have it kind of close we can use a selection like we did before so I'm just going to copy the selection from this layer and pop it over there and then we can use blend modes and all sorts of different things like I showed you earlier to kind of get it in that vicinity right but honestly the general General General Kenobi is in the chat um the generative fill we can just call it General fill the gener to fill example worked quite well so I'm going to stick with that and we're going to move on to the next topic so we've changed the sky we've added a reflection kind of tweak the colors a little bit things are looking good now what we want might want to do is maybe add a tree in this area here right so I over in finder I do have some trees and I have this nice dead tree why not we're going to add a dead tree in the center of our post-apocalyptic world right so maybe some right about here we've got this lovely tree I mean many of these trees we can probably this one's not bad either you know let's let's go for this one make it a little bit more difficult with a nonsolid background right so we're going to place our tree somewhere in this area here now I do want to showcase something that I found very interesting L lately is the various selection methods in Photoshop like I mentioned earlier are very good for specific things but also they differ a a lot uh especially when you're removing the background so this background here is fairly simple right but you're noticing that we've got some very intricate branches and things going on around it so removing the background is not necessarily easy now you might think right down to the bottom we've got this remove background button on their contextual taskbar you also have it if I select um usually it's in the uh maybe it's just now on the contextual test bar usually it was in the properties inspector or the properties panel so I can to go ahead and press remove background and you're going to notice it did an okay job sort of if I'm lying to myself um but yeah it's not it's not the best right now we also have select subject so we can press select subject it's going to detect most of the tree right and then we can apply a layer mask it essentially gave us the same output so what's the solution well the solution for the most part is actually to use another selection method now someone recently on Twitter asked why like why why doesn't remove background work as well as what I'm about to show you it's a very good question I don't know but hopefully that will change in the future but I'm going to go ahead and grab the object selection tool and with the object selection tool you actually have two different methods you have a device meth method so it processes it all on your device or a cloud method um you can do either one Cloud might give you deta more detailed results because it'll understand the subject a little bit better but I'm going to stick with on device and all I'm going to do is drag a selection around our tree and you're going to notice immediately it's done a much better job right off the bat at selecting the entire tree and not some of the tree right so now I can pair this with a layer mask and we're getting there right at least we have most of the tree and most of the branches intact but we obviously have you know a little bit of color bleeding and all sorts of things going on so that's where one of my favorite Tools in Photoshop comes into play select and mask so with any of the selection tools you're going to notice at the top on the options bar we have our select and mask button right up here right and when I press that this is going to take that selection apply the layer mask or at least a view of it right so we have a few different views over here to the the right within our properties so we can do on black on white black and white which is great for really seeing the detail uh so if you're working with hair or fur this is a wonderful view or on layers right but down here you have all these different options to further refine that layer or that that mask and selection so if you increase the radius right it's going to really adjust the size of that edge the refinement area this works really well especially with hair or fur but it could work with branches as as well and then down here you might want to maybe shift The Edge inwards a little bit the tricky thing is if you shift The Edge too much it's going to start eliminating some of those branches so you want to find that balance there and then increase in the contrast we going to sharpen up those mid tones right which could help with branches but I think for this particular example down here at the bottom decontaminate colors should work quite well aha now we're getting somewhere so what decontaminate colors did is it essentially looked around the edges and it looked for maybe light or color that might have been spilling from the original image in this case it was Blue and Gray from the sky and then it kind of looked at the colors that we're working with on the inside that we want to keep and it filled it in quite nicely then you can adjust the amount if you didn't want you know if it was too much right but I think somewhere around 100% looks quite nice and then I just want to you know tweak just a little bit can probably push this out just a touch radius maybe on the Lower Side possibly I don't know maybe on the lower side now you might notice somewhere like in this area here especially with radius on you might have a little bit of strangeness going on so you might grab maybe your refinement brush and see if that helps a little bit or your selection brush and just kind of paint some of that back oops paint a little bit too much right paint a little bit more of that back in and of course you can spend hours tweaking some of this stuff if you really needed to but we probably don't so I'm going to go back and just leave it as this for now but we have a much much cleaner selection again you can tweak this to your heart's content but I'm going to go ahead and output this as a new layer with a layer mask so I can always dive back in if I needed to but look at that compared to what we had before which was this broken tree with some weird stuff going on this has given us a much cleaner selection now obviously we have a problem right we have this nice looking dead tree with a great selection and layer mask kind of floating in the middle of this Lake right that's just not going to work so we want to put this tree on something so over back and finder I do have this that I licensed from Adobe stock but you may not have access to that or you might want that but something maybe a little bit more specific so I do want to show you if I hop over to Chrome and I'm on Firefly we're going to use the new Firefly image model 2 to generate something that we can put the tree on so we might want something like maybe a mound can never spell during a live stream mound of dirt with moss and rocks Maybe and I'm going to generate Now by default it's going to give us a square aspect ratio which we probably don't want for this particular example but we're going to let it do its thing and we're going to see if we have to tweak anything else and we also have a few different options for visual intensity uh photo settings all sorts of things so it's kind of understood what I want but in terms of a photo composition this probably isn't going to help so the first thing I want to do is I want to maybe expand this to landscape that's the first thing right second thing visual intensity should be fine photo settings should be fine as well but I kind of want this on more of a neutral background so I might just put a comma here on a white background and you can use words like isolated on a white background if this doesn't get you exactly what you want but it should get us much closer and let's see what happens um okay it's not too bad might want maybe like a maybe instead of a mound which is more like we can also expand this to maybe widc screen possibly uh what's another word for a mound but also like longer maybe I can just long mound of dir I don't know could that work maybe possibly it's all about experimentation especially when you're trying to generate new objects for your photo compositions but let's see what happens I'm sure there's another word and someone's going to probably um let me know in the chat but these aren't bad right these can potentially work for our particular let's actually add the word isolate and see if it maybe allows it to see all of this at the same time I know there's another word but we're going to run with it Mound yeah maybe just like a area of no it's probably not the word I'm looking for anyways we're going to see what happens hopefully the music's running in the background so you don't have to just hear silence but honestly you know this is pretty good right this is probably going to get us kind of where we're looking to get it it's not perfect but I think it'll probably help quite a bit right so we might want something like this and we're going to go ahead and download this or we can save it directly to our Creative Cloud libraries but I'm going to download this it's applying content credentials which is great so we can tell that this has been AI generated and if I hop over you can also yes so someone's saying you can also use wide angle on composition settings you can so down here at the bottom you can do wide angle we'll generate one more also in the photo settings you can choose wide angle as well we probably don't need much blur on this so let's generate one more um this should give us uh much cleaner wider results but we'll see what happens but anyways we can download these images or save them to our Creative Cloud um yeah this this this one could work actually let's go ahead and grab this one there is a little bit of blurry in the background here but that's totally fine we can always deal with that later if we have to so it's applying the content credentials downloading the image let's hop over to photoshop I'm going to grab that image and pop it into place and we'll leave it somewhere in this range here right now obviously we have this white background right so we can potentially remove background which does a decent job if we are you know if you don't have a very complex subject but let's try just because I like it a little bit better object selection select and mask right maybe we'll shift The Edge a little bit cuz we do have a little bit of white still on there increase the radius of touch cuz we do have like dirt and Moss and that sort of thing decontaminate colors sure worked a little bit and then press okay all right let me get rid of that and get rid of that and move this down so we're we're kind kind of getting there right but obviously we have a few additional problems you know there's a little bit of a cut off here from the original image little bit of a cut off here and also in general these things are still floating in the middle of nothing nothing is really blending with the the tree isn't blending with the dirt and the dirt isn't blending with the lake and this is really where I think generative fill shines allowing you to kind of do your thing when it comes to photo compositions and then let gener to fill fill in the rest no pun intended but really kind of allow it to blend your work together so let's start let's start with the tree right so we might want this tree to blend in with this dirt so I'm going to make a selection somewhere around here some of these rocks might get destroyed but that's fine right now we could press genter to fill and let Photoshop do its thing but I might want to guide Photoshop a little bit in the direction that I'm thinking that kind of it's in my head right so I might want something like tree roots with moss and press generate or the enter key on your keyboard right so right now it's hopefully going to give us it's generating and hopefully we're going to see some tree roots that's Blended in with this mound of moss and that's looking okay there we go right o that's not bad almost has like a this little hole in the middle maybe that's like a entrance to this magical world right that's interesting right I do like this one it just Blends in perfectly the new Roots blend in with that tree the tree roots blend in with that Moss at the bottom we're kind of getting there but of course we have this mound of moss that's just not blending with anything a hobbit hole yes or a badger Dent it could generate a badger although Firefly image model one which is currently in photoshop with animals we'll try it we will try I promise we'll try it but all right so let's go ahead and make a selection around this area here I'm pretty happy with this stuff down to the bottom so I'm not going to select too much of it so I've got this and I want to make sure I'm on the top layer right so it's detecting everything below it and this one let's just let Photoshop do its thing and see what happens it should detect that there's water down below and there's this mound of dirt and somehow it's going to blend these two things together it may even give us a reflection which sometimes is wild let's see what happens okay it kind of Blended it a little that's not bad that's decent right but of course you can dive in and make some changes so if we wanted maybe like more tree roots I don't know if this is going to work but in the water let's see what happens and sometimes this is the fun part of generative f is adding in some prompts and seeing what happens it really kind of expands your creative mind and it might get to you might get you where you want [Music] some maybe just tree roots maybe the water is kind of throwing it off how many legs would you like your Badger to have select a number between five and 23 all we saying hopefully we just get a badger with like how many like does a badger have to have two three I don't know why did I say three two or four probably four right um this isn't bad it's not terrible but we do have our other options down at the bottom here I think this is okay it's not perfect but I can definitely go in and you know make some additional changes if I need to but let's just for fun just because we're all kind of on this Badger thing I'm going to make a selection here Badger Den I don't think this is going to give us anything that we want it might be very bizarre but let's see what happens let's have a little bit of fun but you know in general the photo composition is moving in the direction that we want and general Phil General Phil generative Phil has certainly helped with that I mean okay I don't hate it and just imagine when Firefly image model 2 comes in to play let's let's just for fun let's go over a dead I don't know if dead is going to it might flag it but dead tree with a badger Den let's let's see something dead tree on a mound of moss with a badger Den Mars is saying the last one Siamese badger last one wasn't too bad but let's see what happens with firefly image model 2 we should get more cohesive results possibly and again once this finds its way into Photoshop see it look definitely looks more realistic right we've got this Badger we've got this Den down at the bottom it's not bad of course it's not exactly what I want for my photo composition which is really why we're making photo composition cuz we're kind of guiding it in exactly the direction we want and then using Firefly and gener fill and generative expand to kind of push us in that direction but you can see you know the badger at least looks a lot better so yeah it'll get there these are fun but yeah this we'll stick with this one why not right all right another thing I might want to do is I might want to add some leaves to this tree but not necessarily leaves on the branches I might want to have some leaves kind of floating around maybe orange leaves or purple leaves or pink leaves or whatever it might be right something fancy of course we have got some green down here but I think the leaves probably should be orange or something like that although we should probably change this to more of a should we change it to see this is what goes through your mind when you're doing these photo compositions right you might think you know there's all these green the oranges and reds over here and it's obviously fall so we should probably change this to orange and red too but it might blend in too much it might look weird I guess we can try right so let's go ahead and group all this information I'm going to select it all Commander Control G and this will be called tree and then down below we've got our adjustment layers I'm going to go ahead and add let's say let's try Hue and saturation and I'm going to actually I'm not going to clip it just yet cuz I want to show you why I'm doing that but down here we can control the Hue right so we can shift this obviously now it's right now it's some sort of trip right obviously not what we want we want to just affect the greens that are part of this tree so if I switch this over to let's say greens I can now adjust the Hue but only a little bit is really happening right you can see down here things are changing but that's not exactly what we want so the first thing we can try is clipping this adjustment layer to the group below it so we can right click and then right click there we go uh create clipping mask or we can hold down our alter option key hover in between the two layers and then click so now when we kind of move that over now it's it's on the all the colors but if we go back to Greens it's only affecting some of the greens but it's really looking for Pure Greens in this particular case right and you can see that down here at the bottom so this is really what it's looking for and then it's kind of blending this area here and and if we take a look at our actual Moss there are certainly some greens but there's also some yellow going on right so in this case I'm going to go ahead down here and kind of bring this section over to the left which is going to include some additional yellows now it's also going to include some oranges so we have to be careful with that balance right but now if I shift this over we're going to start to see that it's adjusting our greens and I can continue to tweak this a little bit so it Blends a little bit more now if you're going to notice if I grab the slider on the far left and drag that over it's also starting to include some of the this area down here right so I want to find that nice balance maybe right in this area here now because I clipped it to the entire group it's also affecting our mask of our you know the dirt and the reflection and all that stuff so what I can do is with the layer mass that comes with our adjustment layer I'm going to Simply grab a brush maybe something nice and soft make it nice and large and with a black forground color whoops I'm simply going to just brush in this area just so that our adjustment layer does not affect the reflection and of course anything else that you may not want affected you can just paint in like that right but I think this could work all right I've never seen this trick before thank you you're welcome hopefully when I do these sessions that uh even if you know most of this stuff if you pick up on one or two things hopefully it was worth it and it's free so you know it's it's a good time Mo oh CJ CJ is just like laying the facts on me Moss doesn't generally change color in Fall might need a color adjust fine you know what I'm just kidding we're going to you know what this is a fun fantasy photo composition Moss now changes color we've got this weird Badger thing going on we're going to run with it I mean we can do we can do like different colors if we want it to we can do blue moss right sort of [Music] oo any let's stick with that all right back to the leaves that I was talking about earlier we might want some leaves right but not leaves on the tree I want some leaves kind of floating around so what I want to do for that is actually use a brush developed by my good friend and colleague Kyle T Webster I can't talk you can tell it's getting towards the end of the stream when I just can't talk anymore so in my brushes which you can access by pressing B and then going up to the brush picker at the top or just right clicking anywhere on the canvas I do have a ton of different Kyle brushes already installed and if you go to Google and you type in actually if you there's another way you can do it I think it's in here get more brushes and this will bring you directly I don't want that because that's a different browser but it'll bring you to your browser you can browse for more brushes or you can Google uh Kyle T Webster brushes and you can download them for free which is great but anyways I do have in here some leaves brushes he has so many different packs that you can you can test out but let me go ahead and choose that I'm going to make a new layer down at the bottom and I can brush now this one's fine right but the nice thing about these brushes is that they're fully customizable so what I'm going to do is first I'm going to go ahead and hop into the window menu and then down to brush settings there it is and here we can control things like the spacing between the brushes so I can space that out right and that's certainly helping we can control the size all right not too bad but I think where things are really going to start to shine is under shape Dynamics and then scattering so you can control the angle of your brushes so that the leaves are kind of not all looking the same uh roundness if you wanted to this one's not going to do too much a little bit but not too much size Jitter so some of the leaves are bigger than others and then scattering will allow you to really take those leaves and scatter them around right so I can scatter them like this make sure both axis is turned on so they're kind of pushing in all sorts of different directions count if you want a lot of leaves or just a few leaves right and then I can start brushing and now we have these lovely leaves that are kind of floating around the tree but right now they're all black we might want some color involved here right so I can either grab the Eye Brush I can hold down my alter option key and click on a color and then paint some additional leaves and that looks okay but what if I wanted to have a little bit more color variation right so we do have in our brush settings color Dynamics and down here or up here we can control the Jitter between the foreground and the background color now right now the background color is white so I can dive in here and maybe choose a different color maybe a slightly darker color possibly right so we've got these two colors got this nice maybe I'll change this actually maybe I'll bump this up a little bit more red make it a bit brighter and this one I'm going to make a little bit brighter as well somewhere in this range here and now we want to make sure that our forground and background Jitter is increased and if we increase it to 100% it's going to use both of those colors really nicely we can also control Hue Jitter saturation brightness Purity all sorts of fun things but that will allow us to now brush oo look at that now we've got these nice leaves that are kind of floating around we got some nice red leaves orange leaves all sorts of different leaves and we can either even increase our size of the brush maybe I'll create a new layer command and control shift and N maybe I'll have some leaves in the foreground now these leaves in the foreground they're looking okay but they're looking a little bit too artificial maybe that's the word right the ones in the background you can't really see the details so they work really well but the ones in the foreground they might also be out of focus a little bit so what we can do is we can adjust that Focus so on this layer here which I'm going to name I haven't been naming my layers terrible large leaves right I'm going to convert this into a smart object and that'll allow me to preserve the data of these leaves so that if I need to go back later on maybe I want to make them smaller or larger I can easily do that so convert for smart filters but this will also allow me to apply filters like gajian blur and it's going to allow me to adjust those later on or you know what maybe let's apply like a motion blur ooh all right oo clever is saying and that's how you get fairies it's an interesting point so what we can also do make not necessarily fairies but we can use this to apply something like particles right so if I make another new layer particles and let's just go for a regular brush very simple soft round brush right so if I were to obviously paint over top of this let's just do a white color we're going to get this big brush line might be useful for something but if we go back to our brush settings we can create our own brush essentially right so I can increase the spacing size is okay for now maybe we'll drop it shape Dynamics size Jitter definitely want some larger than others angle Jitter because it's round it's not going to make a difference everything's going to look the same but we can control the round this Jitter so some of them are more you know squished than others I kind of like them round but scattering we definitely want look at that count we'll keep it one uh if we wanted to apply texture we can certainly do that and we can we have a bunch of different textures we can use keep that off for now but we can now kind of brush around and we've got this kind of interesting particle look and then we can combine this if we hop into our layer Styles we can apply let's say an outer glow and we'll do color Dodge we'll bump this up opacity size something like that technique softer is okay and obviously there's all sorts of different options that I can go into um you know in another time but as you can go through these different Contours you're noticing different effects on your particles right this one's a little bit harsher increase the Jitter a little bit yeah let's go for maybe I mean this one's not too bad it kind of has has this glow in the middle if I drop the opacity a little bit right that's not bad another reason I love these streams people like clever give these clever ideas my jokes are the worst all right now another way you can add some textures is by using images so if I go over here we've got textures right we've got all these different particle textures that I licensed from Adobe stock so I can grab maybe this one here pop it into Photoshop and then we can experiment with blend mode so over here to the right within our layers we can choose something like maybe screen for example or color Dodge which is going to give us slightly different effects but it's going to leave us it's going to kind of knock the black background out of that photo and leave us just with our particles that we can adjust the opacity we can also apply maybe some mist or fog at the bottom and essentially we can do the same thing so we can go whoops we can go into our blend mode change this over to something like screen or color Dodge both will have different effects sometimes something like soft light could work but when you have a very dark background it's definitely going to affect your layers behind it you'll want to kind of knock out that smoke or fog in the foreground but I think o lightting is not too bad actually and if we want to we can apply a layer mask gradient kind of rushing through this last section cuz we're almost out of time maybe drop the opacity a little bit it's not too bad not loving it but you can also apply let's say maybe you want to apply maybe you want like a more warm feel to this smoke right so you can apply where is it I know it's here I know it photo filter so we can clip this and a warming filter turn off preserve Luminosity because we're dealing with like really light areas and see the difference right I mean it's not too bad it'll work maybe there we go all right it's looking okay it's not looking great the one thing I want to show you is if you start applying textures that have color in them then you can really start to give your overall images a nice interesting feel so if you choose something like soft light or color Dodge right you're noticing even the background is kind of the color is tweaking a little bit so depending if that's the direction you want to go a more magical look to your images is you can certainly do that I think for this one it might be a little bit overdone if I did want to shift the colors we could do something like a gradient map for example right so some maybe purples so we can apply maybe a subtle Purple Gradient map and then experiment with our blend modes again overlay is interesting I think soft light could be a possibility and then I can dive in here of course you if you got your highlights your shadows and everything in between that you can adjust individually but the last thing I want to show you and this is kind of fun is you can now use video for your textures and you can you can add video a long time ago in Photoshop but for this particular example um so maybe something like you know particles kind of floating around or more smoke or fog so I'm going to drag the video directly into this document and then under the window menu you can go down to timeline create a video video timeline right here at the bottom and here is your video right now when I initially play it back it's it's rendering each frame so it's going to be a little bit slow but it works just like the photos so I can go ahead and dive into the blend modes change this to maybe screen for example and then look at that we've got videos so I can maybe hide the smoke down at the bottom maybe hide these particles you know what let's add one more video why not right we're going to break Photoshop same thing change this to screen play the video which is going to be a little bit slow cuz there's two videos both rendering at the same time but all of a sudden you've added some motion now down here at the bottom you'll have to extend these layers outwards so that they match with the video but we now have Motion in our photo composition which is super cool and it just adds incredible New Life to your designs and your work so that will wrap things up for me for today a big thank you to everyone who has tuned in hopefully you picked up on some tips and trick tricks hopefully more than one trick um definitely make sure to follow me on Twitter X whatever you want to call it all those different places and stick around we've got more content coming up in just a few moments and I will see you all next time thanks [Music] [Applause] everyone hey hey hey hey [Music] [Music] hey [Music] he

Channel: Adobe Live

Views: 13,571

Keywords: Adobe Creative Cloud, Creative Cloud, Adobe CC, Adobe Cloud, Adobe creative suite, #MakeAdobeCC, #AdobeCC, #ACCTags, adobe, firefly, adobe firefly, guest name, host name, AI, generative ai

Id: U63Svgq18u8

Length: 57min 12sec (3432 seconds)

Published: Thu Oct 26 2023