April 11 – Adobe Photoshop Tips

April 11 – Adobe Photoshop Tips

Becky: Hi everybody.

This is Becky atTechSoup.

And I’m really glad to welcome you to our very first [indistinct].

Thanks for joiningus on the 30.

We’ll be doing this every Tuesday, and hopefully you’ll be able to join us weeklyto get quick tips from us on all of the tools that you love and want to learn how touse better, and learn about the resources that are available to you through our donationprograms, as well as getting the weekly roundup of what’s happening at TechSoup, what the bestnew products are that have launched, articles, resources, and how-tos.

So we wantto make sure this is useful for you, so thanks so much for joiningus.

Just to get us started, I’m going to do a quick introduction of our2 presenters that you’ll hear from today.

Again, I’m Becky Wiegand, and I’m thewebinar program manager here at TechSoup.

We will hear primarily today from Wes Holing,who is our senior web content developer here at TechSoup, but he is also a reallykey part of our graphic design team.

And he is what we say, “a novice turned pro.

”He’s mostly self-taught in using the Adobe Suite of products.

And he is really an excellent assetto us because he has that down to earth style of showing how he learn how to use thesetools, and being able to really demonstrate how to make some smalland some large improvements to the way you are using Photoshop, andthat’s what he’ll be talking about today.

And then after he does his presentation,he’ll spend about 20 minutes of our time sharing his tips.

Then you will hear fromJim Lynch.

He is our team staff writer.

He is really our newsgatherer, curator.

He’sthe one that’s putting together newsletters, and kind of seeing the survey of the land, ofwhat’s coming in, what’s the best on the web, what’s the best coming out of TechSoupas far as how-tos and resources.

And he will share that in thelast few minutes of the webinar.

And again, we hope that you’lljoin us weekly, Tuesdays on the 30.

That’s 12:30 Pacific, 3:30 Easterntime for these events moving forward.

And you will be able to find all of themin our course.

We created a course just so you’d be able to find all of them available.

And also, just before we hand off to Wes to get us started on the tips, I wantto share my screen just to show you all of the different types of courses youcan find – let me get to my screen here – in our course catalog.

You’ll see the link at thetop of my screen at techsoup.

Course.

Tc/catalog.

And this is our learning management systemplatform where you can find a wide variety of courses.

Some are free.

Actually, most ofthem are free.

And then some have a premium or a small fee associated.

It’s very similarto our donation of products in our catalog where you find you pay 4%, or 6%, or10% of what the retail cost would be for a similar product.

We’ve donethat with our courses as well, where you are paying a small fee comparedto what you would pay in the retail market.

So you’ll see Web Design Best Practices,Adobe for Absolute Beginners Using InDesign.

We have courses down hereon Design for Nondesigners, and Adobe Photoshop for Absolute Beginners.

So I would recommend checking these out, because many of them like I said,are free Adobe Absolute Beginners.

So this is a great way to learn about thedifferent tools.

And you can do this 24/7, at your convenience, when you feel like it.

You can skip around, choose what you like, watch videos, do activities, quiz yourself tomake sure you’re actually learning the skills, and increasing your capacity tosupport your organization’s work.

So with that I am going to go ahead and turn itback over.

I’m going to stop my screen sharing and I’m going to hand it off to Wes who is goingto take us through some of his favorite tips and show us the magic of Adobe Photoshop inthe next 20 minutes.

So thanks so much Wes.

Wes: Well, great.

Thanks so much for thatintroduction.

As Becky said, I’m self taught.

She was generous by calling me a noviceturned pro.

I am something of a hack, but a hack with experience, so I’m here to bringyou the things that I’ve learned using Photoshop over the last 20 – Oh, gosh!Not 20 years! – 10 years or so.

So one of the things that I like to coverin some of the webinars we’ve had before are some of the lesser known tools, so thatway people who have never used Photoshop, and people who are pretty familiar withthe standard tools may still get something out of this together.

So I’m going to hopover to Photoshop now and share my screen, so please bear with me as I do that.

I’dlike to cover some of the lesser known tools.

Photoshop of course, is your goldstandard for any photo manipulation, any photo enhancement.

So if you are creatingperhaps, posters, or logos, something like that, maybe InDesign or Illustrator might bemore suited for you.

Photoshop though, always the “go to” for adjusting photos.

It is built into the name, obviously.

So one thing I’m going to do isopen up a photo to manipulate.

And if you have been on any of our webinarsbefore, you’ve seen this poor fellow being used as the example, so I haveto apologize to him wherever he is.

It’s not a bad photo of him.

He’s nota bad looking guy.

But the photo itself, the composition of it is really lacking,and this is where I think some of Photoshop’s more powerful tools can really come in handy.

Now if you’ve made any adjustments to photos in Photoshop using some of themore standard tools, you might think that you can adjust the Brightness, the Contrast,the Hue, the Saturation, all these other things you can manipulate the entire imagewith, or just certain parts of it, and you would be right to startthinking about those right now.

Of course, underneath the Image menu we’ve gotAdjustments, and this is where all the things that I just mentioned are located.

There is the Brightness Contrast.

You can change Levels and Curves if you’remore of a pro user.

Saturation is in there.

Obviously, this photo has got a lotof color sort of in one direction.

It’s got this kind of goldish hue toit which really doesn’t look natural, and that is what we are going to becorrecting today among other things.

You would be perfectly right to useany of these tools to get that job done, but the one that I tend to like is not underthe Image menu at all, it is located here under Filters [indistinct].

Just a little background, RAW is a file format in the same way you haveheard of JPEGs, GIFs, PNGs as a file format.

Those are all compressed which means thatonce you’ve taken a photo with your camera, smart phone whatever, a lot of cameraswill compress them down to save space.

They’ll take in every detail they can and thenshrink it down by throwing out some of the data that your eye can’t necessarily pickup on.

RAW is the un-compressed version.

It’s the rawest obviously, the most pure formof that image.

That’s what the Camera Raw Filter was originally created for was to create atool that you can use to manipulate photos that are high-res, super high-res,uncompressed, full quality.

The beauty of it though, you can apply this filterto any image.

Of course, the higher resolution the better, because you kind of have morequality to work with.

But in this case, I think it really does the job and I willshow you why.

So let’s go ahead and hop over to the Camera Raw Filter and you’ll seeonce I’ve clicked it, I get another view of the same photo.

On the top are some ofthe tools that it includes and a lot of these are the standard tools you use with Photoshop,the Hand Tool for moving around the canvas.

White Balance tools aren’t necessarilya tool in the regular panel in Photoshop, but I will show you what they do here.

We’ve also got some of the standard ones.

Changing Hue, Saturation, Luminance,these are options that were available under the Image menu I justshowed, so they are here as well, and some of the really obvious oneslike Spot Removal and Red Eye Removal.

This gentleman does not have redeyes in this thankfully, but if he did it’s a quick easy change toremove that from the photo.

If you work with any animals,any photos of animals, perhaps you are an animal-rights organization,a lot of animal photos especially dogs, in my case I’ve got 2 dogs and I see thisshow up a lot.

For some reason the red eye is still very common even though camerasseem to be able to account for human eyes, that shows up a lot.

The Red EyeRemoval Tool, great job at removing that.

So without any further ado explaining theCamera Raw Filter, let’s go ahead and start using it.

Those are the tools up at thetop if I want to make specific changes, and I will get to some of those later.

But first,I’d like to adjust the overall balance of this photo.

As I mentioned, it’s very gold, or green,or yellow depending on how you see it.

So let’s go ahead and fix that.

Thefirst thing I’m actually going to do is look on the right side here.

There is this basic fly out menu.

The first one here is WhiteBalance.

The default is “As Shot.

” And if you have ever done anyphotography, or shot any video, you know how important the White Balancecan be.

It’s the first thing you do if you’re going to shoot any video to makesure that the colors that are coming in through the lens are balanced properly.

You’re not going to get too much of one or the other color.

And in this case, wedefinitely have too much of a particular color.

So if we click that menu, we can see that thereare 3 options, “As Shot” which is the default.

That is the photo as we imported it; ”Auto” whichwill take care of the settings on sort of a guess, an educated guess on Photoshop’s behalf;and of course “Custom” where I can then make the changes myself.

So let’s just goahead and hop down to “Auto” to start with.

As soon as I’ve selected “Auto,”the colors have changed completely.

It looks a little washed out now.

It’snot quite right, but it’s definitely better than where we were.

So what Ican do is once I’ve chosen “Auto” I can make my own corrections.

We’ve gotthe first slider here for Temperature, and the second one for Tint.

Temperature is exactly like it sounds, so the left is cooler and to the right iswarmer.

We’ve got blue, and more of a yellow on the right, and I can scale that as I needto.

So right now it is definitely shifted more toward blue which is right, because ifit was too gold to begin with you want to shift in the other direction, but it is shifteda little too far.

So if I grab that slider and move it up a little bit from 42 to let’s saysomewhere around -30, that’s a little healthier.

That’s a little more natural.

I canalso change the Tint a little bit too which has a similar feel.

So if I bringthat one a little more close to the center, let’s say 19 or so that’s looking a little better.

And in case I’ve forgotten how it looked before, if I want to compare, Camera Raw Filter makesthat super easy by just pressing the P key.

I can switch back.

That’s the original, definitelywrong.

Switch back to the modified version, looks a little healthier.

It looks a little more human.

Below that are some other options thatI mentioned before including Contrast.

You can adjust the Highlights, Shadows, thewhiteness of Whites, the blackness of Blacks.

If you really want to get something to reallypop, you can bring out, you can highlight those too to make the Whites brighterand the Blacks darker.

There’s also of course, just like withWhite Balance there is the Auto feature here.

So I’ll go ahead and click that.

And so it’sautomatically picked.

It’s higher Exposure.

It’s just bumped up a couple ofthings like the Shadows and the Whites.

It brought the Blacks way down.

But again, itfeels a little washed out.

I feel like the Exposure is a little too high.

And for me, this looks likeif there was a lot of light reflected back at him, that’s how this would look to me whichmeans that it looks a little overexposed.

So again, I can bring down the slider toabout a little less than.

4 or maybe just.

15, and adjust some of the other settings as well.

If I want more Shadow, that might be better.

Let’s say some more Highlights.

And again,I can always hit P to see the original, and the current.

I kind of like how thatlooks.

Down below here I will also mention a couple of other nice features that kindof get overlooked, because a lot of times all you need to make are corrections for thingslike Hue, Saturation, brightness and darkness, that sort of thing.

Clarity is really usefulbut you can easily be corrected by the dark side of the forest on this one.

Clarity is afilter that you see a lot if you are looking at magazine covers where perhaps someoneis, god forbid, north of the age of 30 and they don’t want to show any agelines on the face.

You can use Clarity to sort of blend some of those features down.

Itis essentially the equivalent of in the old days using a soft filter or a soft lens on an actorin a movie.

You are doing the same thing here.

So just for demonstration purposesI’m going to bring this way down.

This is like a ridiculous level of soft filtering.

You can barely see the lines on his fore head, any definition around his noseand mouth, underneath his eyes.

And the whole background iscompletely blurred.

It’s way too much.

And if I bring it in the other direction,it’s the complete opposite, too much.

Now he looks like he’s haggard.

I mean, ifhe’s traveling, this is the worst trip on earth.

The image is very over saturated.

It’sdark in dark places.

It is far too much.

But, you can imagine the situationin which may be more toward the center if you just wanted to soften thefeatures, may come down by 10.

Or if you wanted to have a more grittyreal feeling to evoke a certain emotion, a certain feeling, you might want to bumpit up maybe 10, or 20 depending on the image.

It doesn’t need it here I don’t think.

We arejust using this one for demonstration purposes.

The detail isn’t too high or too low, soI’m going to leave that one where it is.

But always consider that Claritymay be something that you want to use if you have an image that may bea little too blurry ahead of time, or just needs to be softened up alittle bit because there are details that are maybe too distracting.

I thinkwhere this is now in terms of color is okay.

If I were not in a demonstration Imight adjust the Temperature little bit more, or the Tint just to get it just rightto make him look a little more human, and the background to look alittle less solid and one color.

But for now, I think we’re doing prettywell.

The other thing I’d like to call out for the Camera Raw Filter that is very handyare some of those tools that I mentioned up at the top.

The real benefitof using something like Photoshop or an equivalent photo editing program,is its nondestructive editing capabilities.

And if you’ve not heard the term “nondestructiveediting” it means what it sounds like.

Any changes you make aren’t fixedpermanently.

So if I want to make, if I want to adjust the saturation,and I want to adjust the lighting, and I want to adjust certain details of a photo,I can do that and then later come back to it, undo it, or change those changes, andthe rest of my changes aren’t affected.

That’s the beauty of it.

If you’ve usedsomething very basic like Microsoft Paint, you know that it is all or nothing.

The next change you make is made.

If you undo, and you undo again,the previous change is gone as well.

That’s the nice thing about thesekinds of nondestructive editing programs is that you’re not necessarily committedto those changes if you decide later on that it’s not quite right, or thisother change changed it too much.

You have that versatility to go back and forth.

So one of the things I’m going to show here is how to make some minor changes to his face.

Now, a quick side note, the ethics of this I always have to call out.

You should notmake any changes to people’s appearance if it’s not based in reality.

That’s kindof my shorthand for it.

If there’s something, if a piece of debris was on aperson’s face and you took [indistinct] retake the photo, by all means get ridof it.

If you are adjusting it to meet more of a perceived social standard,maybe not.

So always be very considerate with this kind of thing when you aredoing it.

But in the case of this demo, I’m going to do it anyway.

So let’sgo ahead and zoom in a little bit here.

I’ve got the Zoom Tool down at the bottomleft.

I can also use the Zoom Tool up here on the upper – excuse me, on thebottom left Zoom Tool in the upper left.

So I feel like I’ve zoomed in a little bithere to where I can start making some changes pretty comfortably.

The Hand Tool isalso up here.

Now that I’ve zoomed in, I can click and drag and move the canvasaround.

And this doesn’t affect the photo, it just affects the viewablearea that I’m working with.

And so if I want to remove let’s say he’s got acouple of birthmarks on the top of his forehead there, nothing really offensive, but justfor the sake of demonstration let’s go ahead and get rid of those.

What I can dois use this adjustment – excuse me – the Spot Removal Tool right here.

It’s the onewith the paint brush and the flecks around it.

If I click that, I get a dotted circle.

This is the spot that I’m going to remove.

I can change the diameter of thatcircle by changing it on the right here.

There is the Size slider.

I’ve got it at about9.

You can see if I bring it way up to about 50 it is huge, and that’s way too big for thatlittle birthmark.

So let’s bring it back down to around 10.

You don’t have to be perfecton it, it’s just however big you need it, to feel comfortable without over doing it.

So just bring it around over on the birthmark.

If I just click, now I’ve got 2 circles.

I’vegot one where I clicked, and then another one that Photoshop added.

And that second oneis Photoshop sampling from somewhere else in the photo.

It takes a nearby area, and thentries to approximate how it should fill the spot that you’ve clicked.

So if you think aboutany kind of photo you’ve got of somebody face, or a landscape with maybe trees and a meadow,or an animal, an ocean, anything like that, and you want to change one smallpart, the absolute best place to sample for that fill area is right nearby,because anything else in the photo is probably going to be completely differenteither in texture, or in color, or in brightness, or anything else.

So Photoshop isscanning just the nearby area and saying, “Well, that looks pretty close to the spot youjust clicked.

I’m going to fill it in with that.

” And sure enough, if I zoom in a little bit itdoes look pretty natural.

It is definitely a clone, but it’s smooth with the rest ofthe image.

So let’s zoom out again.

And I can do the same thing with thisbirthmark up in the top.

And again, it’s sampled from somewhere else.

Andif I don’t like where it sampled from, I can just click and dragand move it to somewhere else.

It will smooth around the edges too, so it’snot a hard edged circle right in the center.

If I click off of it, let’s say I goto the hand, I can see how it looks.

I’m no expert, but thatlooks pretty smooth to me.

So if I want to keep making other changes, Ican do that as well.

Let’s say I want to fill in this part of his mustache.

Rather than justclick once and get a circle, I can click and drag and get sort of a paint brush move.

If Ilet go, again, it is sampling the same shape in a nearby area.

And I’m going to click anddrag that over to a more full part in his mustache so I can fill in that part.

Samething over here with some gray hair.

And now this time – I’m going tograb my Hand Tool and move over.

This time Photoshop has taken asample from elsewhere in the photo that it thought was appropriate.

I’ll zoomout and you can see.

It’s sampling over here in the background which is not what I want.

I’mgoing to click and drag that back into his hair, so I can get the right texture, the right color,and let’s be honest, just some hair to fill in a spot that had hair.

If I zoom back in, that’s lookingpretty good.

Now those are just individual spots.

What I can also do is make particularadjustments to select areas, whereas before we changed theentire composition of the photograph, we changed the Tint, and the Temperature,and the Contrast, and all these other things.

If I want to affect just certain spots, I cando that as well.

So what I’ll do is come up here to the Adjustment Brush, and let’sjust reset some of these here, so that I’m not making the wrongchanges.

So those are all zeroed out.

So what I can do, I’ve got some spots onhis chin, around his mouth, on his nose, that seem to have some light reflectingfrom below.

There may be like a neon sign in front of him, or something may be somehalogen lighting, something that’s not natural, florescent lighting, that kind of thing.

Again,this is where we get in that kind of gray area of what’s ethical to change.

Obviously that whiteis not normally reflecting on someone’s face.

But if it was in that instance, and youwant to correct for it, maybe that’s okay.

So I’ll leave that to your discretion.

Butagain, just like with the Spot Healing Brush, I can click and drag and select an area.

Andit’s got a pin there, so I know that it’s marked, and I can adjust things like theTemperature.

I can bring it up or down.

You can see that it goes a little bit yellow, alittle more blue.

If I bring it up just a tiny bit, and maybe bring down the Contrast alittle bit, I can begin to adjust that area and make it a little less exposed whichI think, now that I mentioned that, let’s bring down the Exposure,and the Contrast back to normal.

Maybe that will be a little more normal,a little more natural to his skin tone.

I think that’s better.

And just as proof ofthat we can also hop back to the original.

Yeah, there’s definitely some reflectionthere.

If I bring it to my correction, it looks a little more healthy.

I can dothat over here on the side too with this part.

And if you’ll notice, as I draw this ithas already changed, and that’s because I’m applying the same modifications tothat area that I applied to the chin.

In this case, it seems about right.

And itmay not always be the same universal changes as you make changes throughout your image,but in this case, they kind of apply to both.

And whatever changes I make now, if Iwant to bring the Exposure down farther, it applies to both which is really nice.

So ifI zoom back out, that’s my modified image here.

Again, if I switch back to the original,you can see the changes that have been made.

That gold is gone.

The birthmarkson the forehead are removed.

The mustache has been filled in.

Some ofthose brighter patches on his chin and cheek are also changed, and we can justhop back over there as proof of that.

Again, I’ve made all thesechanges within Camera Raw Filter.

If I wanted to change them further Ican.

I don’t need to necessarily be stuck with that one change that I madein the beginning to remove the gold, if I wanted to then adjust the color on his chin.

So those are the nondestructive types of edits you can make in Photoshop.

There are alot of others that I don’t unfortunately, have time to cover today.

But that’s onethat I think is a great place to start if you are worried that the changes youmake are going to be sort of set in stone.

The good news is, they aren’t.

So all the changes I made within the Camera Raw Filter aremade, and I can just press OK, and watch magically as therewe go.

That’s now my new photo.

I can always go back to Camera RawFilter and make additional changes but they won’t be the same – I won’t beable to affect the same changes as before, after I press OK.

So definitely beconfident in your changes once you hit OK.

I’m coming up on just about the end of mytime here.

So I want to say thanks so much for sticking around for this brief tutorial.

We’ve got a lot of other great Photoshops from our talented webinar manager, Becky, thatI’ve also participated in, so I encourage you to check those out as well as some of thegreat courses that she mentioned at the top.

I’ve helped out a little bitwith those, but she’s definitely – along with our learning managementsystem guru, Susan Hope Bard – made some terrific courses for you to checkout to go from novice to pro just like I did.

So with that, I want to say thanks so much forsticking with us.

And I’m going to hand it over now to Jim Lynch, our resident newsexpert, to give you some insight on the latest and greatest around TechSoup,and technology for the nonprofits community.

So thanks a lot, and take it away Jim.

Jim: All right, here we go.

I’m Jim Lynch.

I’m ourstaff writer.

I’m going to do a screen share here and show you a few quick hits.

Well, we’ve got it going here.

All right, first off, I just want to telleverybody one of our most popular things that we do at TechSoup is to offerthis really, really steep discount on something called GrantStation.

If you haven’t seen it before, GrantStation is essentially a searchabledatabase where you can locate funders for the grants that you need to getto stay alive in your organization.

So the GrantStation price is usually $700, andTechSoup members can usually get it for $300.

But we usually do these 2-dayevents where you can get it for $99.

And so this event is going to happen May16th and May 17th.

So that’s a quick hit.

So the next thing that I wanted to alertyou to is that fiscal year is coming up in a couple months.

Essentially, we do abig rush.

Most nonprofits or organizations have their fiscal years on July30th and so that’s a time when – this is a piece that I did to explainwhat a fiscal year end is anyway.

It’s where you’ve got to wrap up everything inyour financial calendar, basically do your 990s, spend down your budget, so that youcome on July 1st with a clean slate.

So there is a list of all the various thingsthat we all have to do during fiscal year end.

And one of them is basically takecare of the stuff that you want to buy before the end of that year.

This is apretty fun piece because it has horror stories that we’ve collected on our Facebook page.

We are going to send you all these links, or we have sent you all these links, so thatyou have them.

You can take a look at them at your leisure.

The last thing that I wanted to show you is apiece that we just ran on TechSoup for Libraries, that’s at TechSoupforLibraries.

Org.

We’vedone a series on how to make mobile devices and computers easier to use for seniors.

Soif you are dealing with people who are novices at using digital devices, then we have just runthis great, great series that was originally run by a TechSoup member calledCommunity Technology Network.

And these are how-to things that essentiallyjust step you through Android, and Apple iOS, things that will make these devices likemainly tablets and phones much easier to use.

It’s designed for seniors but it’s foranybody who’s having trouble seeing screens and having trouble navigating theirdevice.

It’s a three-part series.

It is all on TechSoup for Libraries.

And one thing we have at TechSoup is we have this Creative Commons licensedcontent, so you can take this content and use it however you want.

You can reprint it.

You can put it on your own website.

You can make flyers with it.

Just giveus attribution to say where it came from and we'll be happy.

So that’s it for me.

So back to you Becky.

Becky: Thanks Jim.

So we are all atthe top of our 30 minute half-hour quick TS Tuesday Tech 30.

Thanks so much for joining us.

And we hope you will come backnext week on the 30th on Tuesday and we we’ll be talking about InDesign andIllustrator coming up as well in the Adobe Suite.

We’ll also get to Acrobat DC in May.

And thenwe’ll be talking about lots of other products, and tools, and themes to come,so keep an eye on the calendar.

Check out the full coursesavailable, and join us again soon.

Thanks so much, everyone.

Thanks, Jim.

Thanks, Wes.

Have a great day.

Bye-bye.

Source: Youtube