A.J. Wood http://ajwood.com ajwood@adobe.com @adobewan on Instagram The Photoshop Environment Photoshop's Start Workspace provides info at a glance including recent files, CC files, and presets for starting new documents. If you do not want to see the Start Workspace you can uncheck the option on the Mac by choosing Photoshop > Preferences > General or the PC by choosing Edit > Preferences > General. New Document Dialogue The updated New Document dialogue contains more visual cues in the form of thumbnails. You can select a category type, review recently opened items, or choose from available Page 1
Adobe Stock templates with a click, adjusting settings in the details panel displayed on the right. Page 2
Destructive vs Non-destructive Editing Destructive editing means the changes made to an image are permanently saved to the file. Non-destructive editing means you can revert or modify changes even after saving and closing the file. Using layers, masking, and smart objects are just some of the options for non-destructive editing in Photoshop. Page 3
Toolbar, Menus & Panels You edit images in Photoshop using the Toolbar, Menus & Panels. Page 4
Panels Photoshop panels can be grouped together in tabs docked to either side of the Photoshop environment. They can also be positioned independently on the screen or even a second monitor. 1. Each panel has a menu icon on its right side. Page 5
Finding Panels All panels are listed under Window from the menu. Active panels (open and in the foreground) will have a checkmark next to their name. Note how Layers is active in the figure below, but Channels to its right--while visible--is not an active panel. Page 6
The History Panel The History panel provides a visual representation of the steps you make when editing an image in Photoshop. In the figure below we can see only two steps have been made in the image. First the user opened the image, and second they applied a brush stroke. Look to the next figure to see what happens when the user selects "Undo Brush Tool." Page 7
Photoshop only allows for ONE undo. Using the keyboard command, CMD+Z (Mac) or CTRL+Z (Win), will toggle between Undo & Redo of a history step. Notice how by selecting "Undo Brush Tool" the menu has now changed to "Redo Brush Tool." You can also see that the actual brush step has disappeared from the History panel. Undo vs Step Backwards When you wish to "undo" or go back several times in a Photoshop document use the Step Backwards command. This can be accessed by clicking the items directly in the History panel or using the Edit menu. NOTE - History steps are NOT saved with a Photoshop file. They are only available when a document is open and active. In the figure below, the user has stepped backwards twice. Notice that the history steps are not removed, only greyed out when stepping backwards. This allows you to step forwards to review multiple edits across time. You can edit the total number of history Page 8
steps available via Photoshop's preferences. For Mac goto Photoshop > Preferences > Performance For PC goto Edit > Preferences > Performance Sizing Images The "Resample" option allows you to change the image dimensions separately from its resolution. Page 9
Image Size If "Resample" is unchecked, the total pixel count of an image will not change regardless of width & height. The resolution will change (pixels will grow or shrink) to accomodate the width & height set for the image. *A.J.'s Quick Tip* - the Cancel button will switch to Reset if you press & hold the OPT key (Mac) or ALT key (PC). Page 10
Fixing White Balance w/color Balance The boys portrait is has a green color cast. Choose Image > Adjustments > Color Balance Grab the slider between Magenta & Green, move it towards Magenta to remove the green color cast. *A.J.'s Quick Tip* - Choose Image > Auto Color Page 11
Fixing White Balance w/camer Raw Filter Choose Filter > Camera Raw Filter Under the Basic tab, select the Tint slider, and move to the right to reduce the green color cast Page 12
Vibrance vs Saturation Saturation is often used to boost colors in an image. Vibrance is a better command because it boosts the muted/dull colors first. It is also good for portraits as it targets orange (skin tones) last. Choose Image > Adjustments > Vibrance *A.J.'s Quick Tip* - Vibrance is also found in the Camera Raw Filter Page 13
Fixing Exposure w/levels Levels allows you to make sweeping changes of shadows, midtones & highlights. Choose Image > Adjustments > Levels Slide the grey slider (middle) to the left to lighten the image. Notice how the background appears to blow out once the foreground is no longer dark. Page 14
Fixing Exposure w/curves Levels allows you to make specific changes to shadows, midtones & highlights. Choose Image > Adjustments > Curves Click the "on image" adjustment icon then drag up or down directly on the image to lighten or darken specific regions. As you click you create plot points on the graph. You can move those directly, or continue with the "on image" adjustment tool within the image. Page 15
Fixing Exposure w/shadows/highlights This commands targets shadow areas directly for a more controlled adjustment. Choose Image > Adjustments > Shadows/Highlights Drag the "Amount" slider to the right to lightent shadow areas. *A.J.'s Quick Tip* - Shadows/Highlights can be used non-destructively if you make the layer a smart object first. Page 16
Fixing Exposure w/camera Raw Filter PT1 The benefit of the Camera Raw Filter is that it provides several functions within one dialogue control. Choose Filter > Camera Raw Filter In the Basic tab we can lighten Shadow by dragging the slider to the right, and darken Highlights by dragging the slider to the left. Page 17
Fixing Exposure w/camera Raw Filter PT2 Lightening the shadow areas revealed image noise. Selecting the Detail tab allows us to reduce both color & luminance noise. Move the Luminance & Color sliders to the right. Page 18
The Clone Stamp The Clone Stamp is used to duplicate an item and paint it in a different location within an image, layer or document. 1. Select the Clone Stamp from the toolbar 2. Change the size of the brush as necessary 3. Hold the OPT/ALT key and click the area of the image to be sampled 4. The brush cursor should now appear "loaded" with the sampled area Page 19
The Clone Stamp - Aligned is checked When the "Aligned" option is checked the sampled area can only be painted in a single location. In this example the face has been painted on the wall behind the two girls. Regardless of where the user chooses to paint next, the underlying result will be more of the original sample revealed. The Clone Stamp - Aligned is unchecked When the "Aligned" option is unchecked the sample area can be painted in multiple locations within an image. Each time the user begins to paint the brush will start with the Page 20
original sampled area loaded. In the example below the face has been painted in multiple spots in the image. Page 21
The Clone Source Panel The Clone Source panel provides a number of options that can be used with the Clone Stamp and Healing tools. 1. Five sample areas can be stored 2. Sample dimensions can be changed 3. Sample rotation can be applied 4. The Clone Stamp overlay can be customized or turned off Page 22
Enhance Existing Tools w/the Brush Panel There isn't a hard & fast rule that states the Clone Stamp must always be a perfect circle. The Brush panel can be used to modify the shape & features of any brush tool. In the figure below, the Clone Stamp is modified to be a tall ellipse which allows more sample area to be selected and painted. Page 23
Remove Freckles - Before Image The Clone Stamp is useful when you wish to copy or duplicate an item. For retouching where texture is more important than duplicate pixels the Healing brush tools are a better choice. Page 24
Remove Freckles - Bad Clone Stamping The example below exaggerates what can happen when using the Clone Stamp; in this case to remove the freckles. Notice that every paint sample is exactly the same while the skin tone across the girl's forehead is not. Page 25
Remove Freckles - Better w/healing Brush The Healing brush, or the Spot Healing brush do a better job of blending the texture of the sample point as shown in the image below. Selection Tools Selections are useful when you wish to edit part of an image or layer. The Toolbar contains the following selection tools: Marquee, Lasso, Quick Select & Wand. The figure below shows the flyout menu that appears when a press & hold is conducted on a tool button. The selection tools work by holding the left mouse button and dragging the cursor to make a selection. The Marquee tool allows you to drag out shape selections. The Lasso tool works for freeform selections. The Quick Select tool acts like a brush to paint out a selection. The Magic wand is for area selections of similar colors. Page 26
NOTE - Press CMD+D (Mac) or CTRL+D (PC) to deactivate a selection Selection Tool Options It is best to use shortcut keys when adding or subtracting from a selection. Be sure the options for every selection tool (except Quick Select) is on New by default. 1. Hold the SHIFT key to add to a selection 2. Hold the OPT/ALT key to subtract from a selection Page 27
OOPS! Don't Move The Selection If a selection is active (see the marching ants) any selection tool can be used to move the selection marquee. Sometimes this is intended, most of the time it is not. Page 28
Moving a Selection w/move Tool You can use the Move Tool to move a selection within an image. Page 29
The "Tragic" Wand Often referred to as the "tragic" wand, simply because tragically it never seems to work for YOU. It's all about setting the Tolerance option. In this case it's set to 32 which is too wide a range. Magic Wand In the figure below the Tolerance has been set to 10, which delivers superior results. Page 30
*A.J.'s Quick Tip* - sometimes it is simpler to select the opposite of what you want the Inverse the selection. In this case, the user selected the white background then chose Select > Inverse to activate the selection on the dog. Page 31
Paint Selections w/quick Select Many creatives choose the Quick Select tool for its ease of use. Simply hold the left mouse button and paint the area you want to select. To subtract from a selection, hold the OPT/ ALT key and paint the unwanted area. Page 32
Select & Mask Workspace The Select & Mask workspace can be used when selecting complex items such as hair, fur, etc. In the figure below the user has selected the zebras and grass elements. The refinement brushes allow the user to grab selection detail of the grass that would be difficult with other techniques. Page 33
Master the Basics, Create Combinations *A.J.'s Quick Tip* - The power of Photoshop does not rest in one tool or technique, but the combination of tools, menus & panels. In the image below, we select only the area we want to lighten (the girl in foreground) and use Image > Adjustment > Levels to make a quick & easy adjustment. Page 34
Locked Background or "flat" image Single layer unlocked Page 35
Empty layer above a pixel layer Two layers with pixels Page 36
Selecting & moving pixels creates holes in the image Because this is a "flat" image with a locked background, it is not possible to move the hand, duck or camera separately. Page 37
Use Layers to Separate Pixels In the figure below because each pixel object resides in a separate layer, they can be edited & moved without interference from the other layers. Fix Bad Sky w/background Eraser PT1 1. Select the Move Tool Page 38
2. In the Layers-Bottom image, hold the left mouse button and drag the cursor to the document tab labeled "Layers-Top.jpg" 3. Photoshop will switch documents, and make Layers-Top the active document Page 39
Fix Bad Sky w/background Eraser PT2 1. While still holding the left mouse button, drag the cursor over the active image 2. Let go of the mouse, the Layers-Bottom image should appear as a new layer Page 40
Fix Bad Sky w/background Eraser PT3 1. Reduce the Opacity of Layer 1 (sky) enough to see the Background 2. Use the Move tool and align Layer 1 (sky) with the Background 3. Change the transparency of Layer 1 (sky) back to 100% 4. Unlock the Background by clicking the lock icon Page 41
Fix Bad Sky w/background Eraser PT4 Drag Layer 0 (ships) above Layer 1 Page 42
Fix Bad Sky w/background Eraser PT5 1. Select the Background Erase tool 2. Set "Sampling: Once:" 3. Place crosshair of Background Eraser in the area you wish to remove 4. Click or Hold the mouse to erase area Page 43
Type Tool & Typekit Fonts Page 44
Browse Typekit Fonts 1. Search Typkit for specific font 2. Use filters to narrow search 3. Click on font to view Page 45
Sync Typekit Font To add the Typekit font to your desktop click the Sync button Page 46
Filter Type Tool Options by Typekit Fonts In the figure below we have filtered the font list to quickly see the Typekit font synced via Creative Cloud. Layer Styles Layer styles can be used on type or pixel layers. Layer styles effect the pixel areas of a layer often ignoring transparent areas. The figure below demonstrates a layer style applied to type. Page 47
1. Select the type layer 2. Click the FX button and select Bevel & Emboss 3. Click OK to select default effect settings 4. Change the Fill to 0% Page 48
Free Transform Free transform is used to resize, rotate, or warp a layer. To resize proportionally hold the SHIFT key when sizing by one of the corners. In the figure below we have squashed the image by moving the right handle inward and to the left. *A.J.'s Quick Tip* - Press CMD+0 (Mac) or CTRL+0 (PC) after initiating a Free Transform to zoom to a view that let's you see all the transform handles. Content-Aware Scale There may be instances where you want to transform an image--scale the background-- without distorting specific details. Content-Aware Scale can be used for this purpose. Select Edit > Content-Aware Scale Page 49
In the two examples that follow notice the people and the ship do not distort despite squashing or stretching the background scene. Page 50
Content-Aware Scale (cont) Page 51
Layer Masks Layer masks are a non-destructive method of hiding part of a layer to reveal the content in the layers beneath. In the world of Photoshop "white reveals, black conceals" meaning the layer content that is visible shows as white in the layer mask, and anything hidden is shown as black. In the figure below, the zebras are visible while the original sky is masked out. Page 52
Show/Hide The Layer Mask Holding the OPT/ALT key and clicking the layer mask icon in the Layers panel will show or hide the mask in the document window. Page 53
Disable/Enable Layer Mask Holding the SHIFT key and clicking the layer mask icon in the Layers panel will disable or enable the mask. When disabled a red X appears over the layer mask, and the entire layer is completely visible. Page 54
Creative Cloud Libraries Creative Cloud Libraries is a connected repository of frequently used assets such as colors, styles, graphics & videos. CC Libraries works across CC applications. For example a vector graphic created with Illustrator can be placed in a CC Library for use in Photoshop. CC Libraries can be shared for team collaboration. Page 55
Add a Layer Style to a Creative Cloud Library 1. Select the layer with the desired layer style effect in the Layer panel. 2. Click the Add button in the Libraries panel, and check the Layer Style object type. 3. The layer style appears in the Libraries panel for use in other Photoshop documents. Page 56
Search Adobe Stock from the Libraries Panel 1. Click in the search field within the Libraries panel and type a keyword. 2. The results of the search are displayed within the Libraries panel. NOTE - a blue checkmark displays on images previously licensed. 3. Placing the cursor over an image will enable buttons to either license or download a preview of the image to the active CC Library. Page 57
Visual Search of Adobe Stock - Intro Adobe Sensei enables visual search of Adobe Stock accessible in the Libraries panel. In the image below no metadata exists identifying the content of the image. Page 58
Visual Search of Adobe Stock - Step One Drag the image onto the Libraries panel, adding it as a graphic object. Page 59
Visual Search of Adobe Stock - Step Two Right-click the image object in the Libraries panel and select "Find Similar" from the context menu. Page 60
Visual Search of Adobe Stock - Step Three Adobe Stock visual search results are returned in the Libraries panel. The licensed or preview image can be added to the active CC Library. Page 61
Smart Sharpen As a guideline, sharpening is best done as a final adjustment, not a starting adjustment. The exception being pre-process sharpening of raw images generally done by photographers using Lightroom or Adobe Camera Raw. Smart Sharpen does a good job of enhancing edge detail without over sharpening the surface areas. Page 62
Non-destructive Smart Filters Select Filter > Convert for Smart Filters In the example below we used a blur filter. Smart filters add the ability to mask the effect of the filter, along with changing of filter settings. Page 63
Non-destructive Smart Filters Here we can see what happens when the blur effect is masked to create a motion effect. Page 64
Photoshop Keyboard Shortcuts - Mac Page 65
Photoshop Keyboard Shortcuts - PC Page 66