Football Player Photoshop Composite Part 3 Extraction Removing the Background

Football Player Photoshop Composite Part 3 Extraction Removing the Background


Hey guys! Now we are going to start part 3
of my 3 part series on Photoshop composites. In part 1 we added drama to the photo and
also did dodging and burning on his muscles and we also used topaz adjust and image nomex
noiseware plug in. In part 2 I showed you my three favorite techniques for enhancing
eyes. We used Photoshop for the first one, then I showed you an action and then I showed
you a plug in. This is part 3 where we are going to go over extracting a player from
the background. I’m going to do his head separate from his body because the hair is little bit
more of a challenge. Then we will add it to an EASYdigitals.com layered backdrop volume
4 background. Let’s get started. Click on the quick selection tool and I am selecting
the area that I want to extract. Press on the alt key when you want to take away an
area. So I’m going to save this selection. Press control d to deselect and now I’m selecting
the head. Save the selection as head. Now with this one we are going to press the radius
a little bit more than on the body so we will get these little fine hairs. You can see if
you push it too far it starts to turn gray on the edges and you don’t want that. So you
can push it until you see the whispy hairs on top and then click ok. Make sure your layer
is selected that you want to use for your head and click the mask. Turn off the background
layer and you can see your extraction. Then you can come over to your paint brush, change
it to overlay mode, make sure you have your white brush selected and you can make sure
you get all these areas. And you can change them into 100% white by selecting them then
you won’t have any see through areas. So then you change it to black and you go to the areas
that you don’t want to show on the mask. Then you can change it to normal mode and you can
get even more of those areas that aren’t allowing you to brush over them with the black. Then
you can switch to white and go on the inside. And I see here that there is a little bit
of hair that I want to get over here, so I’m going to look at the mask and I’m going to
use the white brush. So the masks that we saved are in the channels area. You can select
it and press control and then select the body and it will bring up the selection. Now we
are going to grab our quick selection tool and refine edge. We are going to smooth and
then feather, click smart radius, increase and check out the edges. You want clean edges.
This is too much. We lost the strap on the helmet. There are some areas in the middle
that I didn’t get. Click ok. Come up to your mask that has your head in it and click on
that. Press alt backspace to fill it with white. Now you can check your mask and you
can get a white brush and fill in the areas that I missed and up here around the neck
line. Now I’m going to click on the layer and I’m going to save it. Open my backdrop.
I’m going to select my player, pull it off to the side and drag that layer into my backdrop.
Select my transform tool and move it into place. I’m going to make sure I have my transform
auto select layer and show transform control check marked at the top. Now I can resize.
Shift, press down shift to keep the aspect ratio. Press enter. I’m going to look at it
with the magnifying glass. I need to move it down below the smoke, so I drag the layer
down. I’m going to add a hue saturation to this background. Colorize and just move the
slider until you like the background. I’m trying to match his helmet, but you can see
all the different options. Right here I have a little bit of an edge, fringe on this arm.
I’m going to correct that. I’m going to add a blur to the mask. Double click the smart
object and then you can get to the mask. Grab your lasso and just go around the body but
not the head because if we use this technique on the hair it’s going to take away from our
hair and we don’t want to do that. Filter, blur, Gaussian blur and I usually do about
3 %. You could probably do a little bit less. Control L to bring up levels and then we are
going to push the triangle to the left until we see it here. I’m exaggerating it here so
you can see. Push it to the left until the fringe is gone. Press ok. Close the smart
object. I’m going to fix this area around the neck where the lasso tool was. I’m just
going to add back in so it’s a clean conversion right here. Make sure you have your white,
your black on your mask to hide. And over here, this area was not effected but I’m going
to go ahead and add in a little bit more skin over here. You can see you can get really
fine details here. Click ok. Fit on screen. Hue saturation. Desaturate my player so that
he matches the background a little bit more. It’s a little too bright. To saturated. And
this is how you get it to match the back ground better. Now I’m going to add an outer glow
in white. It needs to be really large, so move the size up all the way. Opacity to 100%
so you can reduce it later when it’s on it’s own layer. Right click it, create layer. Now
go to the layer that it created, filter, blur, Gaussian blur, this is going to be large.
I want you to see it here. And you can back off the opacity until you like it. And that’s
basically all there is to it. I would love to see your composites. You can either post
them on our facebook wall or email me and ask me to post it and everybody wants to see
what you are doing. We love to get ideas from each other, so I hope this can be a community
where we can really help each other out. Let me know if you have any questions or comments
below. Thanks!

What’s it like to study Photo Imaging? Aarron | Chisholm

What’s it like to study Photo Imaging? Aarron | Chisholm


In the Cert IV your cover photoshop and studio
lighting. Then they show you how to use your camera, taking you through the step by step. Well the industry I as in was too up and down.
I wasn’t 100% commited to it and I had been recently retrenched. I thought no, I’m sick
of doing stuff that’s not for me; I want to go and chase my passion. I happened to call
Chisholm to find out if they did a photography course and they were starting it that day. It’s extremely high especially because half
come from an art background and half come from a photography background and its mixing
the two together. Yeah towards the end I did. I got a lot covering
event work. I covered one for Melbourne Uni – a conference there for them. This threw
me in the deep end a little bit learning how to use flash and everything on the run and
editing something like five thousand photos. You learn quickly, and how to manage time. Chisholm’s really good. I did it more for the business aspect of it;
a lot of marketing, promoting yourself and getting a web based presence will help you
get your foot in the door of galleries.

Free Photoshop Sports Background Poster Tutorial

Free Photoshop Sports Background Poster Tutorial


Hi! Kim Kunkel here. Owner and designer over
EASYdigitals.com Photoshop backgrounds and templates for photographers. Today I’m going
to show you how to customize this jersey poster. So this is what it will look like when it’s
finished. When you start it’s going to look like this. I’m going to open it up and pull
up my player which I already have extracted from the background. And if you need instructions
on how to do that, I will add a couple of resources to the link in the blog post below
this. Let’s go ahead and get started with this. The first thing I’m going to cover is
the fonts. Let’s go ahead and select our type tool and come over to the word and I’m just
going to change it to something else. Then I’m going to resize it. It doesn’t necessarily
need to be resized but I want to show you how to do that for this. If I come and look
at the character you can see here that the tracking is set to 100, so you can adjust
this. I usually do it with my mouse. I select the words and then I come over here and I
just roll my mouse up and down and it changes so I can kind of see what I want to do. Also
all of this type is at a 50% opacity. So you can change the opacity of this. Up and down.
Again, I’m sliding back and forth this time to change it. And this is with Photoshop CC,
so if you have a different one you may need to change the opacity a little bit different.
Right now I’m using my mouse or you can just type in a number there. I’m going to change
this back to 50 because I like it there. The other thing you can do with the fonts is you
can change it to a different font. You can come up to any font, sometimes I just start
at the top and scroll through them. What you do is you select it and then if you press
ctrl h it will hide that thing that will show you what’s highlighted and then it makes it
easier to see. You come over here, select and then arrow down and you can see every
font that you have loaded. This is a great way to decide on a font. And you can change
it to anything that you have loaded into your computer. Now I’m going to change it back.
I have my history and I just click right here. My player is 82 so this will need to be changed
to 82. I’m just going to resize this. I’m pressing shift and I’m going to pull this
out. I want it to be a little bit bigger. Always remember to press enter. I want to
show you how to change the color. I select my type tool. Double click to select the type
and then you can click this box here and change it to any color and then you can increase
the opacity. I just wanted to make sure and cover how to change the color. Let’s go ahead
and look at these backgrounds. I want to show you what you can do with these. I’m going
to turn off the background that is currently on and I’m going to show you how to change
this gradient. You click the gradient and you double click in these squares to change
it to any color. Same thing over here. Change it to any color you want. And that’s how you
change that. Or you can use a solid color. You double click in the box and just change
it to whatever color you want. Let’s go back to this color. It has a hue saturation on
top of it. So we double click that and we can move this around and change it to whatever
color we want. Then you can also increase the saturation or decrease the saturation.
Let’s go ahead and pull our player in. I’m going to pull this off to the side and I’m
going to grab. You come up to where it says your player here. If that’s selected the layer
will go in the proper spot, otherwise you’ll have to move it. I’m going to grab this thumbnail
and bring it in. As long as you have auto select layer and show transform control selected
you are going to be able to drag this around as long as you can grab a hold of it. Let’s
go ahead and turn off the ball light right now. When you drag your player in, it may
be too large or too small and the way to resize it is to press shift and then resize it. If
for some reason you can’t see these handles, make sure that you have auto select layer
and show transform control on. If you still can’t see these handles, come up to view,
fit on screen, and then it should show you these handles. Let’s go ahead and undo that.
One thing you can do with this photo is you can add a hue saturation. Right click, create
clipping mask that will only effect the player. Sometimes these kind of shots like this look
good desaturated just a little bit. That’s totally up to your taste. It doesn’t look
right with the background right now because the background is pretty bright. It will just
depend on how bright your player is. For example, when I did this basketball player, I felt
that it was a little bit too bright so I desaturated that one. It just depends on the one you are
working with. Back to this one. Now that I have the player in I want to make some adjustments
here. I am going to move this where I want it and then I’m going to take down that saturation
a bit because it was a little too bright for my taste. Let’s do something fun with this
player. I’m going to go ahead and duplicate it by dragging it down here and then I’m going
to click on the mask and click apply, so now it doesn’t have a mask. Then I’m going to
come up to filter, blur, motion blur and I did this before so it’s already set up but
you can see a preview as long as this is check marked of how it’s going to look. You might
like just a little bit of a blur or you might like a lot of blur. Let’s say we just wanted
a big blur like the example that I had before. This is how that looks and then on top of
that it doesn’t have the blur right here so I would come in and click this again and it
will give me the exact same blur again so then it’s blurred even more. Then on top of
that you can come over to blur, just do Agassi in blur and just kind of make it a little
bit not so sharp. That’s one thing you can do. And then you can turn on or off this back
glow depending on how it looks with your photo. Now let’s turn back on the ball light. The
ball light has an inner glow which makes it just a little yellow so that’s totally up
to whether or not you would want to leave that on or whether you would want to use it
this at all, but it’s just here if you do want to use it. I’m going to turn this and
make it kind of going with the blur. Like that. Depending on your photo and if you use
this you can also resize it by pressing shift and making it bigger or smaller or you could
even blur it or you could do a motion blur. There’s a lot of things and you can just keep
playing with it. This poster is an 8 by 10 and 300 dpi, so you could definitely upsize
it and print it at a 16 by 20 or maybe even larger. Photoshop has some pretty good upsizing
capabilities. I just wanted to let you know everything that you could do with this poster.
I’m sure you can think of some things additionally that you could use. One idea I just had is
you could even put the original background in here and all this in between and just maybe
have the opacity a little bit lighter so that would be a fun one to play with. Lower the
opacity of the original background and have this going on. If you think you might want
to use this poster, you can go to the freebee area on EASYdigitals.com. If you liked this
tutorial, click the like button and share it with your friends. Subscribe to the EASYdigitals.com
youtube channel. I hope you have a great day!

Photography Tips: Photomerge a panorama in Photoshop (Pt.2)

Photography Tips: Photomerge a panorama in Photoshop (Pt.2)


stitchy stitchy time. Now a couple of weeks ago I put up a film showing you the techniques needed to
shoot a panoramic image using a long focal length lens and
explained the reasons why the techniques in the steps you need to
take to do the camera end and if you get the camera end right then this end, the editing, the creating of the pan stitch in photoshop becomes really really simple so if you haven’t
seen that film theres a link to it on screen right now give it a click, go and have a look the pop back here. So let’s have a look at our images, first thing I need to do is get my screen recorder running so that I can show you what I’m looking
at and go into Photoshop and lets just pull up the first image, and as you can see it’s a slice of bread it’s a long narrow kind of a shot we bring out the next one see how they kinda marry up, this little gap here between the rocks is this little gap here and so they can be overlaid pretty much like, I don’t want that to join at the top. pretty much something like there we go
you see how they sort of match up bringing the next image this is why it’s so important to be careful shooting these images to make sure that
they can be overlaid and sort of join together, let’s just see where that goes its something like that again that’s pretty good there and so on as they sort of come in you can see, even in photoshop im just kinda lining them them up very roughly and that’s not very good, let’s see if I can get it in the right place that’s about right there now notice there’s some little steps going on there and that’s because I didn’t have the camera quite
level as I said in the last film you can see how these sort of line up together and we’re gonna stick some together
using a command in the automate commands in a moment the care taken with doing a manual exposure has really paid
off because as you can see if you look at these images exposures are completely consistent, I shot raw files just in case they needed a little tweak and that could be done im not going into that stage here, this is about doing the stitch, it’s not about lightroom and converting raws, but I shot raw files in case they needed changing but they didn’t so all I did was chuck them into lightroom and exported them as they are and that’s
what you’re looking at on screen here we’re not gonna do post production work on these before they’re stitched let’s just get them joined together so
lets just pull in the other images onto screen and i’ll just roughly sort of show you what they are, here we go, one more there and you see how I got my little sort of band of rocks on the right hand side and on the left hand side in the neck so that they will sort of join up something like that and here’s our final image. All you have to do to join these together is you go into photoshops file automate commands and then pop down here to Photo Merge really really simple, that’s going to open up this window and on the left hand side you’ve got
various the opportunities to do different things
their perspective controls and then of course Perico I’m not going to
each of those here because you can experiment with those
for yourself that they were kinda flattened perspective they will kind of give it a wide angle lens look they’ll do all sorts of stuff like that for you
im just gonna leave it onto auto, now we can either we can really browse and go look for our files we can just pop in here and import them clicked and open false ego you see and they will
just pop straight into their we gonna do no needles and threads hey
guys you just click okay and away we go you can see
Photoshop is now doing its thing is now looking at the images is analyzing all the different little
bits and pieces the jaggery exit edges the rocks et cetera and seeing what
matches and seeing what doesn’t is in creating
each of the segments onto a separate layer so that they could
be repositioned bringing if you wish to the I find Photoshop
tends to do it really really well if you’ve been following any my bids for
a long night something new Photoshop hah print his a pretty rare thing isn’t it
but I have an you know and and the new software
undoubtedly does things better for your health I saw it does matter is still the
same come out its still in the same place there we go he
say have we done it now Photoshop has created this panoramic
image here you can see the ages all the different
shots going across the frame we’ve got a couple to gap same well I
didn’t have the camera quite straight as I said and I’m here in our Layers palette you
can see all the different liars the sequence which one of you can
see see how it’s found edges of things and and kinda join
things together and it’s interesting the sinews in all
tiny slice at that particular image there but it’s not all some job so all that’s
left for you to do is to crop it under the crop tool we’ve
done all that stuff for the top the empty space I on this gonna let down and remove it as another little
gap to the left it’s not polite in there the real the empty space at the bottom
had my camera being completely level that would not %uh happen certainly not
an extent then we can get the United bring in a
bit more cuz I quite like this rocks and here in the bottom corner
sorta popping up there yeah I think that crops goodson’s click
enter there we go week rocked our image that’s
what it looks like the next that would be too do any post
production work that you want now that I am we’ve got our image just get rid of
these original so that we can get ourselves into a mess with whose weekend Amanda crook 2010 regains put
down there for a minute get rid of these gonna I’m still learning my way around for the
shop CC because it is slightly different as a
few things in slightly different places you know is much the same thing from
post-production work you wanna do in Photoshop to conduct change colors now’s the time to do that
we join the ends together the nice in seeing this they look good takin care
without exposing manually has really paid off and
everything lines up beautifully beginner do any work in
post-production me the same this is a copy and so you can come back and work on if
you wish I’m just gonna merge the liars so that it becomes on 21
liar and then I can just type look at it so
let’s just pop into all levels palette see what that looks like his grams is
equivalent but dark and I agree could be a little bit more punchy pull
that down a bit brighter maybe now on looting detail in
here around the white Simon take that off
look to see the difference hope in the video is picking up there we
go so that’s before and that’s after that’s nice I’d like to pop a bit more color into it
and control your command you on a Mac just bring up the saturation
pilot just push the Calida a little bit scattered about ask a bit
mad so you can see the difference is taken out here to about 2019 for do the preview hope we can see
the colors change that’s without and that’s way that’s quite nice and so on if you wanna darken the sky do
a little bit fiddly diddly that’s absolutely cool there’s our image if I just can’t see if I can find the ten millimeter image to show you start
the lost a.m. wrong one foolish just surrounding this the wrong way as a set I’m still learning my way
around new Photoshop it does a few things slightly differently just gonna open are on 10-meter image popular in so we can compare the two zoom out hit sank on the sidelines now if I zemin onto those little rock sticking out on all ten millimeter an inch see how
they start very rapidly for partner completely
pixelated there’s very little data going on in there at all for do the same thing on are long lens pan stage stressed and I bet then we go she can see the image just
bring in here on these rocks this time notice those are not falling
apart we’ve got a lot megapixels police starting to go around
about their and this image could probably do the
finish on it but we’re not going into the Photoshop techniques about right now it’s want to show you the
stage and the reasons you might wish to do it so
as you can see 10-meter image totally pixelated resume
right in bigger with our long lens pan stage and its
holding together beautifully and really is all there is to it as any
other software that you could use the Penn State’s is dedicated software out
there and Photoshop a semi skimmed a common
fiscal elements and will also have a Penn
State’s command any other night I don’t use it they got a guy so that’s
how simply is too great a pan stage and if you get it right at the camera
and what we did in the last film it makes this end so simple go have fun go play with it and enjoy subscribe to our YouTube
channel to be notified each time we upload one about cool
photography videos well for more great photo tips workshops
and training come in CSR website photography courses
stop base

Adobe photo shop Complete Course Class #1

Adobe photo shop Complete Course Class #1


Hi Viewer! My Name is Mubashir And I’m Admin of The Global Of IT Today i bring the 1st class of adobe photoshop There are total 30 classes Basic to advance level We will Learn step by step. just your focus needs All Classes will be in HD IF you face any type of problem then just comment down, and send us your problem, i’ll solve it soon So, here we go!! Before i start my class make sure you’ve adobe photo shop software If you have not then just type “theglobalofit” on google. After that type adobe photoshop cs6 in search bar Download it by the given links if you face any problem in installation then tell me! after installation just open adobe photoshop This is adobe photoshop interface if some thing missing in adobe photoshop then just go to menu/windows and click on certain button that you want to show Like Tool Bar!!! This is menu bar This is tools bar if you don’t know any tool name then just bring you mouse pointer on any tool, it’ll show you its name There are many tools, we will works on all tools. This menu bar! we will also works on menu bar This tab for colors this tab for adjustment, text styles, you can give color style here when you type text see like me! Just click on one of them Later i’ll provide thousands of styles for text You can also call effect! This is Layer bar! for every work, we need to take layer This is the way of taking Layer see this is opacity See how opacity works This was our 1st class! 🙂 Hope you’ll learn it pretty much In next class we’ll discuss about tools. See you in next class! stay in touch. Bye!

Adobe Photoshop Tutorial – How To: Making a portrait using text

Adobe Photoshop Tutorial – How To: Making a portrait using text


welcome to graphic element where you can
explore your imagination Hello, Ladies & Gentlements welcome to the first
graphic elements How To Tutorial in this tutorial we’re going to show you
how to make portrait or an image using text so let’s get started First ummm you would like to choose image you want so click on “File’ & “Open” choose an image I’ve decided to choose this image of Steve
Job now what we’ll like to do is separator shadows with the midtones from the image click on select and choose color range and select there and choose shadows as you can see we have selected these shadows areas of the image would like to implement this into a new
layer so click on Control J (Ctrl+J) or Command J (cmd+J) on a mac and you can see it selected the shadow areas again we would like to see select on click on select color range but this time we would like to choose the
midtones and again put in a new layer so click Ctrl+J or Cmd+J on a mac now would like to merge these two image these two layers,sorry. and to do so you just clicking control E (Ctrl+E) or Cmd+E on a mac now we would like to make a new layer and fill with black so click on this notebook icon there as you can see it says create a new layer, click on it and choose you paint brush paint bucket, sorry and uh… click on the layer and you can see it made a new layer on the back now would like to implement the text tool because that is what we’re going to use to… show the images so quick on the text tool in just drag it from the top left corner to the bottom right and you can paste any text you want i’ve chosen to use a speech from steve
job that he did on the stanford university make sure that there is no space between the paragraphs that they’re all close together because that will help with the effect of the image of the design also in areas such as those make sure you backspace it so they’ll be no space at all see, as im doing here unfortunately this will take a while I apologized Hola advise you that umm just delete those areas i like to advise you that the smaller
the texts the better the more information it will show so you would like to choose a small font size so it’ll help on the image finally done now, we would like to put this layer into the text so we would like to add layer mask as you can see here if u just leave your mouse there, it’ll say
creating a new layer mask. add a layer mask, there you go so you would like to click on that and a layer mask has been added no we would like to mention that this image will be implemented to the layer mask we have just added so we’ll do this by click and selecting the whole layer so
click Control A (Ctrl+A) copying the whole layer, so click Control C (Ctrl+C) and then we would like to deselect the layer to ensure that the uh… Text know that we want to implement image
into layer mask we would like to hold ALT and click on
the layer mask then as you can see ready for you to implement anything it would just like to click on Control V (Ctrl+V) to paste the image that we had above now you can see nothing yet abut as i click on the text tool you see a photo of Steve Jobs and their you go that’s basically you can see as i duplicated, you can see more effects and you can see he’s eyes and his
mustache so that’s basically the tutorial that we have for you today thank you very much for watching

How to Use Layers in Photoshop Elements 15 – Part 1 – Introduction to Layers

How to Use Layers in Photoshop Elements 15 – Part 1 – Introduction to Layers


Hello again and welcome back to our course
on PSE 15. It’s now time to start to look at Layers. If you’ve used layers before in a relatively
recent version of PSE you can probably skip this and the next few sections, although one
section, the section on Layer Grouping and Color Coding, does include some new features
which have been introduced in PSE 15. So you may want to check out that section
in particular. I have mentioned layers a few times. In fact we’ve used them once or twice. I mentioned I was using them once or twice. We used them perhaps without you realizing
it. Learning about layers and how to use them
can greatly expand your capabilities with PSE. And if eventually you’re going to become
a user of full Photoshop learning about layers is a really essential part of getting to grips
with Photoshop and being able to use its full power. In this and the next couple of sections I’m
going to cover the basics of layers. There’s quite a lot to learn. And then we’ll look at some more specialized
features in a couple of sections after that. There’s quite a lot more to do in the Editor
in later sections of the course and quite a few of those things are going to use layers. So this and the next few sections are really
important. The first thing to do then is to take a look
at the Layers panel. So I’m going to click on Layers and up comes
the Layers panel. Each layer will be one sort of tile on the
right hand side here. And at the moment I have a single layer. Its name is Background. Generally speaking every image has a background
layer. And for a photographic image this starts out
as the photo itself. In this case I’ve opened a JPG and what’s
in that JPG basically is what’s in my background layer. When you work on an image in PSE, particularly
when you’re working in Expert Mode but in other situations as well what tends to happen
is that you build up layers. And when you’re looking at the image you’re
sort of looking down from the top of a pile of layers. At the moment this only has one layer so we’re
looking at the background layer. And the background layer is visible. There’s a little eye symbol there and that
indicates that that layer is visible. Now when I start working on an image and particularly
if I’m doing something that requires the use of layers the first thing I do, usually,
is to make a safe keeping copy of the background layer so that if I accidentally damage it
I can always go back to the original. Let me right click on the background layer
and one of the options is Duplicate layer. When I do that I get by default a layer called
Background Copy. I’m going to click on OK and my background
copy layer is now part of my image. My image now comprises two layers. When I’m looking at this image I’m looking
at it down from the top through the layers. And at the moment what I can see is the Background
Copy layer. It is currently 100% opaque. If I made it less than 100% opaque I would
see through it to some extent. But in seeing through it I would only see
the background. So it would make no visible difference to
what I could see. However if I make the background invisible
by clicking on the Layer Visibility icon there and now go to the Background Copy layer and
reduce the opacity I start to make that layer semitransparent. In fact now you can barely see the ponies
in that layer. So opacity is a very important property of
a layer and visibility is a very important property of a layer as well. What I’m going to do now is add an additional
layer but I’m going to do this in what you might call an indirect way because I’m going
to put some text onto the image. So I’m going to go over to the toolbox and
select the Horizontal Type tool. I’m going to choose a bold font and 100
point size, nice dark color. I’m going to click in the sky and I’m
going to type some text to appear in my image. I’m going to commit that text, then I’m
going to move the textbox into position. Automatically when you add text, and I did
mention this earlier on in the course, you get an additional layer. It’s a text layer. Note the icon there indicates text layer. And in this case we can see the text itself
is displayed on the layer. So I’ve now got three layers. Exmoor Ponies, Background Copy, and the original
background layer. Now one thing I’m going to do at this point
is to make the original background layer invisible again. That doesn’t make any different to what
I see in the image because of course the Background Copy layer is still visible and still 100%
opaque. At any time the panel that I’m working on
is highlighted in the Layers panel. So at the moment Background Copy is highlighted. Let me adjust the opacity of Background Copy
now and watch what happens in the image. I’m just going to make it a bit less opaque. And what you have is that the Exmoor Ponies
layer is still 100% opaque whereas the image with the ponies on it is just 74% in fact. Whereas if I put that back to 100, then select
the Exmoor Ponies layer and reduce the opacity on that obviously the text itself will start
to fade rather than the ponies. The other important point to bear in mind
here is that thinking in terms of looking down from the top through these layers. If I wanted to change the sequence of the
layers, so for instance I wanted to put Background Copy at the top I could click and drag it
up and it’s now the top layer. Because it is if you like full of image I
can no longer see the text. The text is basically behind the image and
therefore can’t be seen. Whereas the text layer, let me put it back
at the top again, only contains that text and everything else in that layer is transparent. What I’m going to do now is to add another
new layer. This time what I’m going to do is to select
the Background Copy layer and then I’m going to use one of the buttons right at the top
of the Layers panel, not the left one which is Create a New Layer, but the third one along,
Create New Fill or Adjustment Layer. I’m going to click on that and the sort
of adjustment layer I’m going to use is a Hue Saturation Layer. Note that it appears above the selected layer. So it’s the second one from the top now. And what I’m going to do here is to increase
the hue. So I’m going to slide hue to the right. Look carefully as I do that at the image. Now you notice how with that very high value
of hue my image is significantly changed. But one very important point about this is
that the words Exmoor Ponies are not affected by that change. Let me slide it the other way. Look at the words and you’ll see that the
words themselves are not affected by any change. That is because an adjustment layer affects
only the layer or layers beneath it. Let me close this dialog. I’m going to leave that layer there. But what I’m going to do is to move that
hue saturation layer to the top of the list of layers. What happens now is that it is affecting both
the text layer and the background copy layer. If I want to adjust that again, if I right
click one of the options is Edit Adjustment. And at the bottom of this little dialog there’s
a tiny little checkbox there. Now what that little setting means is that
this adjustment affects all layers below. If I want to restrict it to only the layer
immediately beneath it, if I check that little box it now only affects the text layer. Let me adjust the hue again. You should just be able to see now as I move
that hue setting across that the text is changing but the image isn’t. Now that process of selecting which layers
are affected by an adjustment layer and that clipping tool that was mentioned there is
a subject we’re going to come back to a little bit later on. But as you can see with an adjustment layer
you can decide which layers below it are affected by the adjustment. In addition if I didn’t want this adjustment
affect at all, all I do is uncheck its visibility and then it doesn’t have any effect on any
of the other layers at all. And if I move across there you can see that
the text is no longer being affected by that adjustment. Finally in this section what I want to do
now is to save my work in such a way that I can carry on working on this image again
later. As I mentioned earlier on in the course if
I want to save the individual layers in this image I need to save it in PSD format, Photoshop
Format. If I save this in one of the standard graphic
formats such as JPG I can save it in such a way that the image will look exactly the
same as it looks now but I will no longer have the separate layers. So if I save this in JPG format I still have
the picture looking just that way but when I open that JPG again I’d only have a single
layer with in effect all of the content and effects of currently four layers all flattened
into one layer and I’d have to start from that point. I wouldn’t be able to separate out the text
for Exmoor Ponies from everything else or that hue saturation adjustment layer from
everything else. If I want to be able to work on the layers
separately I need to save this in PSD format. So what I’m going to do now is to save this
in the Course Files folder as a PSD format file and I’ll carry on working on it again
in the next section. Note PSD format by default. I’m not going to include it in the Elements
Organizer at the moment but I am going to preserve the layers. I’ve got Course Files selected, click on
Save. I can now close the image in the usual way
and I’ll see you in the next section.

Bokeh Basics: Take and Make Great Photography with Gavin Hoey

Bokeh Basics: Take and Make Great Photography with Gavin Hoey


In this video I have a look at the
basics of getting great bokeh. Adorama TV presents Take and Make Great Photography
with Gavin Hoey. Hello I’m Gavin Hoey and you are watching Adorama TV. Brought to you by Adorama, the camera store that has everything for us photographers. In this video I’m going to show you
that by combining a light bulb and some Christmas lights you can learn an awful
lot about photography. And with a bit of luck, you can even take a great picture along the way. Ok, let’s get going. So I’ve got the
Christmas lights on a lovely red festive background. That looks great. Camera set
up in aperture priority mode f8. Let’s take a picture and when I do, you
can see, I’ve got a perfectly exposed picture, that’s in focus. It’s not very exciting, let’s
change a few things and get things more interesting. I’m going to come to the lens and
switch off auto focus and go for manual focus instead, and then I’m going to
deliberately put this out of focus by setting it as close to the front of the
lens as I can, which apparently is about 20 centimeters
on this lens and take the same shot. Now you’d think this is going to come out
blurry but when you look at the picture those little points of light well then now shapes of light, so what’s
going on here? Well that’s down to the f8 aperture,
if you look at it there are seven sides to the shape. It’s a heptagon and
that’s caused by these seven blades in this lens when you use f8 aperture, they
stop down, they close down the lens and that’s the shape of the blades. So
what would happen then, if I use rather than f8, lets go for for F 2.8, which is the
fastest I can choose on this lens that means my shutter speed goes up but also
their shape changes no longer are they heptagons, they are now more or less round, when I use f2.8, it is the wide
open aperture you may have heard that term, the blades of the aperture in the
lens, well they don’t close down, wide-open gives me the shape of the barrel of the
lens – round. They’re also much. much bigger aren’t they, much larger than the f8
that’s because f2.8 well that’s a bigger aperture than f8. F8 is a smaller
aperture again these are terms you may have heard of, and when you look at them
like this, they kind of makes sense. Ok so that some basic photographic terms
explained but what are these little blurry circles and shapes of light? They are known as
bokeh. Well at least that’s what I call them, you can call them something very similar,
there are other names that sound more or less the same. Whatever you call them
they are fantastic and ifyou know how to use them in your photography, they can really
elevate it. What this picture really needs, is a foreground subject, and I got one right
here this. This just your ordinary household light bulb, it doesn’t have to
be in a fancy bulb holder like this, but you know what I kind of like that, that’s just
pure fun. Right, things that do matter however, well there are about four things
that matter to get really good bokeh. The first one is the distance between the
background lights, and your subject. Basically bigger is better, however, it’s not set in stone when you
change this gap you will change the effects. So experimentation is the key here. Camera
settings well, there a little bit more predictable. First of all you want to go
for a long lens. You want to have it nice and zoomed in on my lens here – 40
millimetres is the maximum zoom this is a Micro four thirds camera, if it was a
full frame that’s equivalent to 80 millimetres that’s a good place to start.
Next to the gap between the subject and the lens, you want to have that as small
as possible. Get in close, obviously maintaining the framing of your shot. Finally, it’s the obvious one. The aperture, you
want to use wide open for your lens, and that’s going to vary from the lens to lens.
This one f2.8. So lets dial in f2.8, check focus. I’m focusing on the glass the middle of my light bulb and take the
shot. Now that works really well, I’ve got a lovely bokeh background. I can see the bulb
it all makes sense. Trouble is the bulb looks a bit silhouette really,
doesn’t it? That’s cause it’s not turned on. Obvious
how silly. Lets just turn the light on and take the same shot again. Ok, here we go. This
time, well that’s not what I wanted either. Now I’ve got a great shot of a lit bulb, but
what happen to the background? It’s completely gone I can just about to make
out some bits there. Well what’s happening here, is that the
bulb is really bright the camera is in aperture priority mode. It sees a really
bright bulb and says, oh I need to increase my shutter speed. Those background lights, well they haven’t got any
brighter, so they’re not being recorded. What I need to do, is balance things up and I can do that using a dimmer circuit here on the light. So I can dim this down, let’s get it as low as it goes, that should help me to balance the brightness of the
bulb with the brightness of the background bokeh. And yes that looks like
that’s going to be brilliant. I can see the bulbs lit, but I can also see my
background. Of course with a slight change of composition this will look even
better, so let’s just give everything a bit of a twist to the side. Take the same
shot again and that just adds bit more excitement to the image. Now that looks really
good, I’m pleased with that but of course there’s always something you can do in
Photoshop, so let’s take the picture from the camera over into Photoshop and do a
quick bit of editing there. As is so often the case time spent in camera is
rewarded here in Photoshop, with less to do and that’s always a good thing I
think. However anything shiny, like a glass bulb, well that’s going to require
some photoshop work because often it’s easier to remove reflections in
Photoshop then in-camera depends on the case in point. This one well you’ll see
the problem. At first glance this picture looks fantastic I love exactly how it
came off the camera. It looks great and then I looked a little bit closer, and I could see this and this is a
reflection of the filament of the bulb. It’s just a little bit distracting,
so what I did was, I went back through my pictures and I also had this shot as well
and this is with the bulb unlit, turned off. So all I am going to do is, go to select and
all, and edit and copy back to the main picture. Edit and paste that’ll put the
two pictures on top of each other. Now they fit absolutely perfectly and this
is one of the big advantages of always taking that extra shot you hadn’t planned on.
Doing an unlit bulb shot at the end of the video I thought I had the shot nailed
down and then I thought well let’s just take one or two more, you never know. And
this is one of those pictures that saved me a ton of time and gives me a really great
result too. So I’ve got the unlit bulb over the lit bulb, I’m going to merge them together
by using layers. So let’s come up to the layout on the menu bar at the top. Then
I’m going to come down to layer mask and then across and down to hide all and
this will stop that layer that I’ve just pasted on being visible by making a
layer mask that this black rectangle here, and black means well you can’t see
through it you see the layer below instead. So that’s fine. How does that
help me remove this bit. Well if I get a paintbrush and make sure my paintbrush
is white. If it’s black, just click on the little arrows, and that will get you at
the white one, and then if I use a nice small brush. Because these are perfectly
aligned they should allow me to just paint and mask away the area I want to
remove. I could of course do this with cloning. But it’s just that much more
neat and better-looking by using the real shot itself. Now this really is the
shot, if I had to go over a bit that’s wrong, well them you can see, I can bring back the unlit
filament. So if you go wrong, you swap to the black color, and you can return it
and restore it like that. Now I do have to watch out, because this is a slightly
different. With that filament on, it’s about a third of a stop brighter, so if I need any
areas like that, I’ll use a much bigger brush, cause that will have a nice soft edge, and that will allow me, just to feather in the edge and give me a very, very, convincing and neat
shot without any of those horrible reflections and there is my final picture completed. Noe you have learnt the basic to bokeh I’m going to take that knowledge and move
forward with my next video where we are going to do some advanced techniques using the same basic setup. Of course if you want to see it, click on the subscribe button, and that way you
get to see the rest of the videos from the other amazing presenters right here on AdoramaTV. I’m Gavin Hoey and thanks for watching. Do you want great looking prints at low cost? Be sure to visit our easy to use online printing service. AdoramaPix has professionals who treat your images with the utmost care that you can count on. For quick turnaround on photos, cards or albums, use
AdoramaPix.com

How to remove the background of any image free ebay and amazon seller tool without Photoshop

How to remove the background of any image free ebay and amazon seller tool without Photoshop


Hey this is Phil of RescueTips.
I found a quick and simple way to remove most backgrounds and best of all its free. No software
or downloads are necessary and it can be done done with most images in just a couple of minutes. This tip is ideal for ebay and etsy sellers
who want to include a clean photo image on their auction posting. Images without background
clutter or distractions are the ones that most buyers will focus on. I chose fotofuze.com since it is easy and
free. Let’s get started.
——————– First open your browser and go to fotofuze.com.
I’ll post a link in the description below. You’ll You’ll need to register with them first. They’ll automatically send you an email so be sure to confirm it when it comes through. then upload a photo that you want to clean
up. It works best if you use a simple background
when photographing for ebay. A simple table I’m choosing one of my photos here and I want
to remove the background for a clean look so that my item stands out. I choose to paint over the item with one of
the markers above, you don’t have to be perfect, just slightly overlap the edge. there are
various tweaks that you can set and even choose gray or white backgrounds. now i’lll clean up a bit with the eraser tool. When I’m done, I’ll click the Finish button and it’s ready to download. Now click the finish button and its ready
to download. You can download here but They’ll also send an email with a download option. Let’s try one more, this time a toby jug which
I photographed in a darker busy background… and now it stands out against a black background. Hey by default your photos here are public but you can
change that in a setting in your profile or change it for individual photos in the
settings tab when highlighting a photo. Hey, if this helps, i hope you’ll subscribe us and hit Like.

Bluebell Wood Photo Challenge: Take and Make Great Photography with Gavin Hoey

Bluebell Wood Photo Challenge: Take and Make Great Photography with Gavin Hoey


In this video, I take on a 15 minute Photo Challenge in a wood full of bluebells. AdoramaTV presents: ‘Take and Make Great Photography’ with Gavin Hoey. Hello – I am Gavin Hoey and you are watching AdoramaTV. Brought to you by Adorama – the camera store that has everything for us photographers. And as you can see
today I am in a beautiful bluebell wood because I’m gonna do a
fifteen-minute photo challenge. Now this is just a fantastic place for
photography, so much going on here but I’m going to try and take a few
different pictures, a few close-ups, a few wide shots. I have kind of got myself started. I’m
ready to go because 15 minutes isn’t very long to do this. I’ve got my camera and I got my 24-105mm lens, that is going to be the lens throughout this
fifteen-minute ‘Photo Challenge’ and I am likely to be using a tripod. So I am set up ready to go. I reckon
there’s a couple shots here that I can take without having to move my feet. Which is really good for a tripod user
because, well, I love tripods but they do slow you down and ‘time is of the essence’. So lets see what we can do here. I think my
first shot will just be a general wide-angle scene – just to establish what I’ve got
here. I’m shooting pretty much in to the
light, which is normally something you try to avoid. I’m doing on purpose because I want to get that ‘flair’ effect. So lets just come in and frame this up. Now I reckon if I frame this up with
lots of the trees I should get quite an interesting picture. I’m using ‘Live View’ to take the shots and it’s on a 2 second self-timer because I didn’t bring the Remote Release. So
that’s how I get around my lack of Remote Release. Just pop it on a 2 second self timer and the picture looks okay. There are better pictures in here. It works okay as a landscape shot but I reckon I’m
going to turn the camera around because this could work well as a portrait
format as well. So lets spin this around and is where the beauty of ‘Live View’ really
comes in. I’m going to do something you shouldn’t do. I’m going to include the Sun in the shot and
you are always told never do that. Always keeps the sun out of your shot. But do you know what? That can really work well. Beautiful. So you get that lovely ‘star burst’ affect. The ‘star burst’ effect is happening because I’m at f/22, which is a really small aperture, that gives this natural ‘star burst’. So that is wide-angle stuff but I have got a
24-105mm lens so let’s try zooming in and see if I can
get some shots here again. Just see what I can get without moving even. I will flip my camera back the other way
around and there are a couple of bluebells just sticking up above the rest, and part of the reason I’m down so low is so I can get down to the same height as the bluebells. That is what I want to do, to try and get a ‘eye line’ view across this field of
blue! I’m going to switch to manual focus for this, because focus becomes a bit more critical. Now I’ve got mixed lighting here. We’ve got…. …’towards the end to the day lighting’.
So got bright bits in the scene and dark bits. I really want to photograph the bluebells that are in the shade. that gives me the lowest contrast and,
generally speaking, better results. But my camera is exposing
for the high lights so I will just change my exposure
compensation. Lets just increase that by a a couple stops. Take the same shot. This time I am biasing my exposure for the shadowy parts of the picture and that you can a completely different look. So that’s focusing probably according to this three and a
half meters in front of me but my lens will focus a little bit closer. So
let me just see if I can find a bluebell in focus a bit closer to the front of the
lens. There you go. Again, I will use manual focus to try and nail this. It is blowing around a little bit in the
breeze which isn’t helping! But that is part of the challenge. I’ll wait
for the wind to die down a little bit. Then I will take the shot. That is just beautiful – we have a lovely ‘out of focus’ background because I am still shooting wide open f/4. It’s worth bracketing your
apertures because although f/4 looks perfect on the back at the
screen. It’s not until you get back home that you wish you had a bit more depth of
field so whilst I am here, lets also also try f/5.6 And for the fun of it, let’s try f/8 Lets go one more, lets go f/11. So what I end up with is a range of different pictures, at a range of different apertures meaning I can do the best one not here,
but I can choose it back in my studio. There she goes! Go and get it! I think a probably got all of the shots I can get here. Lets move around and see what else we can find. Go and get it Ella! Well honestly I’ve walked almost nowhere! Just a few meters around and we’ve got this lovely tree. I’m still shooting with the light more or less in my face. I think is a good shot here, so lets gets the tripod down. Again I want to work low I want to keep down. I’ll show you why. I shouldn’t use it this way but if I take a shot like this. What you end up with is the standard
shot that you take at eye height. It gets much more interesting
when you get away from standard eye heights. I’m going to drop myself down, just yeah
just like that. No more than that. Frame this up again. Hello Ella! By the way, this is Ella. If you
haven’t seen Ella. She comes with the woods. Lets take the same shot. Here we go. I reckon that the shot is going to be much better. But there is an even better shot in here. I just have to work for a little bit. So the first thing I can do is just zoom in a bit closer, just to frame it up a bit tighter. Get this in focus. I am still going to be using that nice f/4 wide-open aperture with this lens with a lovely shallow depth of field. So that works pretty well but can I get it even better? Well let’s just try getting lower still so I can adjust the legs of this tripod. I can get right down so I’m literally deep inside of the
bluebells. Again, I am going to need to use ‘Live View’ for this. Hello Ella! We will get the dog out of the shot! I am going to shoot through the bluebells. I am going to try and pick one out get one in focus. There we are. It’s got this beautiful blue mist all
around it. Okay so I’ve got, well, no time left maybe just for one quick shot
at the end. And when my favorite things to shoot, especially on a fifteen minute photo challenge, is a panorama. So let’s ditch the tripod
for now. Let’s do this handheld because ‘time is
of the essence’. So I am going to do a panorama here of the woods. I’m going be using the wide angle
end of my lens. If you want to see how to really do a panorama go check out my previous videos on the
Adorama Learning Center. I go through this step-by-step but
basically what I’m gonna do is take a meter reading. I am going to be using f/8. So my camera is telling me a shutter speed of a 50th sec. That’s what I am going to dial in, manual mode, f/8, 50th sec. So I am going to take all of my pictures of my panoramic sequence at that setting. Now here we go. I am also going to try and not get the sun directly in my shot. So if I take a step to the side. Yes that will do. So I’ve just hidden the Sun behind a tree. I am going to take a picture my hand. So I know when I look back at these pictures this is a panoramic sequence – just a visual reminder – and away we go! Taking the shots at about a 180 degree field of view and making sure that they all overlap. That is the secret of a good panorama –
overlapping the pictures. Around, around….. So a sequence of images that, when I
stitch them together, just make a beautiful panorama and there you go! Fifteen-minute comes and goes really,
really quickly. I could spend hours here and still never finish taking
enough photographs but sadly that’s not possible. So let’s get my
favorite picture back into Photoshop and we are going to do some editing on that right now! So the picture I’m gonna edit is the last
one and there’s two reasons for that. Partly it’s because I can now make a
panoramic image directly inside of Lightroom or
Adobe Camera Raw. But mostly it’s because it’s the first
time, I think, that I’ve been photo bombed by a dog and
for that reason alone it’s worth editing. Let’s have a look. So
here I am inside Lightroom CC or Lightroom 6, it’s the same thing as far
as our photo merge panorama is concerned and I have got the images – I’ve sorted them out
already but I have done absolutely no processing to them. They are directly off the camera raw files. But you can see
these overlap – so here is that a big tree and in the next shot it the same tree
again and that’s the secret to making a good panorama. So how do I
get these together inside of Lightroom into one single image? Well first, I need to
select them all – so I will press Control A or Command A on a Mac. Then right click
on the image it doesn’t matter which one on
the filmstrip I can choose Photo Merge and then Panorama. This is
the new feature in the latest version of Lightroom and also found in Adobe
Camera Raw inside a Photoshop CC 2014. This will take a little bit of time to process through and I warn you now, if you are the sort of person who doesn’t have patience, this may not work for you but thanks to the magic of video – mine is
already done! What it creates isn’t a full
panorama, it’s just a low resolution preview say can get an idea whether this
is worth proceeding or not. There’s a few things you can
change but not many. First of all, there is an AUTO button at the
top which will automatically select the projection and the projections are
these three buttons below – so you might as well click on them to learn what they do! ‘Spherical Panoramas’ are 360 degrees so I didn’t take one of those in this case. I did about 180 degrees and that would make it a ‘Cylindrical Panorama’ and you can see they are very slightly
different. This one is a little bit more deep and that is the one I’m going to choose. My feet stayed still taking this panorama and I rotated. But I was walking along taking a panorama I’d have made a ‘Perspective Panorama’. It won’t let me choose that in the preview because when it realizes their I didn’t make one
and that is rather clever. Let’s use the ‘Cylindrical’. I could use
Auto Crop, see this white area around the outside, I
could use Auto Crop and get rid of that but I am going to do that inside of
Photoshop so I will leave Auto Crop off and just click on the ‘Merge’ button. This will start to create the panorama for real. You can see it is
going along on the progress bar here. This is where it can really start to slow down because the final panorama is gonna be 8 high-resolution raw files, merged together and that
means it’s going be about 15,000 pixels on the longest edge so it’s a really, really wide panorama and that is going to take some serious processing even on my computer that is pretty
powerful! Again, thanks to the power of video, guess what?
Mine is done! So this is the unedited panorama and it is, effectively, a giant raw file. That means I can do all the things I
would have done to my original raw files but rather than having to do them
individually on all 8, I can just come and do it on the final one. That kind of makes sense to me – to
try to edit the final raw file – rather than the individual raw files. That’s what I’m going to do. I’m doing a bit of editing here. Maybe we’ll pull down the clarity and pop up the vibrance and we’ll just get the ‘Graduated Filter’ and lighten up the foreground I think a little bit. That sky does look a little bit pink but
don’t be fooled! That is not actually reality – if I zoom in over
that you see that’s pretty good. I need to chromatic aberration. It’s just
such a high resolution file that it is showing a few odd things on
this lower resolutions screen. So I am happy with that. What about
this white area? Well, this is perhaps where Lightroom falls down slightly because I can’t clone into this white area. It just won’t work if I
get the the ‘Spot Healing Brush’ and I trying to and
spot heal over these areas. It isn’t going to work so
instead of doing that – what I’m going to do is right click on this panorama and edit in Photoshop CC 2014. I’ve moved from Lightroom into Photoshop and I can continue my editing there and
now you can see I got this checkerboard pattern. So lets get the crop tool and just come
down here and crop in here. A little bit like that, okay and a little bit of the bottom. Something like that. What about the rest this area here? Well I’m gonna use the ‘Clone Stamp Tool’ for this because ‘Clone Stamp Tool’ will work really well for pretty random patterns like this. I can come clone
in – that’s not so good – let’s make my brush a little bit softer. There we go! Obviously the more time you spend doing this the better the end result will be. I’m
not exactly…. I don’t have that much time because
this is a video and you really don’t here and watch me clone for the next 10 minutes or so. I’m going through this much, much faster that I would normally do. And there you go! There is my panorama completed! If you have enjoyed this video and you want
to see more from myself and the other amazing presenters here on AdoramaTV – you know what you have to do? You’ve got a click on the ‘Subscribe’
button. I am Gavin Hoey – thanks for watching. Do you want you great-looking prints at low-cost? Be sure to visit our easy to
use online printing service. AndoramaPix has professionals who
treat your images with the utmost care that you can count
on. For quick turnaround on photos, cards or albums use Adoramapix.com