Levitation Photography Tutorial: How to Hover with Multiple Exposures

Levitation Photography Tutorial: How to Hover with Multiple Exposures


Hi, I’m Chelsea. And for our book, Stunning Digital Photography we’re going over levitation photography.
Now there are two ways to take a levitation photograph: the first way you just set a high
shutter speed and have your subject jump and it creates the illusion that
their floating. The method were going to be using is that I’ll be propping myself up with these
books here, taking two pictures and then blending the two exposures
together in post to make it look like I’m floating. The
only hardware you really need is a camera and a tripod, but because
this is a self portrait for us we’re also using a remote shutter release
and a few other pieces of equipment I’ll get into later. The first thing you’ll want to do before you take your shot is make your story. So I had envisioned a couple sitting
together and reading by fire so I got these prop books and I got
Tony, my prop husband and found a nice nook of
the house that would look good on camera. So we set up our camera and a tripod and kind of played around with the crop
and the angle to make sure that we have our fireplace in the shot and the lamp and the chair, everything we
thought would be attractive. One interesting thing that we did was I
really wanted it to look warm I wanted it to look like the fire was
glowing and we were nestled up and comfortable in our home. so we got another light on a tripod,
another flash, put an orange gel over and put it
behind our fireplace which actually goes completely through to the
other side and had it flash through at us so that we had nice
warm lighting like the fire was glowing. To trigger the flash that we set up
behind the fireplace, we used a PocketWizard. We also used the flash on
top of our camera to kinda bounce the light off of the wall and
fill the room with light from the other directions so that the lighting wasn’t too
hard. Next, we set our camera timer to an 8
second delay and just kind of posed for a while. Once you get the pictures that you like,
move out of your frame, take a picture of your background and
then it’s time to bring your photos into post processing. Now that you finished taking your
pictures, load them onto your computer and use your editing software of choice to
start merging your photos. It doesn’t matter which editing
programming you use, I’m going to use Photoshop, but as long as they can blend two pictures, you’ll be all set. I’ve loaded my pictures into Lightroom,
so I’m going to click the levitation photo of my choice and then I’m going to choose a
background picture to blend it with. Using Ctrl click I selected both pictures at once. Once
you have your photo selected right click, then choose Edit In, then go to open as layers in Photoshop. Now that
you have both of your pictures imported into your editing program put your levitation photo on top. So you can see, the background is on the bottom. Select both
of your pictures go to Edit, and auto align your layers to make sure
that they match up. Using the Auto projection option works
just fine. Next select your top layer, your levitation
photo, and create a mask. Click on your mask, select your paintbrush tool and make sure that you’re painting in black, and you can start to erase the books out of
your picture. I like to make sure that my paint
brushe is soft and that my opacity is fairly low I have
it at 48 right now. So let me zoom in here, I’ll make my brush a little bit bigger, and you can
start blending away whatever it is you’re levitating on. So one problem we ran into when we
started editing the pictures is that I noticed that the background picture had cooler lighting than the picture with me levitating and I think
it’s because one of the flashes was bouncing off me and making a warmer
light. So what I did was I selected my
background photo and in the adjustment layers I put a photo filter on with the color orange and warmed up the background a little bit
until the color matched the foreground better. That’s pretty good. And since you’re opacity’s low, you can just
kind of blend the pictures together so that the color differences isn’t so obvious. Once
you have your color adjusted, you can continue taking those books out out. Another problem that I
ran into is that my skirt was falling behind the books at one
point so I can’t just use the layer mask and paint out the books. So what I did was I selected a section of my skirt,
making sure that I had the hemline in there, and create a new layer to paste
the piece of clothing into. Now that you have part of the skirt pasted in, you can move it. Go to Edit, Free Transform and line it up with the rest of the hem. Now that you have the skirt in there, it’s really rough,
you can use an eraser and I will just blend it in. This is kind of a
rough example so I’m gonna do a little bit more tweaking and play around with this to get it just
right and then I’ll cut to the finished product. Next I’m going to reimport it into
Lightroom by saving my photo and finish up the rest of my editing there. Now than I am in Lightroom I’ll click on
Develop to finish editing and crop it down a little
bit. Next I’m going to soften my photo up to
give it a warmer, cozier feeling. By just roducing my clarity just a little tiny bit. I usually like to
just play with my adjustments a little bit to get the get a nice feel going in the picture. So it’s
all just a matter taste. And there you have it! There is our
finished levitation photo. There are a few other pictures that I
played around with it as well If you’d like to see more videos from us,
click subscribe above and if you’d like to learn more about
photography, buy our book, Stunning Digital Photography. You can get it on
Amazon, you can get it for iBooks. All the links will
be down below and don’t forget to LIKE us too. Thank you.

Quick and Easy Backgrounds with Textures: PHOTOSHOP #92

Quick and Easy Backgrounds with Textures: PHOTOSHOP #92


Hi, Glyn here, back with another video for
you. This is episode ninety-two and this time we’re
going to be talking about textures and how we can use them very quickly and easily to
create bespoke backgrounds. I’m sure there are some of you out there watching
this video that already know that kind of stuff that I’m going to go through. If you do, just treat it as a bit of a reminder. For those of you who don’t, if you just watch
for the next few minutes you’re going to see how very easily you can use textures to create
completely bespoke backgrounds when you’ve originally photographed your subjects on a
grey paper background, like you can see the guys are here. Before we do that I just want to show you
one thing first before we actually talk about textures, and that’s this picture over here. Again, you can see this model here, she’s
been photographed on grey paper. Just so you know about the lighting, we had
two lights, we had a strip light on either side of the model and to the front I think
it was about a one meter square soft-box with the grid in front of it but with the outer
diffusion taken off. As the light comes through it it hits the
grid and that’s when you get all these nice shapes and patters on the floor with all the
shadows. What I wanted to talk about now is just literally
how to use the grey paper, because that’s really important when it comes to textures
later on. Here’s our model Jessie. Here is a picture of a door which I photographed
over at Heidelberg Castle in Germany. When we do compositing ordinarily we think
we have to do lots of intricate cutting out using things like refine edge, and it can
get quite tricky when we’re picking up hair. However, when we photograph somebody on a
grey background … Let’s just take this background now, drag it over into our picture containing
Jessie. When we photograph people on the grey background
we can do things a heck of a lot quicker, but the background does have to be solid like
it is here with this door. Over in the layers panel you can see the first
layer is Jessie, uppermost layer is the actual door here. Now, if I wanted to make it look as if Jessie
had that door behind her, rather than doing cutting out, because I’ve used grey when I
photographed her I can just use a blend mode. On the layer here containing the door I’m
going to change the blend mode from normal to something like overlay, and you can see
straight away we’re not actually that far from having her already composited into the
scene. All I need to do here is just add something
like a layer mask. Get a brush with a black foreground colour
and just quickly very very paint away areas where we can see that the actual texture of
the door is showing through on Jessie’s skin in particular and on her hair and a little
bit on the wings. You can see how quickly I’m doing this here,
not paying much attention while I’m chatting away to you folks, but you can see it’s pretty
much she’s in there. Zoom back in. Pretty much she’s now composited in the scene,
and it’s taken literally about a minute. Now we can spend time doing the interesting
stuff, adding the effects, the lighting, the color and so on, but if I zoom in, take a
look at the wings here. I’ll just take the paint off a little bit
there. Can you see how we’ve not even used refine
edge, but all these intricate bits of the feather all of that has come through fine,
all her hair is fine, but the great thing is if we just zoom down to the bottom here,
look at the shadows on the floor that have hit Jessie, the shadows going across here. If I turn the background layer off now you
can see they’re exactly the same. One of the hardest things we do when we composite
is actually paint in the shadows once we’ve actually done the cutting out and put the
person into the scene. With this effect when we use grey to photograph
them on, put the background above them, then use an overlay blend mode, or maybe even soft
light but the effect isn’t quite so contrasty then, the original shadows stay in there so
we don’t even have to think about doing them. That’s a little bit of a sidetrack. Let’s go back over now and talk about textures,
because it’s pretty much a similar kind of thing that we’re going to do. Here’s the picture of our two guys, we’ve
got Mack on the left and Sam on the right. These guys belong to an organization called
The Bearded Villains. Here’s the final picture. You can see, if I just get rid of all these
layers here you can see that originally we’ve just got the two guys who’ve been photographed
on the grey background. I just want to add some texture to it, and
texture you can get from all manner of places. If I just go to File and Open I can show you
that I’ve got loads and loads of textures saved already onto my computer. ‘Photoshop Bits And Bobs’ is the folder I
keep them in, let’s just double click on that and then we’ve got textures here. You can see as I scroll through loads and
loads of textures, and these are photographs of floors, of walls, of doors, of brick, of
dust, you name it, all manner of different textures that we can use in our pictures. If I just click on this one, just bring it
forward, you can see this one here is just a bit of marble that’s been photographed which
is great for adding onto a picture later on. Another place that you can get them from is
from the Adobe Add-ons. If I just go over to the website, just go
over to Chrome and Adobe Add-ons. Now, I’ve put the actual URL, the web address
in the description part of this video, so make sure you check it out. In here we’ve got loads of different things
that we can actually either get for free or add in to our Photoshop to allow us to do
many many different things. One of the things that’s available to us is
this one where loads of textures. If I go to the search area, type in ‘Texture’,
this is going to bring up lots of the Add-ons that have some kind of texture in with them. The one I’m talking about today is this one
just here. This is one that’s available to those of you
who subscribe to the Creative Cloud, it’s a free one to download. Don’t worry if you don’t subscribe to the
Creative Cloud, if you’re something like Photoshop CS6 or maybe an earlier version, you’ve got
a version over here which you can also download as well. You’re not being excluded, it’s for everybody
to make use of. I’ve got this one over here, the one that’s
called the Fly taster for the subscriber. When you actually get that and install it
you’ll notice that you can actually get hold of it when you go to the Window menu, Extensions,
and it will show here. You can see Adobe Paper Texture Pro. When you first use it you’ll notice it comes
up over on the right hand side here. Can you see this little fly icon with the
blue background? This is where all those textures are actually
embedded now into Photoshop, you see all them different ones here. If I wanted to add these on to the background
all I simply need to do is just click on one of them, and what you’ll find is it creates
a brand new layer, it adds a layer mask onto it as well and it also applies the blend mode. If I just change that back to normal you can
see here’s the solid texture, but they’ve just simply now by changing it to overlay
you can see that it starts to attach itself to the actual grey paper background. Obviously it’s over the subjects as well,
but all you can simply do there, like we did with Jessie the girl there where we put the
door behind, is just get a black brush and paint it off the guys so that you’re only
going to leave it on the actual background. On this example here what I actually did do
was you can see just here, I actually made a selection of the guys so it’s very quick
and easy for me now as I add textures to remove them off. You’ll notice some of these textures do in
fact have some color in them as well. One word of warning, if you’re going to add
a texture that has color onto a grey wall it’s going to look a little bit funky, so
what I tend to do is just desaturate it. When you’re clicked on the actual layer container
texture, just go to Image, Adjustments, and then desaturate, take the color out of it
and then you’re going to be left with a nice simple texture on that back wall. Already we can start to see that it’s building
up there, but you don’t have to stop with one texture. In the final image of these guys here I went
back in, chose another texture … Let’s just go for maybe this one here, and again we can
see there’s color in there, that’s now almost like a material effect there but it might
work. Let’s just click on the thumbnail, Image,
Adjustments, Desaturate, obviously there’s a keyboard shortcut there as well, click on
that to remove the color out of it and you can see straight away that makes it better,
and then we can actually start playing around with opacity to bring down the texture effect
just there as well. You can start to build them up, put as many
as you want in there to create a completely bespoke background. If I want to take it off the guys here, I
could build up many many different textures in here, then I’ll just simply highlight so
that all those textures are selected and then go to the fly-out menu on the right hand side
and go New Group from Layers and we’ll just call that Texture, and I’ll simply add a layer
mask to it. The layer mask is white which means we can
still see the effects, we can still see it on the guys there, but if I then go to where
my selection was saved, hold down my command key and click on that little channel there
you can see my selection is now active. Again, this is just purely a reminder here. All I need to do now is just go to Edit, Fill,
and fill that selected area with black to remove or to hide that effect off the guys,
and then we’ll just de-select. You can see you can start to very very quickly
build up those texture layers just there like so. Keep going until you get the kind of look
you want. That’s one thing you can do with it, and just
as a little bonus before we finish off, here’s one little thing that I remember seeing years
ago, blimey, it must have been about ten years ago when I first went to Photoshop World in
Las Vegas and I saw photographer Eddie Tapp show this and he called it Cookie Lighting. All he does is he goes through add a curves
layer, go to the upper right hand corner and drag it down just a bit so that your picture
starts to darken something like this. Okay, we’ll close that down, then we get a
brush, we’ve got a black foreground color. Let’s just make sure there’s no settings in there
that are going to make the brush behave a bit odd. All we simply do is just quickly dab down
in various parts of the picture with this brush. We can click down that size, let’s make it
a little bit smaller, little dabs like this all over the place, and all that’s doing is
just making it so that the lighting isn’t even. Obviously later on we can add a vignette,
but by adding all these little dabs of black here to bring back the original picture it
just adds a little bit more interest. If I turn that on and off you can see the
light’s not even, it’s the shadows that make the picture interesting, and that’s just a
very quick simple way that you can something that Eddie called Cookie Lighting. If we just look at the actual layer mask that’s
all we’re doing, we’re just hiding the dark parts by putting those little black dots all
over it. There you go, real simple quick way of using
textures. It’s definitely something that’s worth doing,
it’s actually cheaper than buying textured backgrounds because then you can just do whatever
you want to your background now and make a brand new different looking one every single
time. You’ve also got the compositing trick in there,
definitely give it a go. For those of you who want to know what kind
of grey you should get, just get a grey, don’t worry too much about how light or how dark
it is, because you as the photographer can control how much light is on it anyway, so
you can make it as dark or as light as you want to. Don’t forget I’ll put the actual address where
you can get those Adobe Add-ons in the description part of the video. If you haven’t subscribed already to this
channel please make sure you do so, just click on that subscribe button, it’s just a real
quick way of giving us a bit of support. That’s it pretty much, I shall finish now
and I’ll see you next time.

Off-Camera Flash Tutorial (Wireless Flash/Remote Flash/PocketWizard)

Off-Camera Flash Tutorial (Wireless Flash/Remote Flash/PocketWizard)


Hi, I’m Tony Northrup and for chapters 3 and 6 of my book I want to tell you about using a remote flash. By taking your
external flash off camera you can get studio lighting effects on the cheap. So you’ll need a little bit of extra
equipment, the cheapest way to get into it is to use what they call an off-
camera shoe cord. These shoe cords aren’t expensive at all,
but they have a limited reach and if you get a longer cord there’s a good chance
somebody is going to trip over it. For that reason this type of cord is
primarily used by wedding photographers who happen to use a bracket to allow
them to move the flash from horizontal to vertical positions. A better solution
is to get a wireless shutter trigger. These triggers from cowboystudio will
only cost you about thirty dollars. You connect one to the flash and one to your
camera and any time you push the shutter the flash
will fire. These cheap versions are a little bit limited though. First, they’re not completely reliable,
they’ll flake out sometimes and they might even break on you. So they’re not good
for professional use but that might be okay for amateur use. Second, they
don’t communicate all the, what they call the ETTL information, from the flash to
the camera. So your camera might not be able to auto
expose your flash correctly. That means you’ll need to manually adjust the flash
up and down. If you’re comfortable doing that it’s actually a great way to learn
and it’s something I prefer anyway. If you have a little bit more in your
budget you can upgrade to a PocketWizard system. PocketWizard is the system that I use
and the system will cost you about 450 maybe 500 bucks for both the transmitter
and the receiver. However, they’re completely reliable and
they work just great. So, to demonstrate how you can use off camera flash, I’m going to start by
taking a picture of Chelsea there without any flash. Note that i’m using a
remote shutter trigger which allows me to trigger my camera without actually
standing next to it. This will allow me to move around with
the flash. This system only costs about thirty dollars, you can get an off-brand
for that and I’ve had great luck with it. So I’ll fire that first picture. That’s
without any flash at all, not a bad effect. Now we’ll try it with an
on-camera flash. The on-camera flash look isn’t bad but it’s really common and it’s very flat. It adds a catch light to the eyes but it
also hides a lot of the detail in the face and doesn’t bring out, say, the
cheekbones in a portrait. You can make that much better by taking
your flash off camera. The first thing I’ll do is I’ll take a
picture with Chelsea and I’ll hold the flash just a little bit higher than it
would normally be so you can see the difference. I think that’s already a much more
pleasing effect. But as long as you’ve got the flash off camera you can walk
anywhere with it and check out the difference between side lighting, back
lighting, or any other type of lighting that you want. I’ll walk around now and
take a few different pictures so you can see the variety of different effects
that are available. You can see the wide variety of effects just by
moving the light to different places around the model. I want to show you one more trick. We’ll move to a wider angle shot of Chelsea and I’ll show you that you can
remove yourself from the photo. So this allows you to stand closer to the model
making the light brighter and a little bit softer by adding those two layers in
photoshop later we’ll be able to remove you or your light stand from the picture. So, first a shot without me in the picture.
Now I will move into the frame so I can light Chelsea directly with the flash. By using multiple exposures we can add those two pictures as layers into
Photoshop. Then, using the eraser tool I can simply erase myself from the picture. It’s an old photographers trick, it actually happened in the film days using multiple
exposures. This was for chapters three and six in
my book Stunning Digital Photography. If you liked it please click Subscribe
above so you can see new videos that I make and click like down below. Check out my facebook page Tony Northrup Photography and remember when you want to take portraits don’t just take it, make it.

Creating Website Buttons From Images. Easy and Fast Photo Converter

Creating Website Buttons From Images. Easy and Fast Photo Converter


Hi Everybody, Today, I will show you how to make website
buttons out of your photos Open Contenta Converter PREMIUM and use the
button “Add Photos” to add a whole folder full of photos. Click “Next” In the Convert tab, select the output format
“PNG” and tick the option “Do reduce or enlarge size of images. Pick the profile “Advanced”. For this tutorial, we’ll try the button size
200 x 50 pixels . Enter 200 for the width and 50 for the height. Change the Picture position setting to “Crop
and preserve area in:” and select “Center” as area to preserve when cropping. Now go to the “FX” tab and click the Effect
“Frames” under “List of all effects”. In the parameters, pick “round05”. This will give
the button a 3D look. As an option, you can also add text to the
buttons. To do this, go to the Watermark tab and put
a check on “Add a watermark” Enter a short text that you want to appear
on the buttons. For this example, we’ll put “Click me”. Change the font type, size and color by clicking
these buttons ( […] ). Make the text label large enough to fill the
button area. For this example, we’ll select “36” for the font size and white as text color. Align the text label to the middle by choosing
Center for Horizontal alignment and “Center” for the Vertical. Now, you’re all set. Click Start to begin
turning your photos into website buttons. Thanks for watching.

How To Create 3D Objects From Photos in Photoshop

How To Create 3D Objects From Photos in Photoshop


Welcome back to another very exciting tutorial
here at the PhotoshopTrainingChannel.com. My name is Jesus Ramirez, and you can find
me on Twitter @JRfromPTC. In this video, I will show you how to create
a 3D model from a photograph. We’ll use two Adobe Stock images and we’ll create a phone
advertisement composition, something that has a night life feel to it. This technique
will allow you to create other types of images, like this one. But in this tutorial, we’ll
only focus on the composition with the night club Also, stick around after the tutorial because
I will take a few minutes to show you how to import 3D models into Sketchfab directly
from Photoshop. From Sketchfab, you can create a portfolio of all your 3D models, and also,
embed them into your website or blog, and interact with them in 3D space. It’s a real
cool way of displaying your 3D models online. Okay, let’s get started with the tutorial.
The first thing you need to do is create your document, so I’m going to go into File, New,
and I’m going to have a document that’s 1920 by 1080. I’m going to press okay, and, now,
we need to find images that we’re going to use for this tutorial. I already found those
two images on Adobe Stock. I created a library called 3D Phone Tutorial. You can create a
library by clicking on this button, here, Create New Library. You can name it what you
want and you don’t necessarily need to follow these steps in order to accomplish the effect,
but I wanted to mention the libraries, in case you want to start using them in your
projects. And, the two images that I want to use, as
I mentioned, are from Adobe Stock. So I’m going to go into Adobe Stock website Stock.Adobe.com,
and I already found the images that we’re going to use for this project. For the background,
we’re going to use this one titled ìbar in a nightclub.î You can see the file number
here, and, also, in the corner here. You can pause the video and write it down if you like.
And, what I’m going to do is I’m going to copy this number here and I can paste it in
the search bar, here, and click on go, and Adobe Stock will find that particular image.
You can click on it, and you can save a preview to any of your libraries or to the desktop.
If you’re in Adobe Photoshop CC, then you can create a library and save it there. If
you’re in an older version of Photoshop, you can just save it to the desktop. The phone that we’re going to use is this
one here. I’ve already licensed this image, so you can see the icon here, and you can
save this to your library. Notice that there’s no Preview button because this one has already
been licensed. You can copy the file number. In your case, of course, you, probably, will
have to write it down, and you can also find images directly from Photoshop. Notice this
search bar hereóSearch Adobe Stock. I can paste that number there and Adobe Stock will
immediately find that file, and I can download it to one of my libraries if I want to. I’m
just going to click on this X to get rid of that, and I have my two files here, so the
phone is easy to bring it. I can just Click and Drag that over on to the composition that
you’re working it with. So, from my background, I’m going to show
you how you would bring it in using an older version of Photoshop. Just go into File, Place
Embedded, find the file, and click on Place, and that’s going to bring it in. So you can
do either/or, and what I’m going to do now is Click and Drag at the background below
the phone. And I just want to mention that if you’re using a Preview file, you’re going
to see the watermark across the image, and that’s okay. You can still work with that
and practice with it, and if you’re ready to purchase, simply license the file. Okay,
so, now, let’s start working in the actual project, and the first thing that I’m going
to do is I’m going to create a mask around the phone, and I’m going to use a Vector Mask.
So what I’m going to do is I’m going to click on the Rounded Corner Rectangle Tool, and
make sure that I have Path selected, and then, I’m going to Click and Drag, and create a
rectangle that follows the shape of the phone. I’m not worried about the curve of the edges
yet. I’m just worried about the horizontal and vertical lines of the phone, and I’m going
to try to match those accordingly. I’m holding the Spacebar on the keyboard to
move the Path that I created, and once I’ve matched the lines of the edges of the phone,
I’m going to release my mouse button and it’s going to create a Path. Then, in the Properties
panel, I can Click and Drag, and round the edges more, so they match the actual phone.
And I’m a little bit off in certain areas, and that’s okay. It’s not going to make a
big difference. Then, I’m going to come and select the phone. I’m going to hover over
the mask icon button, here, at the bottom, and I’m going to hold Alt and Ctrl, that’s
Option Command on the Mac, and click. And this is going to create a Vector Mask. This
is not a mask that is created with pixels because the mask is created by using vector
curves, and if I click on the Path Selection Tool, you can see the Path here, and I can
move that around, but I don’t really want to do that. I just wanted to show you that.
What you want to do at this point is you want to make sure that there is no white along
the edges of the phone. If there is, just click on the Vector Mask, and then, press
Ctrl T, Command T on the Mac, and simply adjust the edges a little bit, and I’m going to bring
this in just a little bit more, and, maybe, bring this side in, as well. And that looks
pretty good. What I’m going to do now is click on the bar
background, and, actually, before I even do that, I’m just going to delete the original
background because I don’t need it, and I’m going to rename this layer to ìbackground,”
and I’ll rename the top layer “phone.” Okay. So, now, with the background layer selected,
I can press Ctrl T, Command T, to Transform, and I’m going to scale that up. I’m not going
to lose any resolution by up scaling it, because it’s a Smart Object. You can see the icon
there. The icon on the top, the little cloud icon, it means that it’s tied to the image
in your Adobe Creative Cloud library. The one on the bottom is not tied to anything,
but it is a Smart Object. So, I can move this around, and find a good spot for it and I’m
going to lapse this, just so we can see it better, and I’m going to Zoom In a little
bit, and I’m Zooming in by holding Alt, Option on the Mac, and using the mouse wheel to Zoom
In or Out. Now, it’s time to turn our phone into a 3D
model, so I’m going to click on the phone layer, then, I’m going to go into 3D, New,
3D Extrusion From Selected Layer. Photoshop, then, is going to ask me if I want to change
my work space to the 3D Work Space, and I’m going to click on Yes because I like this
arrangement of my panels when working in 3D. If you’re working in 3D, and you have the
Move Tool selected, you’re also going to get the 3D Tools on the Options bar, here, and
at the bottom, here. You should also see the ground plane grid. You can see those lines
here. And by using these three handles here, you can control the camera in orbit. You can
pan, and you can dolly the camera. And the first thing you want to do is adjust the camera
so that it matches the ground plane of the image. So, I’m going to place this accordingly,
here, and since there are no real lines that you can follow to find the horizon line, and
match the horizon line, there’s the horizon line of the 3D model here. You sort of have
to guess where it would be, and I think this is a good guess, so I’m going to dolly this
back, and pan this right about there, maybe, dolly it forward and I think this is going
to be a very good spot for it. What you want to do now is save your camera
so you can always come back to it. And before I save it, I’m, actually, going to Zoom Out,
just to make sure things look good, and I think that they do. So, this is going to be
a good place for my camera, and I’m going to click on Current View here in the 3D panel,
then I’m going to go into the View drop down, and save it. And I’m going to call it “final
view,” then I’m going to press OK. Now, if I move my camera around, I can always come
back to that same spot by clicking on the final view camera icon here. It brings that
back. So, no matter how much I move my camera, I can always come back to that spot that we
set as our final view. If at this point your phone is looking a little too small, you can
click on it, and you’ll see these handles, here, that you can Click and Drag. Each of
these handles has three areas we can click on. You have the tip here, which moves the
3D model, this one, here, rotates it, and this one scales it on whatever axes you’re
clicking on. I’m going to Undo that, and just remember, these handles control the 3D Object,
right down here, this control the camera. Okay. So, what I’m going to do now is I’m
going to rotate the camera a little bit just so I can see the side of the phone, and work
on the thickness. I can, of course, come in here and scale it along the Z-axis, but there’s
a better way of doing this. You can simply go into the Properties panel. Make sure that
this icon is selected, which is the Mesh icon, and Click and Drag the slider of the Extrusion
Depth to the left. Notice how the Extrusion Depth decreases and you just got to find an
appropriate width for your phone, so, maybe, something like that will work. Notice that
if I rotate the phone to the back, we also see the screen of the phone, and we want to
remove that. So, I’m going to click on it once, and notice how the Back Inflation Material
is selected, and what controls the color and texture of your 3D object is the Diffuse.
Currently, it’s set to gray, but notice this icon here of a file. That means that we have
a texture attached to it. That texture, if I hover over that icon, you’ll
see that it’s the phone that we started with. So I’m going to remove it. I’m going to click
on it and select Remove Texture. Notice what happened; this changes, and then, I can change
the Diffuse Color to whatever color I want. In this case, I want my phone to be black,
so I’m going to click on black, here, and notice the color changed. Then, press OK.
I can, also, click on the Extrusion, here, on my phone, the Extrusion Material. This
one does not have a material, but I can change the color to black as well, and I can rotate
the camera around. Now, we see our phone. And just as a point of reference, in case
you want to make some adjustments to your phone, if I click on one of the edges, it
gets highlighted on the appropriate material as you can see here or here. Anyway, so, on the Front Inflation Material,
we have a texture, and we obviously know what the texture is because the image that we started
with and I can edit that if I want to. So I can go into Edit Texture, Photoshop is going
to open up a new tab, and you can see the texture we’re working with. If I hide this
layer, you can see the UV properties of the texture. And this is what gives the texture
to the phone, so I can come in here and select this icon, here, and I can turn off the UV
Overlays, or I can change the color to, maybe, like red, or something else, but I’m just
going to leave it at black, for now. I can turn this on. I can create a new layer, and
I can paint something in here, so, maybe, I’ll just paint with red, so you can see how
that works. I’m just going to simply paint this red line. Then, I’m going to press Ctrl
S, Command S on the Mac, to Save, go back on to my 3D model, and you can see how that
change was applied. I want to go back into my texture here and
just simply delete that layer because we don’t need it. So that’s how you would go about
making changes to what’s displayed on the phone and I’m just going to close this and
save it. Notice that it’s now gone, and you can, actually, do the same thing to the back
side and add, for example, a logo or something like that, if you wanted to, by clicking on
the Move Tool, rotating the camera to the backside, clicking on it, and just make sure
you’re inside the 3D model, here. So I’m going to double click on this, click on the back
side. Notice that the Inflation Material is selected and you can just create a new texture
and place whatever you would like in the back of the phone. I’m not going to do that for
this tutorial, but I just wanted to mention that. Anyway, so now we have our phone in the 3D
space, and I’m going to click on the final view, just so you could see how it’s going
to look at the end, and we can work on lighting now. I can click on the Infinite Light. This
interactive display appears, and I can click on it and drag it and adjust the lighting.
Notice that the lighting matches the ground plane. And, by the way, if you have an object
and it is, maybe, under the ground plane, the effect won’t work. You got to make sure
that your object is sitting directly on the ground plane. So, if it’s not, select the
Object, then go into 3D, Move Object to Ground Plane, and there it is, sitting on the ground.
So, now, you can see the shadow interacting with the ground. So, maybe, this is a good
spot for the shadow. I like that, but it’s a little too sharp. So what I can do is under
the Infinite Light, soften up the shadow, and I’m going to soften that up quite a bit,
so, maybe, around 69%, and then, with the Marquee Tool, you can press M, or click on
this icon here, make a selection around the shadow and click on Render. The reason we’re making a selection is because
rendering can take quite a bit of time and by selecting a certain area, we save a lot
of time on rendering and we can see how an adjustment affects a specific part of the
3D model. And I like the shadow, and I’m just going to press the Escape key on the keyboard,
and then, press Ctrl D to Deselect, and I can keep working on my phone. I’m going to
click on the Move Tool, select the phone, and one of the things I’m going to work on
now is the cap of the 3D model, which is going to give a Bevel to the edge of the phone.
So what I’m going to do is I’m going to rotate it just a little bit, so I could see it right
about here. Then, click on the cap here, adjust the width. You can see how the phone comes
out, where you can have the phone go in a little bit, and, maybe, you can have a different
contour. So, maybe, a Cone Contour, press OK, and notice how that changes. And I got
to go back into the cap here, and adjust the width. It might be a little too much, and
you back in just a little bit, something like that, maybe. And, now, you can see the cap
there on the edge, and you can adjust that however you like. So, what I’m going to do now is go back into
the final view, click on the phone, hover over the Y-axis, rotate handle, Click and
Drag it and rotate it just a little bit, maybe, something like this, and, now, I’m going to
add just a little bit of reflection on the phone. And to do that, I’m going to use an
Image Based Light, so I’m going to click on the environment. I’m going to click on this
icon, here, and I’m gong to edit the texture. That’s going to open up a new tab. Currently,
this is our Image Based Light. If I click on the Layers panel, you can see it here,
and I want to work with the actual background that we’re working with. I’m going to click
on this tab, here, and I’m going to click on the background layer, right click on it,
and select Duplicate Layer. And I want to duplicate that on to the default IBL.psd.
Press OK, then go back to the Image Based Light, and you’ll see the image here. Unfortunately, the canvass is too small, but
we can increase the canvass to match the size of this layer by going into Image, Reveal
All, and it’s going to reveal all the pixels inside of this document, and here it is. So
what I’m going to do now is I’m just going to delete the background because we don’t
need it anymore, and I’m just going to press Ctrl S, Command S on the Mac, to Save, and
go back into the image we’re working with. Notice that now the phone has a little brown
tint to it, and that’s because the Image Based Light in the environment, here, is controlling
some of that light. If I Click and Drag on this orb, you’ll see that the phone is somewhat
reflecting the environment, but the reason that it’s not reflecting it that much is because
the reflection is set to zero. If I click on the Front Inflation Material,
hold Shift and click on the last material at the bottom. It’s going to select all of
them, and I can adjust the reflection of all the materials at the same time. I’m just going
to increase the reflection a little bit, about 19%. I can come back into the environment
and watch what happens when I rotate. Now, it’s reflecting more of that background, and
you can see on the edges, here, how that background is reflecting, and you just have to find an
area that you like, so, maybe, something like this. I think I kind of like that light. I
can click on the Marquee Tool, or simply press M, and just make a Render on the phone, just
so you can see how that’s working out. And, I can already tell that things are looking
pretty good, but the problem is that the phone is a little too bright, so, maybe, I want
to reduce the Infinite Light a little bit, so, maybe, bring that down, like so, and make
another render just to see how that looks. And that’s looking a little bit better. So
I’m just going to press the Escape key on the keyboard, and I want to move the Environment
a little bit more. I donít really like that red on the side of the phone, so I’m going
to try to get some of this blue there, and I like that better. So, let me just make a
Render here and see how that looks, and we’re just going to keep it here, for now. I’m not
100% happy with it, but I think this will work for the tutorial. What I’m going to do now is create the reflection.
It’s going to be coming off the table here. Notice that these lights are reflecting on
the table, so we want to match those reflections. With the environment selected, under Properties,
you can come into the ground plane options, and notice the reflections here. You can increase
the Opacity, so, maybe, do something like 17%. With the Marquee Tool, make a selection
under the phone, and click on Render, and you’ll see the reflection. The problem is
that it’s not strong enough and it’s not rough enough. So, I’m going to press the Esc key,
Ctrl D, Command D, to Deselect. Increase the Opacity a little bit; maybe 27%, and increase
the roughness about 11%, make a selection, Render. And I think this might be a little
too strong, still, so I’ll increase the roughness even more, 33%, and render again, and, I think,
this will probably work. So, we’re going to keep it here, for now. At this point, we can make final adjustments
to our phone. For example, we can position it better if we need to, so, maybe, move it
back, move it to the left. That way you can have room on this side to include some text
if you want to, and, now that I’m looking at it, I don’t think the phone is big enough,
so I can click on the center scale uniformly box, click and drag it to the right, to scale
uniformly, so, maybe, something like that. The problem, now, is that our 3D object is
not sitting on the ground plane, but we know how to fix that. We can go into 3D, Move Object
to Ground Plane, and there it is, and I’m going to push it back, just a little bit,
and, maybe, push it to the right some more, maybe, something like that. And we have room
to put text on this side, maybe, another phone on the bottom, and another phone behind this
one, and I’ll show you how to do that. When you select your phone, you have two ways
of duplicating the phone. You can duplicate a 3D object or create an Instance. A duplicate
means that you’re going to create another version of the same phone, but it’s not going
to have any ties to the original. If you Instance an object, you’re going to duplicate the phone,
as well, but it will be tied to the original, meaning, any changes you make to the original
will also affect the Instances. So that’s what I’m going to use for this tutorialóan
Instance Object. Notice that here, Phone 1, and I can Click and Drag it here, and, now,
I have two phones, and I actually want to put this one behind the other phone and I
also want to rotate it, so I’m just going to rotate it all the way to the back there.
And we move it out a little bit more, so we can see the back of the phone. Keep rotating
on the Y-axis, and just place it wherever you think looks good, maybe, something like
that. If I make a quick Render, you’ll see how that
looks. And we’ll just leave that there, for now. That looks okay. We can keep moving it
more if you want to, to create a better composition, but for this tutorial, I think, this will
be good enough. I’m going to Instance the original phone one more time, just so I can
show you how to place a phone lying on the table. So I’m just going to make an Instance,
Click and Drag that and move it out, and rotate it along the Z-axis 90 degrees. If you can’t
get to it by dragging this, you can always click on this icon here, on the coordinates,
and just type 90. Then, click and push it down or simply go into 3D, Move Object to
Ground Plane, and now the phone is on the table, and we can move it around. We can rotate
it accordingly. Maybe, we can just rotate this one to this side, and move it back along
the table, somewhere there. I’m going to press M on the keyboard for the Marquee Tool. At
this point, I can do a render of the entire composition, or I can come into the Layers
panel, and I can keep making adjustments that will further enhance this image. One of the things I’m not liking is that I’m
looking for a night club type of vibe, and it’s a little too bright. It doesn’t have
a lot of contrast, so I’m just going to use a regular adjustment layer to fix that. I’m
going to click on the Adjustment Layer icon here, then go into Gradient Map, and I’m just
going to color gray this image using this gradient map. I’m going to select a different
one, though. I’m going to click on this Gear icon, here, and choose Photographic Toning,
press Ok, and then, click on this one right here, right in the middle, blue number two,
then go into the Blend Modes, and choose Soft Light, and look at the difference, before
and after. Now it has more of that night club feel that I’m going for. I’m just going to
bring the Opacity down just a little bit, maybe, about 81%. What I will recommend doing
now is just rendering the entire image and after you make that render, you may need to
make a few adjustments with Gradients, with Curves, or something like that. And what I’m going to do now is I’m going
to render the entire scene by making a selection around the areas where I have 3D models, and
I’m just going to subtract the areas where there are no 3D models, like right here, just
so that the image only renders these areas. I don’t need to waste time on the side here,
so this is what I’m going to render. I’m going to actually subtract from this side as well,
and I’m just going to disable the Gradient Map layer, and just do a render, just so we
can actually see what the render’s going to look like without the effects. But, once the
render is complete, we will apply the effect again, by enabling the Gradient Map. And the
rendering is going to take a little while. So what I’m going to do now is just pause
the video and let Photoshop continue with the Render. And the rendering is now complete.
You can see the shadows and reflections of the phones on the surface here. I’m going
to go ahead and enable the Gradient Map Overlay to apply the style we had before. At this point, we pretty much know what the
composition. One of the few things that you might want to do is make some adjustments
just to further enhance the realism of this image. One of the things that I will do, for
example, will be to work with the screen. The screen looks a little bit dim, so one
of the things that you can do is with the phone layer selected, you can come into the
Polygonal Lasso Tool and I’m just going to do it quickly here, but you may want to take
a little more time if you’re working on a project. Make a selection out of the screen.
Once you have the selection, you can press Ctrl J, Command J on the Mac, and that duplicates
that layer, and I can just set the Blend Mode to Color Dodge, and the screen looks just
a little bit brighter. You can also bring down the Opacity if you like, or even apply
a Layer Mask, and mask out some of the areas that might be a little strong. So I’m going
to select a Soft Brush, so the Hardness will be at 0%. Use the bracket keys on the keyboard
to increase or decrease the size of the brush, and just, maybe, brush out some of the parts
in the middle here, but with the mask selected in the Properties panel, I can use the Density
and adjust the Opacity of that mask. And then, maybe, I could add an Outer Glow, so I would
select Overlay, and, maybe, an orange color, like so, and adjust the Opacity of the glow,
maybe, something like that. So, this is what we had before, and this is after. And you
may want to do the same on the reflection in the surface, just to make it a little more
realistic. Creating the tutorial, I decided that I was
just going to spend just a few minutes showing you how you can get your 3D model into Sketchfab,
which allows you to create an online portfolio of your 3D models, and you can embed them
into your website, much like you could embed a YouTube video. So, I’m going to quickly
show you how to do that through Photoshop. I’ve gone ahead and added just a few things
to the 3D model that we created in the tutorial, including some buttons, here on the side,
and a camera, and the Photoshop Training Channel logo on the back of the phone. And, before we go any further, I just want
to point out that you do need to create a Sketchfab account. So you need to go into
Sketchfab.com and create an account. So, what you need to do is go into Photoshop, then
go into 3D, Share 3D Layer on Sketchfab. Click on that and Photoshop is going to ask you
to input a token ID, which is going to allow you to import the 3D model on to the website.
You can click on Request Token and have a token emailed to the email that is tied to
your account. I usually find that this takes a little bit too long for me. What I like
to do instead is go into the actual Sketchfab website, then, go into their Settings, Password
and API, and copy the API token directly from here. So, highlight it, copy it, go back into
Photoshop, and you can paste a token here. Then, you can add a title, description and
tags to your 3D model. You can decide whether it’s a public 3D model or a private 3D model,
then click on Upload, and Photoshop will then upload the 3D model onto the website. And,
from the Sketchfab website, you can see the 3D model that you brought in from Photoshop.
You can click on it, and rotate it, and see the 3D model in 3D space. You can also click
on this embed button. You can copy the code and paste it on your website. This is an iframe,
much like a YouTube video, so you can just copy that code onto your website, and display
this 3D model. Essentially, this window you see here on your website. A couple of things I want to mention before
we finish is that if you want to get this glossy, reflective effect, you need to go
into Settings, 3D Settings, and adjust the materials for each of the faces of the phone.
So, for example, the front face material, here, is Front Inflation Material. And notice
what happens when I change the Specular Colors to the reflection. So adjust it accordingly
on Specular, and then, on Environmental Reflection, you can bump that up or bring it down accordingly.
And you will need to do that for all the Inflation Materials that you want to have a reflective
surface on, and then, you can just rotate it and see how the reflection works. I’m going
to go ahead and exit this. I’m not going to save it but you may want to save it. And, the last thing that I want to mention
is that when I was working on importing this 3D model onto Sketchfab, I kept getting this
result. The textures were not working properly, as you can see there. So, what I needed to
do is go into Photoshop. With the 3D model selected, go into 3D, Generate UVs, press
OK, and uncheck Merge Materials and keep Low Distortion checked, and press OK. And this
is going to regenerate the UV Textures on our phone, and it should allow it to be imported
into Sketchfab accordingly. And, by the way, after you create a Sketchfab account, feel
free to follow me. My username is JRfromPTC. You can search that on the search bar, or
you can find a link to it from the description of this video. And that’s it for this tutorial. I hope that
you enjoyed it and that you learned something new. If you have any comments or questions,
leave them down below. If you enjoyed the tutorial, don’t forget to click that “Like”
button and share this video with a friend. If you haven’t already, subscribe to the Photoshop
Training Channel now. Thank you for watching and I’ll talk to you again, soon.

Logitech G13 Review – Editor’s ULTIMATE tool

Logitech G13 Review – Editor’s ULTIMATE tool


Hello everyone and welcome to my review of
the Logitech G13 Advanced gameboard! Even though this product isn’t nowhere near
new, and I’ve had it myself for almost a year, there are not many reviews of the G13 on YouTube
especially focusing on its use other than gaming, so I thought I’d give my perspective
and tell you why I love to use it. Even though there are some alternatives on
the market, there are none for this cheap. The G13 comes at a price of just $79.99. It is 17 cm by 24 cm and less than 4 cm tall
and it weighs 600 grams. It includes 2.5 meter long USB 2.0 cable. The Logitech G13 is a gaming keyboard designed
to help the gamers have better control over their key bindings in their games. They achieve this control with Logitech Gaming
Software. The G13 has 22 keys + 2 buttons for your thumb
and what they call a Mini-Joystick with four-way control, which you can also press down on. On top of that, it has 3 Modes so in total,
you get up to 87 new inputs for your Mac or PC. It also features RGB lighting for that ultimate
customization level. You can see the true potential of the G13
once you open the Logitech Gaming Software. You are offered a few tabs among which are
the customization of the G-keys, customization of the LCD screen, backlighting settings and
input analysis. G13 also offers Profiles To Go; you can save
up to 5 profiles on the G13 itself and they will be ready as soon as you install Logitech
Gaming Software on your secondary or a new machine. The setup of the G-keys is very simple; you
create a new profile for a software you want to use, and you’re all set for the customization. Just double-click on a key and select how
you want to use it. You can create keystrokes for actions such
as Undo, Redo, Copy, Paste and so on. Most of my G13 is set up with Keystrokes. You can use the Multi Key function in order
to type out a block of text or shortcuts. For example, in my profile for Adobe Premiere,
I have my Multi Key funtion set up on the M2 under the G1 key. What it does is, it creates two new bins in
Premiere, names them “footy” for footage and “seqs” for sequences, and then it creates
a new sequence in the sequences bin. My workflow always includes the creation of
these three items in the Project panel on the very beginning, and with
the Multi Key function, it’s done in a matter of milliseconds. There’s also a text block function, mouse
function, media control, general hotkeys, shortcut to open another program, some other
functions and Ventrilo commands. Once you set up your Profiles, you’ll notice
that the G13 can automatically switch between apps and software. The way I’ve set up my G13 for Premiere is
a very simple layout, more or less the same as the default layout in Premiere. I have my Undo and Redo, Copy and Paste, One
frame left and one right, In and Out point, Zoom on the timeline, and a few more. I have the joystick set up for mouse scrolling
left or right. Even though said scrolling is too sensitive and there’s no way to change it. The G13 is also a great use for me in Lightroom. I have my Undo and Redo as well as Copy and
Paste on the same keys to keep the consistency between my software. I have my Grid and Loupe views, one picture
to the left, one to the right, Crop and Brush tools, Rating to 1, and a quick way to reset
any value of a slider to 0 by pressing the 0 and Enter keys. Once you set up the G13 you’ll find that most
of the time you don’t even need a keyboard during your editing, color grading, photo
manipulating and designing. In the LCD customization screen, you can choose
what Applets will appear on your LCD screen. You can choose from Clock, Countdown and Stopwatch,
POP3 monitor, RSS reader, Media Display, Performance monitor and the Profile selector. Even though at the first glance these look
pretty cool, after a few days of use, I simply switched to Profile selector and left it there. The RSS reader is hard to read on such a small
screen and when you press a button to open the webpage, it opens some wierd domain. The performance monitor, which should tell you the percentage of the CPU and RAM usage, is simply a blank screen. For me, it worked for a day or two and then
it simply didn’t. In the meantime, I bought a new PC and it didn’t work
there either. I’m guessing it’s simply a bug, but I couldn’t
find anything on the Logitech website so I just made my peace with it. Which brings me to the main problem of the
G13; it is slightly buggy. I couldn’t set my old PC to Sleep because
once I woke it up, the G13 simply wouldn’t work. It would show G13 written in big letters the
same way it displays it when the PC is booting up. And it would stay there. This is no longer an issue on my new PC, but
it’s still something to be aware of. Furthermore, it sometimes has trouble recognizing
which program is in use, so I have to use the task switcher to go to another program
and then go back to the program I’m working in, in order for the G13 to recognize it. It is not often, but it can happen. Another thing to keep in mind is that the
Mini Joystick is very hard to push downwards correctly. The button is so shallow that it simply doesn’t
register it and the Joystick moves to the side under the force of my thumb. Those are just a few things to be aware of
before buying. To conclude; this is a very good piece of
tech for anyone looking to expand their keyboard functionality. Video editors, colorists, photographers, designers
and a whole lot more professionals in the similar fields can really use this gadget
to its full potential. I would definately recommend it. There is my review of the Logitech G13
Advanced gameboard. If you decide to buy it, the link is in the
description. If you liked the video make sure to leave
a like and a comment, and also be sure to check out my other content and
subscribe if it’s something you’d like to watch. Thanks for watching and goodbye!

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!

FOLLOW THE TRACKS Photography Masterclass – by Max Muench (OFFICIAL TRAILER)

FOLLOW THE TRACKS Photography Masterclass – by Max Muench (OFFICIAL TRAILER)


Welcome to Mongolia – an otherworldly, untouched land in the heart of Asia and the incredible stage that my Masterclass will take place on. For the first time ever I’m going to share all my secrets with you … “This looks pretty insane. So we have the leading line right into the sunrise.” … covering every imaginable aspect of how you can seriously and step-by-step improve your skills as a photographer. Master the camera you have on you – this drives your creativity and freedom Together we’ll examine the ideal camera gear for every scenario, the art of setting up the perfect shot and I’ll guide you through my complete creative workflow and editing process. “I’m gonna explain everything about how I edit my photos, how I create this moody look.” I’m also super excited to reveal to you how I turned my passion for photography into a business that’s provided me with freedom and a life of endless travel. I’ll teach you everything you need to know about how to get your work in front of future clients, how to pitch an idea to your favourite brand and how to grow your own creative empire. “Everything that you do is self-marketing.” You have to stand out by having a proper media kit ready and a proper mood board as well. Let’s do this together! Don’t be shy to stand out or to do things differently. But here’s the game changer. This is much more than just a comprehensive online workshop: My FollowTheTracks Masterclass also doubles as a detailed field guide to Mongolia. You can book a once-in-a-lifetime epic adventure in Mongolia that exactly mirrors the route I take in my Masterclass and follow along in my footsteps while mastering your photography skills first hand in one of the world’s most spectacular countries. From meeting the majestic eagle hunters of the steppes to camping under the canopy of a billion stars in the Gobi Desert Trust me when I say there’s nothing else like it on earth. And yet you’ll see with your own eyes that nothing in Mongolia is what you would expect. Welcome to a photography journey like no other. Welcome to my masterclass.

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