Magazine Cover Redesign: Student Feedback

Magazine Cover Redesign: Student Feedback


well hey good morning everybody how you
doing and it’s a beautiful really sunny Brighton one day no Sun didn’t know it so good
so this coffee mug actually I’ve been drinking out of almost every morning for
the last 12 years or so this was a gift actually from an exchange student from
the Czech Republic and I love this thing I was kind of short night to head to
wake up bright and early to run my rig to the mechanic to get some work done on
the brakes and early making some tutorials
it’s a beautiful crazy sunny day here in Montana and for today’s tutorial what I
want to do is actually more of a Q&A so I’ve got a bunch of students in a
membership group you can check it out at Doug Mitchell calm and she sent me a
message on slack with magazine cover she’s working on – want some feedback so
what we’re gonna do is take a look at this magazine cover and look at some
ways that it’s working well and look at how I would approach the design myself
as well as some things that we could do to improve this overall so we’re gonna
go ahead and dive in alright so let’s go and take a look at this so here is the
cover that she sent and it’s a great start there’s a lot of things that I
think are working well and there’s also some things that we’re gonna definitely
want to improve on so we’re just gonna start top-down and the first thing that
I notice is there’s three things that are competing for your visual attention
the first is the masthead across the top the fatherly logo or what we call the
masthead and we’ve got that in red letters bold at the top then one thing
you wouldn’t really think about but this architecture this building here is very
unique and because of its size it’s really commanding a lot of attention on
the page and then we have the father and son here down below now as you probably
know anytime you have a purse or you know a face on the cover of
anything as humans our eyes tend to get drawn towards their faces we’re trying
to read into their eyes and trying to decipher as much information as we can
from the photo so we’ve got this big red text this big building and then we’ve
got faces all competing for your first attention so what’s a little bit
confusing with this cover is when we zoom in close and look at this thing you
can tell that it’s obviously been kind of cut out and placed in this image so
what I would do is make it much bigger and so let’s go ahead and look at some
other magazine covers for inspiration or jump up here in the Safari we got some
magazine covers all right so if we look at these there’s really a couple
approaches one is you’ve got some covers where the masthead goes above the image
and is always above the image like Time magazine down here always has the time
logo over the forehead of the people on the cover and you’ve got some magazines
here like Forbes where you have this cutout where the head pops in front of
it actually here’s one more time did that as well so it just kind of depends
on the look you’re going for but by doing something like that you’ll notice
most of these images are substantially larger on the cover and not quite so
small down here in the bottom okay so that’s one thing I would do is I’d bring
up the the main image much larger now to do that this image looks kind of grainy
so you definitely want to start with a good image to begin with now this is the
cover so you should be able to find high quality photos for the cover of whatever
you’re doing if you don’t have one you need to make sure you get one because
it’s the first impression you’re dealing with so what I’m gonna do is go ahead
and let’s just make a new I’m just gonna build over the top of this one so this
is just an image I brought into Photoshop so we’re just gonna build over
the top and let’s just pretend like let’s start with a better image so I’m
gonna come back here and I already did a search for father and son here at pixels
comm this is a good one we’ll explore where I’m just gonna download this one
we’ll do that and let me scroll down a little bit here’s another good one this
one’s awesome that’s got some character he’s smiling they’re having fun that’s
another thing too like what is the facial what is the story telling you on
the face what’s the facial expression so that’s really important as well the nice
thing about this one were their backs are to us
it makes it a little more ambiguous to where it could be anybody it might be
more relational to somebody as far as your your target demographic is able to
relate to that person let’s go ahead and scroll through here just a little bit
more now what I’m looking for here’s a good one although his eyes are kind of
closed it’s a little blurry let’s find another one here what I’m looking for
now is so the one that we have here it’s it’s a little more they’re side-by-side
the one that I downloaded they’re stacked vertical so that actually could
be good for the layout of this magazine let’s just see here we’ve got these two
you know we’ll go ahead and work with these for now all right so first things
first let’s go ahead and drag these images in here just to get them started
it’ll scale it up all right all right so we got that one in here and I’m just
gonna bring the other one in while we’re at it all right so you got some some
really good photos to work with now this one already works really well it’s got
some nice negative space around the edges where I could drop it in some text
and the one below it actually same thing it’s nice and dark and I actually like
this one better because the trees behind it have some darker and the areas that
we can drop some text in over the top this one is nice but there’s some really
hot spots down here where it’s kind of blown out so I would either want to
maybe cut him out or select it and darken the background but if we’re
trying to work with just a photo this one might get us there better so we’ve
got that now the next thing I want to look at is just the amount of fonts we
have on here so we’ve got a sans serif font up here we’ve got the main masthead
which is another font so there’s two fonts this one looks like it’s different
than this one so we’re gonna call it three fonts so we’ve got all these and
then we’ve got this font here four so it’s pretty busy with fonts so we want
to try and narrow that down and make sure that we only have you know two
three fonts max to try and keep it from being too busy the next thing that I see
is we’ve got this lowercase turned out right tracked out and so for me I would
typically try and keep your your lowercase letters with regular kerning
or tracking because we don’t want it to don’t know it just for me it just feels
like everything’s really stretched-out so let’s go ahead and pay
it this a little bit more all right so for the sake of working fast what I’m
gonna do is actually select the fatherly text let’s go ahead and sample this
color I’m actually the magic wand tool and I want to sample I’m gonna turn off
contiguous what that means is it’s any color that it sees in this entire layer
it doesn’t have to be touching all right so I’m gonna click on that and now
pretty much just the fatherly text is selected with a little bit down here in
this Jersey so now I’m going to hit the letter M to get my rectangular marquee
and hold on the option key to click and array you to remove the selection from
here so now I have just the fatherly text I’ve got a new blank layer up here
and I’m gonna hit the letter I to get my eyedropper tool and we’re gonna sample
this color oh I got a Ben right layer here we go I went back to all layers
sample that layer now we’ve got that maroon burgundy color and I’m going to
turn off this layer behind it just to make sure I’ve got other selections
cleaned up here we’ve got some extra pixels here so we’re just gonna remove
that for my selection hit option delete to fill with my foreground color and now
I’ve got this fatherly text right on top I know it’s it’s we’re working fast and
loose here but so now we’ve got this that we can work with and let’s go ahead
and bring in that image that we were gonna play with here I’ll drop this in
scale it up and maybe even crop quite a bit here throw this behind the masthead
now you’re gonna have to decide on as far as the text here it’s difficult to
see so if your publication always has the same color you might have to change
how you work with things but what I’m gonna do is it actually changes to be
white so I’m going to lock the pixels on this layer what that does is now I can
fill this with a foreground color of white option delete and it’s gonna fill
just any pixel data so by locking this right here it’s gonna lock transparent
pixels so that way you can’t fill anything that’s transparent I hope that
makes sense it’s a really great shortcut you can use for just about anything all
right so we got that there now I’m gonna throw a mask on this layer and let’s see
how Photoshop does I’m gonna actually try
going to select and we’re gonna go to select subject and just see how
Photoshop does if it can see this photo it does a pretty stinking good job so
we’re gonna go ahead and run with that selection and maybe clean it up a tiny
bit I made the letter Q to get my quick mask tool going hit let her be to get my
brush and let’s make sure we’re painting with a nice soft brush here we are
alright and I’m just gonna clean this up quick we don’t want to get too crazy
with our selection just right now just trying to get through this tutorial
let’s see here and actually I don’t even need to make sure that I only need to
make sure that this selection up here is good so let’s turn the quick mask mode
back off real quick and selecting hair especially on this background can get
real tricky so let’s turn this off and just kind of take a look at this you
know let’s go ahead and I’m just gonna add to the selection with my lasso tool
just to kind of get it a little bit better here get it close at least
alright just cleaning things up and I’m not too worried in this in this case
here’s the deal we’re just trying to make it mask behind the letters here so
realistically all I need to make sure that’s good is right where he would pop
in front of these letters so I don’t need to worry too much about the
selection but what I’m gonna do is come up here with my selection like my lasso
tool selected and click select and mask and now what I can do is paint over with
my refine brush let’s see a selection tool the refine edge brush and we’re
just going to try and let Photoshop work its magic here and we’re just trying to make it look
realistic right where those letters are so I’m not gonna get too picky about the
rest of this but we’re kind of getting it close just trying to make Photoshop
do most of the little heavy lifting here we’ll click okay I’ll call it good for
now and now I’m gonna do is jump cut this selection to a new layer actually
and I can bring this text behind that of the layer I should have worked with a
mask but I’m just I’m just trying to go fast here guys so what we’re gonna do is
just take a look at that and that actually did a pretty stinkin good job
of knocking that behind the text and what I like about this is it just creeps
up just a little bit beyond the letters but you can still read most of the text
it’s cropped well he’s looking into the letters here and it really engages the
viewer all right so now I’m gonna do is let’s just go ahead and look at the
original real quick and you can see that we’ve got a lot of different stories and
we could easily feature all of them but what I’m gonna do is just grab a couple
of them so we are parenting 101 and maybe we’ll just kind of play with some
sizing here and we’re just gonna do a regular sans-serif just I don’t know
we’ll figure something out here now instead of leaving this I’m just
going to make this all caps I’m going to cut this command X to cut
it drag down a copy of this text the reason why I’m doing this is because I
want to be able to have be able to quickly grab and select these so let’s
drop this down here I want a little more space on the
right-hand side here so I’m gonna do is select we’ve got this layer sitting on
top I’m gonna select this one and the original image below it and we’re just
gonna drag it over a little bit which is nice that we’ve got the selection and
the two layers sitting on top because now we can just move it and it’s gonna
knock out those letters wherever we drop it so I’m thinking we’re gonna scoot it
over just a little bit so that way we’ve got the left edge just barely you know
touching over here we’ve got a little bit of margin a little bit of space but
that gave me more space down the right-hand side to kind of work with
this here so let’s go and again I like to break my text into a couple layers
because then I can really refine my edges or find my edges refine my type in
a way that feels a little more natural just to grab whichever one that I want
and scale it into place without having to try and mess the whole line at a time
all right hope that makes sense guys it’s not even 7:00 yet I am I’m needing
more coffee here all right there we go that’s looking good that’s better that’s
cool all right so I like how this works fits in this gap here parenting 101
let’s see what else could we grab let’s go back to the original cover kids
mental health signs to look out for alright let’s drop that in here sorry we’re using the same font but I’m
gonna change so within the font family we’ve got some different weight so I’m
gonna change this to regular just to kind of change this up a bit but still
keep it within the same font family and I’m playing with the guide down the
right-hand side here the alignment just to make this all look like it belongs
together and maybe let’s add one more story to this so bond over sports fun
activities to do through kids so bond over sports is nice in this magazine
cover because we’ve actually got some sports happening here in the background
but in the image that I threw on this cover obviously there’s no sports but it
looks like they’re having a fun activity so what we’re gonna do is grab fun
activities to do with your kids and I’m just going to clone this all right so let’s see how this lines up
here all right I’m going to align this to the right kind of getting that flush
right design layout here and I’m gonna call that good for the sake of this
tutorial so actually it’s cancel that there all right so that is what we ended
up with for the design now what I want to point out here on this compared to
the original let’s go ahead and pull up the original real quick so again with
the original we had a lot of stuff going on we got some you know the colors this
yellow stands out but it doesn’t really borrow any color from the photo we’ve
got this maroon color on the top we’ve got this you know kind of a lot going on
and I think that it’s important to remember that you can really simplify
things and break it down to the base you know the very basics in this case
all of my fonts are white all my text is white and I’m really letting the image
pop through on this now I could if I wanted to maybe sample some color so for
example I see we’ve got this kids shorts you know maybe we try and borrow that
color let’s just see if it works if I sample from the image that’s not bad
so by sampling a color directly from the image it helps it tie in it gives you a
little bit of something to work with but everything still feels like it belongs
together and and makes it feel cohesive and and on purpose with this other cover
I feel like there’s you know I don’t see anywhere else in the image where this
yellow color comes from and it kind of it just kind of feels like there’s a lot
going on so I hope that helps you know overall really great approach just just
tightening up some things like those fonts and keeping everything literally
we have two fonts we’ve got the masthead and then we’ve got this main font here
in open sans we’re just using bold and I think we’re using light here just to to
make it stand out a little bit and that’s everything like that’s all we did
kept it really really simple I hope that helps I know a little bit scattered
today I’ve got some flies flying around my office I’ve got the Sun in my eyes
barely had any coffee yet but it’s really important to me to try
and get back to you to the students who are asking me those questions in that QA
don’t forget to check out the website at Derek Mitchell comm where you can check
out that vault membership if you want to join in and want to be able to get
direct access to me and be able to ask questions like this where I can get back
to you and don’t forget if you liked the video hit the like button down below
subscribe tap the bell all the things and stay
tuned for the next tutorial so tired

Smudge Painting | Digital Painting Effect (EASY TRICK) – Photoshop Tutorial

Smudge Painting | Digital Painting Effect (EASY TRICK) – Photoshop Tutorial


Hello again. Welcome to this New and Easy tutorial. Today, we will try to mimic the smudge painting art, using an easy and simple trick. Please LIKE the video, and Let’s Get Started! After opening your image, go to Image Size, to check your image Dimensions. Your image Size should be between, 1000 to 1500 Pixels, in width or height. After changing your Image Size, click OK. Please note that the image size, is the most important factor in this tutorial. Now, with your layer selected, Press CTRL+J to duplicate it. With your duplicated layer selected, go to Image, then choose Auto Tone. This will automatically adjust the image tone. Now, with your layer selected, go to Filter, then Choose Oil Paint. In some Photoshop versions, you may find the Oil Paint filter, under Stylize menu. After opening the Oil Paint window. Change Stylization to 5, Cleanliness to 2, and Change Scale to 0.1. and keep all other values 0. These values should vary, depending on your image details. Then click OK. Now, we have a little smooth paint effect. Now, go to Filter, Sharpen, and choose Smart Sharpen. Change Remove to Gaussian Blur, change amount to 50%, and Radius to 1 Pixel. This will sharpen our image a little bit. and remove some blurriness from it. Again, with your layer selected, Go to Filter, then choose, Filter Gallery. Under Distort folder, choose the Diffuse Glow filter. This filter will add some glow, to the highlights areas in your image. Graininess adds noise to your image. I will keep it 1. and change Glow Amount to 4 or 5. Also, change Clear Amount above 17. All these values should depend on your Image contrast. Then click OK. Now, Double-click your layer’s name to change it. After that, Press CTRL+J to Duplicate it. Rename it, Sharp. Now, with your layer selected, go to Filter, Sharpen, and choose Smart Sharpen. Keep Value 50%, Radius 1 Pixel, and Remove Gaussian Blur. Then click OK. Now, go to Filter, Sharpen, and choose Unsharp Mask. Keep Amount 40%, Radius 4.5 Pixels, and Threshold 0. Then click OK. Now, it’s sharper than before. Now, Duplicate the “Sharp” layer, with CTRL+J. Rename it “High Pass”. Change Blend Mode to Overlay. Then, go to High Pass filter. Change Radius between 1 to 2 Pixels. This will add some more sharpening to your final result. Quick Note, High Pass + Overlay, always add sharpness to your image. Again, select the “Sharp” layer, then press CTRL+J to duplicate it. With your duplicated layer selected, go to Image, Adjustments, then Choose Desaturate. Now, From Adjustments again, Choose Invert. After that, Go to Filter, Blur, and choose Gaussian Blur. Change Radius to 5 pixels. Then click OK. Hide “High Pass” layer, to see what’s going on. Now, change blend mode to Overlay. This should add a tone like this, to your image. Now, Change opacity to control the tone density. For a better result, please decrease Opacity to 30%. Let’s see! That’s Great! Now, change name to “Skin Tone”. and make “High pass” layer visible. For a less sharp result, You can decrease the “High pass” layer’s Opacity. Also, For a very smooth result, you can decrease the “Sharp” layer’s Opacity. Now, Select the First layer, then hold SHIFT, and select the last layer, to select them all. Now, drag and drop on the group icon. Name it “Effect”. Now, Let’s add some adjustment layers. Select the group, then go and make a Levels layer above it. Adjust levels depending on your image. Keep moving the sliders, until you get a good result. Now, make a Color Balance layer. You can change the image tone, from these sliders as you can see. Switch to Shadows, and keep testing. All these values should vary, depending on your image and your needs. Now, change to Highlights. That’s it. Let’s see the difference. That’s Great. Now, add a Vibrance Layer. Change Vibrance and Saturation, to whatever you like. Finally, Add Color Lookup layer. Change it to 3Strip. Decrease Opacity to below 30%. That’s it, Let’s see the final result. That’s Great! Let’s test the same previous technique, with this image. I had made an action for it, it’s available in the description below, for our patreon members. after running the action like this. You should make your modifications, through all these layers. After changing the image Levels, Color Balance, and Skin Tone. Your final result should be something like this! Please LIKE the video to help us! and SUBSCRIBE for more free tutorials! Thanks For Watching.

Develop a Negative Film at Home with Photoshop!

Develop a Negative Film at Home with Photoshop!


If you have a lot of old negatives laying
around somewhere in your cupboard or your old photo albums just like so. What a better way to kill time rather than
trying to develop them in Photoshop? Doesn’t that sound like a good experiment? It actually is. And the great news is, it’s possible. However, the quality of the image that comes
out of these negatives depends upon three things. Number one – lighting. How you light these negatives when you take
a picture of them. Number two, of course – the lens. How much can the lens magnify this film? So if you have a macro lens, that would be
the best. And number three, obviously – the quality
of the film. Now here comes the important question – how
do we take a picture of this film? Simple, make the screen of your phone white
or run a widescreen video and then keep the film in front of it and simply take a picture. Make sure not any other light in the room
is falling on this film and then take a picture. It would be best if it’s a dark room. However, whoops, mother’s calling, I gotta
pick it up. Now when you take a picture, keep the film
away from the screen. You know why? Let me show you. Here’s the picture of the film touching the
screen. It looks all right. However, when you zoom in, have a look, look
at these pixels and these banding. They are not from the film, they are from
the phone, they are from the light, because they’re so close that each pixel of the light
is going to show up. However, when you do keep a gap, what happens
is when you focus on the film, this gets blurred. And that’s what I did in the second photo. This is too much DIY, have a look at this. I just kept a container on this side, another
container on the other side and placed the film on top of it just to create a gap and
then took a photo of it. You see? There is none of that banding. And all these greens that you see, that’s
just because the ISO of the camera was too high and I was too lazy to set up a tripod
and do a long exposure. Anyway, that’s how you take a photo. Now again, if you had a macro lens, you could
have made it even bigger. However, I just had to take it with my 24-70
because I don’t have that kind of macro money. Once you take the picture, the rest of the
magic will happen in Photoshop. So without any further ado, let’s get started. So here we are back in the magical world of
Photoshop and you can go ahead and download this photo, of course, you can download this
15 year old photo by checking the links in the description. Maybe it’s a 16 year old photo, I don’t even
know, but I look pretty small in there, and fat too. So what is a negative? It is actually a negative. What do we have to do? Make it positive. And how do we make that positive? By simply inverting it. So, let’s create an Inversion Adjustment layer. Click on the Adjustment layer icon and then
choose Invert. It does look much better. Now, we need to correct the color, take away
the blues and all of that can happen with Curves. So click on the Adjustment layer icon and
then choose Curves. Now in here, what color in the scene or any
of these scenes should have been grey or neutral? Figure that out. So in my opinion, of course, his shirt should
have been grey. So select the middle eyedropper, click on
that one and just click on his shirt and have a look. The colors have been improved. You can also try clicking on different areas
to see what looks best for you. Now do keep in mind, this is totally non-destructive. We can adjust this at any point of time. And also, this is art, you don’t have to get
it absolutely accurate. You just have to make it look attractive. These boatmen look nice. All we have to do is to increase some contrast
in here. So take this slider from the left to the right. All right. You can also hold the Alt key or the Option
key just when you begin to see these artifacts in the image. That means the details are going away from
the dark areas. Similarly, let’s do the same for the bright
areas. All right, let’s stop right there. And then you can work the Curves and maybe
increase the Contrast a little bit. Just like this. So, if you want to adjust and edit the colors
further, you can go to the different channels – Red, Green or Blue, and make manual adjustments. However, to make Curves visually simpler,
there’s one more Adjustment layer and that is called Color Balance. Click on the Adjustment layer icon and then
choose Color Balance, just right there. Now do keep in mind Color Balance is just
a simplified version of Curves. Anything you can do in Color Balance can be
done with Curves. Check out this video if you want to know more
about it. It’s just that Color Balance makes it simpler. So we want to target the mid tones. So select the Midtones and then just add a
little more Yellow to it, probably just keep it the way it is, probably in the shadows,
you want to take away the greens. So let’s go to the Shadows and just add Magenta
to it. Magenta is the opposite of Green. And a little bit Yellow, probably some Red
or the opposite of it. You can take all the time in the world to
adjust these colors. Once you’re happy with the colors, all you
got to do is to just crop it out. Now for different images, you might have to
adjust everything differently. Have a look, this is me and my mother and
probably all of these photos were taken by my father. Anyway, once you are happy with all of this
just crop it. So select the Rectangular Marquee tool or
any tool of your choice. I’m going to make a square, sorry, a rectangle
right there, press C for the Crop tool, hit Enter or Return..boom. There you go. Of course, we need to crop it properly, and
you can do that. You get the idea. So that’s how we can develop a negative very
easily with Photoshop. Here’s the before, here’s the after. And here is the final image. If you want even better result, get a macro
lens, or simply give it to the developers, developing stores. That would be cheaper than buying a macro
lens. Anyway, this was a fun experiment. I hope you enjoyed it and if you did, make
sure to give us a like and also don’t forget to subscribe and not just subscribe, ring
the bell so that you, my friend, don’t miss any other future tips, tricks or tutorials. I would like to take this moment to thank
all these nice and amazing people for supporting this channel on Patreon and helping keep PiXimperfect
free for everybody forever. Thanks so much for watching. I’ll see you guys in my next one. Till then stay tuned and make sure that you
keep creating.

Photo Restoration: The Multigraph Man (1911)

Photo Restoration: The Multigraph Man (1911)


Hello
I’m James and I like to colourise old Photographs. And today I’m going to be both restoring
and colouring this photograph of a gentleman sitting with his 4 identical clones, which
was created using the astounding ‘Multigraph’ technique. Multigraphs were created using
a series of mirrors, creatively placed around the subject to show them from multiple angles
all within the same photograph. In terms of the restoration for this photograph
it was somewhat more complicated than it at first seemed.
As a postcard sized image the damage appeared to be relatively minor, with the exception
of the large ink stain on the left hand side and the date written in the bottom right corner.
In terms of the date in the corner, it could very easily be argued that this is actually
not damage at all, but part of the photograph’s history. Since I was otherwise removing the
associated ink stain and I knew I would be adding the date to the final image title,
I decided to remove it at the same time as the stain in this particular case.
Although I initially believed the ink to be the only element which required serious attention,
upon scanning the image I discovered small spots of mould covering large areas of the
image. While the mould seemed to have grown on the surface and thankfully not yet damaged
the image itself, it did require very patient manual spot by spot removal.
With the restoration complete, I could begin work on the colourisation. There’s always
a temptation when colouring a photograph to simply use one colour for multiple elements,
for example when working on a group of men wearing similar suits, such as at a wedding.
I always try to use different colours for each person in such scenarios, even if the
colours are only very fractionally different. I had the rather unusual but very time saving
luck with this picture that using the same colour for all five jackets, for example,
would obviously be completely fine as it would be the same jacket each time.
Despite saving some time by colouring multiple elements at once, I did for some reason have
more trouble than usual trying to get skin tones I was happy with. I’m really not sure
why this was; I think it might partially be due to me having problems finding contrast
levels I was happy with. Without a correctly exposed monochromatic image, colourisation
is a real uphill struggle. One interesting and unusual element to this
colourisation was the need to correct for mirror reflection ghosting. On several areas
of the image faint duplicates of the man can be seen as a by-product of the multiple mirrors
which were placed to create this illusion. Once the picture was 99% percent complete
I went over these areas, faintly added colour reflections to them.
It seemed a bit strange to purposefully bring extra attention to what was clearly an unwanted
element of the original photograph. That being said I always aim to make the coloured photograph
capture as many elements from the day the photograph was taken as possible, including
those that the photographer may have wished to avoid. I find the days of early trick photography
fascinating. The options to edit a photograph were somewhat limited in a pre-Photoshop era,
so many ways were found to create interesting Photographic effects in lens, as with the
Multigraph mirror process. I think it’s a shame in a way that so many
people, myself included, now rely on Photoshop for everything when people over 100 years
ago were creating Photography that still looks incredible today.
Thank you very much for watching! I’ll put some links in the description to
more information on, and examples of, Multigraphs as I think they’re really neat!
If you’re a new viewer to my videos, I have other colourisations up on this channel and
more planned for the future if you’d like to subscribe.
Please let me know in the comments what you think of this restoration and also if there’s
a person or topic you’d like to see me add some colour to. Thanks again!

Easily Create Cinematic Looks | 1-Minute Photoshop (Ep. 8)

Easily Create Cinematic Looks | 1-Minute Photoshop (Ep. 8)


Today I’m going to show you how to add a film
look in Photoshop in Just One Minute! So, all you have to do, click on the Adjustment
Layer Icon and choose Color Lookup. Now, you can choose any filter that you want. But I’m going to go ahead and choose probably
Foggy Night. Now, this is too much! Let’s decrease the opacity to somewhere around
probably 80 percent. Now, let’s add some noise. To add some noise press Ctrl + Shift + N or
Command + Shift + N if you’re using a Mac and let’s name it noise, and change the blend
mode of this one from Normal to Overlay. You can also go ahead and check “Fill with
Overlay-neutral color” and hit OK. Now, simply, go to Filter>Blur Gallery>Field
Blur. We are not worried about the blur, but we
are worried about the effect. Let’s increase the amount all the way to 100
percent. And size, and whatever you like, play with
the values over there. Roughness just a little bit. Size just a little bit higher. If you don’t want noise in the highlights,
let’s decrease it to this value and that’s fine. Once you are satisfied, hit OK. If you think the noise is too much, you can
always go ahead and decrease the opacity to somewhere around 42% that’s fine, and there
you go! That’s how you add a Film Effect in Photoshop
very very fast, easily.

Adobe Photoshop CC 2019 Photo Editing |  Camera Raw Filter  Photoshop CC 2019

Adobe Photoshop CC 2019 Photo Editing | Camera Raw Filter Photoshop CC 2019


Adobe Photoshop CC 2019 photo editing. hello
what’s up guys welcome to my youtube channel digital creations and today in
this photo editing tutorial we are going to edit photos by using camera RAW
Filter so this is the Before image and this is after editing with camera raw filter
so let’s get started before starting this tutorial don’t forget to subscribe
my youtube channel digital creations and if you already subscribe hit that
bell icon so you will never miss my new latest uploads so let’s get started. Adobe Photoshop CC 2019 photo editing
tutorial. well what’s up guys welcome to my youtube channel Digital Creations and
today in this video camera raw cc tutorial we are going to learn how to edit this raw photo by using
camera raw so now guys you see this picture I capture this image this is the
grand mosque of Sheikh Zayed mosque in Abu Dhabi and I capture this image so this
is a very beautiful mosque so I’m going to enhance this picture or
edit this picture by using camera raw filter so we can quickly edit an adjust
photos by using camera raw filter so first I’m going to correct this this area
you’ll see this one this one finally in
content-aware fill fill this and remove this light so for this I’m going to
select this lasso tool or selection you can select you can use a pen tool for
selection but I’m going to select this area select this area area and I go to a select edit
and go to content aware fill new feature of Adobe Photoshop CC 2019
and here you see there’s automatically adapt the and fill the pixels.
here so it’s okay I have to hit ok then I select this area and go to edit
the content aware fill and you can see down sites loading and I hit okay
this and now ways you see it’s perfectly my this unwanted light here.
and I don’t want to this man so again i select this and go to content aware fill and you see same I go to edit and then
content aware fill it’s automatically the fill the pixels. now guys it’s for actually or remove
unwanted objects so I select all layers and press ctrl+E from my keyboard to
merge all layers just a short key and after this I’m going to use
Camera Raw filter plugin and so first we I’m just going to further intensify this
photo or enhance this photo by using to adjust the contrast and saturation and
clarity and more features so before this .we’ll go to filter and I’m going to
convert this object to convert for Smart Filters so we can apply a camera plug in
filter than all so we can access our raw image after this so there’s no distract
out this for picture as well so I’m just going to convert this Smart Filters and after this we just go to camera RAW
filter now guys this new screen is open here so you can zoom in and zoom
out by using this zoom tool see there are lots of options you are upsides own
Zoom tool, hand tool white you can try out the white balance here and you can
remove the red-eye spot and you can straighten and
crop the image fromhear and more options but I’m going to I’m going to correct this this
temperature and the or TInt sowe will Adjust this photo so we can adjust the
white balance test so here downside and going to fit okay so I’m going to adjust the white
balance little bit change a little bit and a down side you see here I’m just
going to decrease the exposure because I don’t need them any core exposing
picture so little bit and increase the contrast level slider there you see
right side there are further lots of options we can change the basic color
correction like contrast exposure and highlights and shadows so I’m going to
decrease the highlight and enhance the shadows slider 100% and a little bit
complete the white balance and the blacks and here are the option of
parties or trees the clarity you see in this picture and B has slider to further
enhance and downside the vibrance option and
little bit increase the saturation of this picture you see this look much
beautiful and downside here before and after wheels so we can check this look
at this guy’s before and after using this camera off
water and here are the detail option this triangle under going so like this
and give the chain the noise reduction we can do it a little bit noisy here so
we can change the noise so here don’t thank you little bit
detail here on cross more detail where our smoothness and see
here how small to this these sharpening image other options here the tool and carbs so
I’m just going to increase a little bit highlights and HSL adjustment as well so
increase the redness to more enhance and more vibrant to this picture because if
it it looks so dull and your view and situation so we cannot
let these sliders as well and here the option I’m just going to
select it and here is the villain places rather go but I am I’m going to apply
this big netting option the heavy option here and here another option is new
highlights total between meals exposure my ways just before and after I look at
this this picture is looked amazing after
using camera photos so you can easy enhance your pictures we can adjust our
white balance and we can fall apart in age single view and now hitch okay
because I don’t know I don’t want further adjustments so hit okay and this
picture is to render and here it is this nearly down side you see this is the
camera filter and you can easily switch to your drop image if you switched off
this camera filter so after this I’m just going to add another filter so
going to render and apply some lens flare so select it I apply this lens
flare type and this one and this picture is looked so stunning and they’re going
to show you the whole train mode and look at this picture and after using the
camera filter this look amazing and further we can apply other
alternative this football so to blur chipler auction now if I’m going to drag outside this
slider when you’re arrested blurry off-site
fool a blur and this is the blur option school look at this letter and a little bit and
you can learn this area and and we can put this email by using our tool that we
got a note so just write this word please here it is and I’m going to drop this
image so here you see and all the options open so I’m the I’m going to
uncheck this so I don’t want to delete the picture so far the rest we can do
this so uncheck this let’s pop this image about click here they’re honoring this mark over now guys we can easily access our
picture by using this a smart filter and this picture is okay I’m going to save
this picture to the scene in Malaga really simply a JPEG format then shake that mosque it’s it no no I hope you like my video and if
you like my video at the light button and it will apply my youtube channel the
little creations edge version

How to Blur Your Background Using Lightroom or Photoshop

How to Blur Your Background Using Lightroom or Photoshop


What is up there everyone? Welcome to
another photography tutorial. Thank you for watching! 🙂 In this one I’m gonna show you how to blur your background either using Lightroom or Photoshop. But,
before we do all that as always let’s roll the intro first. Now the reason why I show you how to do it both in Lightroom and Photoshop is because maybe some of you watching only have Lightroom or only Photoshop. Now, if you have both I would recommend to blur
your background more in Photoshop because it just has more powerful
blurring tools. But, if you only have Lightroom than no problem there are ways
to blur your background in there as well. So, let’s go and start with
Lightroom first. Being here in my computer screen with this beautiful
photo in front of you which was taken in Iceland. Now, there are three ways how to
blur your background in Lightroom so first of all, of course, go to the develop
module, and then go down to here. So, we have the graduated filter, the radial
filter, and the adjustment brush. They all work in very similar ways. But, let me
just quickly go through all three of them to show you how they work. Let’s
start with the graduated filter. Click on that. And this one you just
click and drag down and you get this graduated filter here, right. Now,
position it somewhere where you want and if you go to sharpness and let’s drag
this all the way to just minus hundred right now. And if I move this a little
bit down you can see it being blurry over here, right. If I just move it up
again to 0 it is all in focus again and now it’s blurry. So, let’s just kind
of make it something like that… also let’s put the exposure a little bit down
there. Now, let’s say that you don’t want the blurriness everywhere. A way that you
can have some more control over this is… I would first go down to here to show
select mask overlay, so you can actually see all that is being affected. Obviously
the red is where the blurriness is applied on. If you don’t want it
everywhere, you can go here down brush, click on that, and we have our
adjustment brush now. Now if you click on ALT you get the minus one, and you can
actually go and get rid of the spots where you don’t want the blurriness to
be. So you can you know paint a little bit away.
Let me just check this off so you can actually see. And if you want it back you
just use the plus one. You can bring it back there. But that is a
way to get a little bit more control and to make some adjustments in areas where
you did not want the blurriness to appear. The next one is the radial filter. Now,
this works exactly the same but here you just… you know, you make more of a circle
or an oval. The inside is where it stays how it is right now. And the outside… if we lower that, you can see it all getting blurry. Let’s lower the exposure too. If you want to invert it. You can always
click on here and then you invert it. That part is than blurry. And again also
if you go to brush, if you don’t want it over there, you can totally get rid of
that. The last one is the adjustment brush which again works exactly the same
as the other ones. This one is where you have the most sort of control with. So,
let’s just click on here and let’s lower the sharpness to – 100%. Now, let’s click on
show selected mask overlay so then you can actually see where you are painting.
And the adjustment brush, you know, very powerful you have a lot of control with
it in your image. Let me just click that off so you can see.
And, yeah, we can just paint wherever we want to have some blurriness. A little bit over here…. and there. And if you want to lower the exposure a
little bit in those parts too, we can do that as well.
And if for example you don’t want the blurriness over here on the rainbow
you just click ALT and you can go and get rid of that over there. Now that is
actually it. That is in Lightroom pretty much how you can blur your background.
Now, let’s go and jump into photoshop. So, open up a photo in Photoshop. We want to
first of all just make a copy of our background layer so we just leave that
untouched. And let’s go to filter. Here in filter if you go to blur, this are all
the blurring techniques and here blur gallery, there’s even a bunch more.
Now I’m gonna touch upon two blurring techniques, two that I use the most. And
that is the tilt shift and Gaussian blur Let’s start with till shift first,
alright. So, click on that. And we have here the tilt shift. It’s pretty straight
forward how it works here in the circle you increase or decrease the intensity
of the blur and let’s just go a little bit you know kind of powerful here. And
here it just, you know, sort of the feathering how smoothly or how strongly it kinda is.
So, the closer it is the stronger it becomes and the wider the more
feathering there is. It’s kind of nice to have a little bit of space
between that so it kind of flows more together. And let’s click on OK. Now, one
thing when applying a filter on a layer. On that layer it is very smart to always
make a smart object from it before you apply the filter. Which I did not do here
to actually show you. As we can see here it’s applied on our image the
blurring technique but if we for example didn’t want the blurring technique to be
this strong, there’s no way for us to go and adjust it anymore. So, what we have to
do is delete this and create it all over again. If you create a
smart object from it, if we would have done that. You have the control to go
back into the tilt-shift and actually make the adjustments again. But now that
we did not do that it’s not possible anymore. Let’s delete that again let’s
just copy our background again. And to create a smart object, super easy, just
right-click on the layer and you go to convert to smart object. Click on that.
Doesn’t take too long. And here it is. Now, this is a smart object. Okay so I have
applied the blur technique once again on our layer but that is now a smart object
and as you can see down here we have now this extra things underneath it. Now, if
we ever want to decrease or increase the intensity of the blur, we
can just double click on the filter and we go back in here and we can just
easily make adjustments on it. So again always make a smart object from your
layer that you’re applying a filter on. Now, also we have here a mask, so if for
example, we don’t want the blur over here, click on the mask,
take the brush, which is B or which is located over here. And let’s switch our
color from white to black which you can do by clicking on X. And let’s, you know…
let’s just paint a little bit away here. Of course, choose the opacity.
100% you get rid of everything so I have it now on 40. And yeah we can just paint
away on spots that we don’t want it on. So that is how you can make some
adjustments of the blur just make things a little bit more
natural-looking or more dramatic looking. Now, that is the first blur technique
which is the tilt shift, very powerful I use it for a lot of my photos and yeah
it just creates a more dramatic photo, right. Now let’s go to the next filter,
the next blur filter. So let’s just delete this. Let’s make another copy of our
background and let’s make a smart object from this one. So, right click on
it, convert to smart object. Let’s go to filter –>go to blur and click on
Gaussian blur. Now this is gonna blur the whole photo. The radius is
the intensity. Let’s just leave it on 15. And click on OK. Now because again this
is a smart object if you ever want to increase or decrease the blur you just
double click on the filter and you can do that. Now obviously we don’t want
everything to be blurred. We just want the background to be blurred here.
Click on the mask, take your brush, click on B. And have the color on black,
right. And let’s just you know color that here back again. Let’s maybe go to 80
of opacity and let’s just color a little bit of that back here. Which again, I’m
not gonna spend time on too much but you get or you see what I’m doing, right. The
rainbow let’s do that too because it’s nice to have rainbows visible. Like you
can see before and after… Blur no blur. This is just two
of the many other blurring techniques but all of them you know blur your image.
This one’s, those two, I use the most and I find the most useful. Now, that my
friends is all that there’s to it on how to easily blur your background using or
Lightroom or Photoshop. As always I hope you found this video helpful if you do
well then… you know put a thumbs up as it’s a nice
thing to do. And click on the subscribe button for more tutorials and other
awesome stuff. I hope to have you on another video until then have an awesome
day.

19 AMAZING Photoshop Tips, Tricks, and Hacks (That You Probably DON’T Know)

19 AMAZING Photoshop Tips, Tricks, and Hacks (That You Probably DON’T Know)


Hi. Welcome back to the Photoshop Training Channel. I’m Jesus Ramirez. In this video, I’m going to show you 19 Photoshop
tips, tricks and hacks that you probably don’t know. My goal for this video is to show you new
techniques that will help you in your workflow, projects and productivity. Before we get started, I would like to ask
you for two favors. If you see a tip that you like and it will
help you create better images, then hit that Like button as soon as you see it and let
me know in the comments what tip that was, and the second favor is for those of you who
are watching the Photoshop Training Channel for the first time, if you find this video
useful, then hit that Subscribe and Notification buttons. All right, let’s get started. In this first tip, I’m going to show you how
to open the same document in two windows, but, most importantly, why that is so valuable. So I have this photo of this dog, and I can
open it up in another window by going into Window, Arrange, and selecting
New Window For
and the name of the file. This file is titled dog.psd. If I click on that, it opens up in a new window,
so, now, I have the same document in two windows. This is not a duplicate. It’s exactly the same document, and I can
go into Window, Arrange, and select either 2-up Horizontal or 2-up Vertical. I’ll select 2-up Vertical and put the documents
side by side. So, with one document, I can zoom in and work
on the details and, with the second document, I can zoom out and see the over all image. Then I can create any adjustment that I like,
so, in this case, I’ll create a new layer and I’ll start using the Clone Stamp to, to
clone this woman out, so I’m going to hold Alt Option on the Mac and click, and I’ll
start painting her away. Notice how, in the left window, I’m working
on the details and, on the document on the right, I can see how those adjustments are
affecting the overall image, so this is a great way of working when you’re retouching
because you don’t have to zoom in to work on a detail and then zoom out to see how that
detail affected the overall image. So just zoom in, work on your image, see how that adjustment affects the overall image, and then continue adjusting as you see fit. Also, when you’re in this view, if you hold
Shift and the space bar to pan, you can pan on both documents at the same time by holding
Shift and the space bar. This feature could also be very powerful if
you have two monitors because you can drag one tab over onto your second monitor. In this next tip, I’m going to show you how
to select colors from any application. Let me show you what I mean by that. You probably already know that if you select
the Eyedropper tool, you can, of course, click and drag and select the color. So I can hover over this green and release,
and that color is now my foreground color and, of course, I can paint with that color,
but did you know that you can select the Eyedropper tool, then minimize Photoshop so I have a
second window over here, which happens to be my Instagram account, in case you’re interested, I’m @jrfromptc, and I can just select any
color that I like from this different application by putting it next to the Photoshop window
frame, clicking inside of Photoshop and then dragging outside? Notice now I’m selecting the brown color from
the leaf, or I can select the red from the Adobe logo or any other color that I hover
over, including the blue on my desktop. You will notice how the foreground color swatch
changes colors as I hover over the applications that are outside of Photoshop. When you select the color, you can, of course,
come back into Photoshop and, with the Brush Tool selected, I can paint with that color
that I selected from outside of Photoshop. In this next Photoshop tip, I’m going to show
you how to make the Clone Stamp tool even more powerful. So you probably already know about
the Clone Stamp tool. It’s here. When you select it, you can hold Alt Option
on the Mac and click on a sample source, and then you can click and drag ideally in a new
layer, so I’ll create a new layer, and click and drag to paint new pixels. So, now, she has a twin, but what you probably
didn’t know are the powerful keyboard shortcuts that you an use, so, once again, I’m going
to hold Alt Option on the Mac to sample from her shoe. You can see the preview here on the brush,
and watch what happens when I hold Alt Shift and thekeys. That’s the comma and period keys. Notice how I can rotate the clone source. Notice how her shoe is rotating, so, when
I paint, I can now paint her in an angle. I can also hold Alt Option on the Mac and
click on that same shoe. And I’m going to rotate her back by holding
Alt Shift and the

How To Use CONTENT-AWARE SCALE in Photoshop – ADVANCED Methods

How To Use CONTENT-AWARE SCALE in Photoshop – ADVANCED Methods


Welcome back to another very exciting tutorial
here at the PhotoshopTrainingChannel.com. My name is Jesus Ramirez and you can find
me on Instagram @JRfromPTC. In this video, you will learn how to use Photoshop’s
Content-Aware Scale. This video is going to be part of my Content-Aware
series on my YouTube channel. I already have several other videos on how
to use the Content-Aware technology. They’re grouped together in a YouTube playlist. There’s a link to it down below in the description. But anyway, in this video we’re going to
focus solely on the Content-Aware Scale which allows you to resize an image without changing
important visual content such as people, buildings, and other important items in the image. Normal scaling affects all pixels uniformly,
while Content-Aware Scale affects mostly pixels in areas that don’t have important visual
content. In this tutorial, I’m going to show you
two examples of how to use the Content-Aware Scale. We’ll use a photograph, and I’ll also
show you one of the techniques that I use when creating screenshots of user interfaces. Okay, let’s get started. So we’re going to work with this image of
the Sydney harbour. So we have the Sydney Opera House. And if you notice, this image is quite wide. It is actually wider than the canvas, as you
can see there. And sometimes you maybe working with images
that you may need to fit in a required space. It maybe a constriction based on the blog
post that you’re creating. Maybe it’s a social media profile or it
could even be a magazine layout or anything of the sort. The point is, is that you’re trying to fit
an image into a predefined area or aspect ratio. In this case, these layers are way too wide
for the space that we have. You can, of course, press Ctrl T/ Command
T to transform and scale the image in. But if you do that you will of course, stretch
the pixels and you will distort buildings. I’m going to press the escape key to cancel
that and, obviously, that is not the best way to do it. But in Photoshop we can use the Content-Aware
Scale to help us with this problem. So I’m going to go into Edit-Content-Aware
Scale or you can use the keyboard shortcut Alt+ Shift+ Ctrl C, that’s Option + Shift/Command
C on the Mac. And watch what happens when I scale now. I’m going to click and drag from the left,
and notice how I’m not really distorting the image. Instead, Photoshop is collapsing the pixels
that don’t have important content. So we did not distort the Sydney Opera House
or a lot of the buildings here on the left hand side. When you’re done, you can just press the
check mark. And now this image fits then the predefined
space. I’m going to press Ctrl+ Alt+ Z/ Command
Option Z on the Mac to undo. And I’m going to show you a couple of the
features that this tool has. So I’m going to go back into Edit- Content-Aware
Scale and notice the Options bar, we got a few options. First, on the left-hand side, we have the
reference point. Notice currently that middle box is selected,
that means that the reference point is right in the center. That’s default. This is where the image is going to scale
from once we start clicking and dragging on the handles. I can click on these boxes and notice that
the point moves. Now the point is here, in the center on the
right. And I can scale and it’s scaling from that
point. Another important setting in the Options bar
is the Amount, currently it’s set to 100 and that should be default. This is the ratio between Content-Aware Scale
in regular scale. At 100% you’re doing all Content-Aware Scale
but if I bring that back to 0, notice how the image will change. It reverts back to regular scaling. And, of course, 49% will be about 50-50. So you’re doing half regular scale, half
Content-Aware. In most cases though, a 100% Content-Aware
Scale is what you need. You can also protect skin tones by clicking
on this icon here. We don’t have any skin tones in this image
so we don’t need to worry about. But if you’re working with a portrait, you
may want to click on this icon to protect the person in the portrait. There’s also this Protect dropdown menu
and it allows you to protect pixels in the image. And I’m going to show you how that works. I’m just going to tap on this cancel button
to cancel that Content-Aware and I’m just going to move this over to the right and I’m
going to show you how to protect the pixels on the left-hand side here. So, what you need to do is make the selection
using the Lasso tool – it doesn’t have to be very precise – around the areas that
you want to protect. Also notice that I have a Feather of almost
10 pixels, that’s okay. That just means that it’s not going to be
a sharp selection. There’s going to be some blurriness to it. Then I’m going to go into the Channels panel,
create a New Channel and fill it with white Alpha 1. White is my background color. I can press Ctrl + Backspace/Command Backspace
on the Mac. So now anything that is white will be protected
and anything that is black can be adjusted with the Content-Aware Scale. I’m going to press Ctrl D/ Command D to
deselect. Click on RGB and go back into my Layers panel. And if I go into Edit-Content-Aware Scale,
under Protect, choose Alpha 1 because that’s the name of the channel that we created. We can scale that in and notice how the pixels
in the white will be protected. Notice how none of those pixels are changing,
then you can click on the check mark and the scale is complete. Now I’m going to show you how I use this
feature for something completely different. Some of you may know I do writing for magazines
and blogs regarding Photoshop, of course. And when writing these articles I often have
to take screenshots of the user interface and those screenshots need to fit within specific
spaces. So, I have this screenshot of the Layers panel
in Photoshop and this white space will represent the area that needs to fit in. So usually what I would do in the past would
be to figure out the space that I needed, so now I know it’s that space there and,
obviously, it’s too tall. So I would make a selection, hit the delete
key, make a selection again and move that up and try to fit it within that space. As you see, this is very time consuming and
it’s not very efficient. I’m going to press Ctrl+ Alt Z/ Command
Option Z on the Mac to undo. But we can take advantage of that same Content-Aware
technology and use it to solve this problem. So what you can do is take your new eye element,
figure out how big it needs to be and then go to Edit-Content-Aware Scale and you can
scale that in and notice how Photoshop knew exactly what pixels were irrelevant and it
kept all the pixels that contain the detail. So this is a technique that I use that helps
me speed up the process of creating screenshots for the articles that I write. Let me know if you come up with any other
interesting ways of using the Content-Aware Scale. Leave a comment down below. Don’t forget to watch the other videos in
this Content-Aware series on my YouTube channel. Once again, the link to the playlist is right
below in the description. If this is your first time at the Photoshop
Training channel, don’t forget to subscribe. Thank you so much for watching and I’ll
talk to you again soon.

MANUAL vs AUTOMATIC Anthony Rogers Photo and Video Tips

MANUAL vs AUTOMATIC Anthony Rogers Photo and Video Tips


Hi guys if you’re after short videos on
photography and videography Tips that I’ve found personally useful what to buy
and where to get it and how to earn cash with your camera you’re in the right
place what’s up guys I’m Tony from Anthony
Rogers photo and video advice. If you’re new to digital photography and you like to up your skills one step at a time quick and easy then hit that subscribe button for
new videos each Monday don’t forget the thumbs up and share with a friend if you
want someone to learn with and definitely leave your comments and questions so we
can all come up with new ideas Need the right camera gear then check out our shop for what
we use and recommend. There’s also other useful products in clothing
Wall art decor bags device cases and more. So you’ve got yourself a new
dslr and you think you’re pretty good with a camera don’t you. Don’t you.
Everything starts to look good now that you’ve got that new dslr but if
you’re still shooting on auto you’re still limiting all the things you can
really do with your photography It may seem daunting to get onto that
Big M button onto manual but one step at a time slowly you’ll get the hang of
it believe me this will be an easy course you’ll get it very quickly and
then you’ll just keep learning more and you’ll be addicted you won’t be able to
go back to auto believe me you won’t. Believe me you won’t.
My background is with wedding photography and wedding videography
music videos with real estate and business promos with portraits and
landscape photography and travel. I’ve done documentaries and macro filming and I
work with Photoshop and Lightroom they’ll also be tips on how to turn
pics into cash and help with Facebook and social media and websites. Well what
are you waiting for subscribe hit that like button find a friend to share this with and leave those comments and the question of the day is what type of camera are you actually using okay guys I’ll see you in the next video Are you right. You’re always coming in early. Told you. Don’t you talk you’re just as bad shoving that camera in my face all the time.