[music] [Unmesh Dinda] Let us check this out first. If we were to loosely select this rose, click on Generative Fill and let's say you want to turn this into a watercolor image. Let us type in watercolor or turn it into watercolor, whatever you please. Let it process, give it a bit of time and have a look at it. It's just a blob. It has nothing to do with the rows because right now it is selecting all of it. In other words, a 100%. And that is why when we try Generative Fill, it just changes it 100%. It just replaces it, fills it 100%. So what if we select less? In other words, what if we make a transparent selection? And how do we do that? And that is where the new Selection Brush comes into rescue. It just makes it super easy. And right here in the Selection group, you will find the new Selection Brush Tool. Select that. Now we want to change what percent of it. That's what we need to decide. In this case, we just want to change 30% of it and take reference from the rest 70%. So you can set the opacity of the selection right here at the top. Let us set it to about 30%. You can try and experiment with whatever works for you and then go from there. And the best part about this is that just you can loop around it. You don't even have to fill the whole thing. So just loop around the rows. This is a very transparent selection and that is why you're seeing very less of the overlay. There you go. And it fills the rest. Now when you click on Generative Fill and type in, let's say, watercolor, you can also try oil painting, up to you. And again, let's give it a bit of time. There you go. We have beautiful watercolor strokes. And it's the same rose, thankfully. So here's the before and here is the after. So cool, isn't it? Look at the details. It is just so darn amazing. Look at the watercolor strokes. It's crazy good. Hi there. This is Unmesh and thank you so much for making it to this session. Today, we're going to talk about 10 future Photoshop tricks you need to know well in advance. And these are the tricks and techniques that are going to shape the future of Photoshop. With one down, nine more to go, let's get started. We have all adored the Remove Tool in Photoshop. It is just revolutionary. But Remove Tool is good for removing. But did you also know that we can also straighten lines or edges with the Remove Tool? Also, we can connect lines with the Remove Tool. Several use cases. Let me share with you how to straighten first. So let's say, in this case, the edges of his shirt is kind of jumbled up and you want to straighten that out. How would you do that? First of all, create a brand new layer by clicking on this button, then select the Remove Tool right here. It should be in the Healing and the Patch and that group. Let us select the Remove Tool. And all you have to do is to slowly and gradually paint over the edge. That is it. Now once you're painting with the Remove Tool, you want to make sure Sample All Layers is checked. This is optional whether you want to remove after each stroke or not. So just paint over it, like so, and hit Enter or Return. If you have not, have this checked. Make sure this is checked if you want quicker results. There you go. Done. Now if there are some discrepancies, you can just paint over that again, like here. And there you go! So easy to fix. Again, here's the before and here is the after. You don't have to spend the time trying to liquefy that around. It is all done super easily. So the idea goes like this. Let me open a demo for you real quick. Here's the demo. Let's say we have one line here, one line there, and in between it is broken. If we were to create a brand new layer, make sure every setting is set the way you want. If you make a selection like this, it just connects the lines. It makes it super easy in real world situations like this one. By the way, let me share with you one more shortcut. Let's say you want to remove the speed limit, and not really, you don't want to do that, but that is distracting the view of the house. So let us create a brand new layer which we have done right here. And here's another shortcut. Let us uncheck Remove after each stroke for now. And if we were to dab right here and then hold the Shift key, dab on the other end, it creates a straight line. If you keep holding the Shift key, it will connect all of those lines. Fantastic, isn't it? So I'm going to do it for all of these areas. Make sure everything is covered. Similarly right here, let us quickly cover this. See how holding the Shift makes it quicker. But there's a caveat, it wouldn't fill on the inside. You have to do it manually when you do take your time to do it. Now if the overlay is not that opaque enough, you can always go to the settings of the Remove Tool and increase the Opacity so that it's clearer to you which areas are filled and which areas are not. All right. Now once you're done, I do recommend setting the Opacity back to its number, if you wish. So let's go back to Settings and set it back to 25. Good practice. Once you're happy with this, hit Enter or Return. And there you go. The thing that I wanted to share with you is that, have a look at it, how wonderfully it connects the lines. And for some other areas that it didn't get right, you can always check Remove after each stroke and quickly fix little areas like this. There you go. It will connect lines wonderfully. You can fix areas like this as well. There you go. Now for this area, this area looks a bit odd right here. You can try to copy this area and paste it right there. But if you really want to be quick with it, and you don't want to work that hard in that area, and you will have a better result just by doing Generative Fill. So let us select that area.
Like so.
Click on Generative Fill, and you should be fine with clicking on Generate. And there we have three results. First one, not as good. Second one, oh, my gosh, pretty good. Third one, not as good. Let's go with the second one. And there we have it, wonderfully removed. Here is the before and here is the after. Cool, isn't it? Now there was a time when we would keep on adding adjustment layers over adjustment layers and work on the masks and it would take a lot of time. Now there is a new tool in Photoshop, relatively new, that's going to make it super quick and that is the new Adjustment Brush. So let us select the Adjustment Brush right here. And now you can just start painting in different areas. But before that, in this image, I feel that it needs to be corrected. There is a color cast. And if there is something all throughout the image, Adjustment Brush may not be the right choice. So first, let us remove the color cast by clicking right here, clicking on Curves, create a curves adjustment layer. With the Gray Point eyedropper, click on an area that should have been gray in real life. So I'm guessing this road. Let's click on it. And fantastic. Here is the before and here is the after. Now we can apply Adjustment Brush on top of it because we want to locally apply something right now. So with the Adjustment Brush selected, in the contextual taskbar, if you just paint, it will add an Adjustment. But since we already have an Adjustment, we need to add a new one. So right here, click on Add New Adjustment. And again, I'm just going to choose Curves. That is my favorite. Right now by default, it will be up. You can always take it down. That is up to you. And then let's paint over the sky. I want to darken the sky, like so.
All right. There you go. Now you can take it down to your liking. So I'm going to adjust it this way. You can also add other adjustments too. So let us click on Add New Adjustment. You can add a Hue/Saturation adjustment layer and let's say you want to change the tank color. So first of all, you can just paint over the tank or you can directly go to reds and maybe take the lightness all the way down. Go to Master and we don't want increased saturation, let's set it to zero. And now you can just paint over the tank, like so. Easy, isn't it? All right. There you go.
Fixed. Not fixed, but we are changing colors here.
Great. Done. And that's how to use the brand new Adjustment Brush. So you don't have to keep adding adjustment layers and paint on the mask. Just keep on painting. Let's have a look at the before and after. So here is the before and here is the after. Drastic difference, isn't it? Another very easy thing that has come to Photoshop and will carry forward in the future are Live Gradients. They make our jobs so much easier. Let's say you want to drag more attention towards the subject right here. Draw more attention. What is the secret recipe for it? Our attention goes more towards the brighter parts of the image. So let us make the rest of the areas darker. First of all, before we create a spotlight, it is essential that she is left out of it. So let's make a selection of her. You can pick any of these three selection tools right here and at the top you will see Select Subject. Select Subject does an incredible job of a starting selection. And for most cases, it does a pretty good selection. Once you have the selection active, let us create a Curves Adjustment Layer again, our favorite. Click on the Adjustment Layer icon and then choose Curves and just take it down. But we want it to darken the background, not her. So how do we make sure that happens? Select the Mask and press Ctrl or Command-I to invert it. There you go, wonderful darkness added to the background. But we wanted to create that spotlight too, not just highlight the subject. So here is how we do it. So let me ask you a question, how can we have two masks for the same layer? I'm not talking about vector masks, but how can we actually have two masks for the same layer? There is a trick. All you need to do is to set that one layer inside a group. So with that layer selected, press Ctrl or Command-G. Now the great part about groups is that it's great for organization. And secondly, you can have a mask for just the group. So with the Group selected, click on the Mask button. Now we want to remove this darkness from around her just like a spotlight. So let us select the Gradient Tool right here. Pick a gradient from black to white. So you can always press X to toggle between the foreground and the background color and then pick the first basic gradient, black to white. And at the top, pick the radial gradient, the circle one, the ellipse one, or whatever you want to call it. Now let's drag a gradient like so and have a look at the wonderful spotlight around her. Now how do we control it? Because this is round, we want it to be a bit squished. See this point right here? Just squish it, like so. Fantastic. Now you can make it taller, like so and keep it right about there. And it looks pretty cool. Fantastic. Now if you want the spotlight not to remove all of the darkness, you can always decrease the Opacity of just the Spotlight Mask. And here's how you do it. With the Mask selected, open up the Properties and inside of the Properties, by the way, if you cannot see the Properties, go to Window and you want to make sure Properties is checked, decrease the Density. The Density is like Opacity for the mask. So there you go, right here with zero density, it's like there was no mask. And slowly and gradually you can increase it and keep it at about 64. That is a good number to be. And let us have a look at the before and after. So here is the before and here is the after with all the attention going towards her. Now there are limitations with Generative Fill, but there are technologies being made that impressively tackles that. Let's say you want to turn this into a pattern. If we were to do that, let me share with you a preview by going to View, Pattern Preview, hit OK. You will see the edges if we turn it into a pattern. Have a look at the edges right here. See that? We cannot just turn it into a pattern, we have to remove the edges. How do we do that? I like to do it old school. First of all, let us turn off Pattern Preview and let us apply an offset. Go to Filter, Other and Offset right here. This allows you to shift the image in the canvas and thus moving the edges. So our goal right here is to move the edge towards the center. So it should be something like this. As you increase it horizontally, see the edge is moving. Let's increase it vertically as well. So the edge is right here, not exactly at the center. It's fine. It should be somewhere here. Make sure Wrap Around is checked. All right. So if you set it to background, it will move it this way. Make sure Wrap Around is checked so that it's all moved in. Hit OK. Now all we need to do is to remove the edges right here. And we can easily do that with Generative Fill, but there will be a limitation. So let us select the Lasso Tool and make a selection around these edges.
Like so. You don't have to be accurate right here. Actually, it helps if you're a bit zigzagging random. All right, there you go. Let us click on Generative Fill, Generate and give it a bit of time. And there you go. It fills it beautifully. Let's first take a look at the results. First one, second one and third one. Maybe we're going to go with the third one. Let's zoom out and see which one looks better.
All right, let's actually go with the third one. Now here is an issue. This looks fantastic the way it is. But as soon as you zoom in, you will notice the difference in quality. That is due to the resolution limitation. So on the left hand side, you have the original one and this is filled. You can clearly see the difference in quality or the resolution. See, it's a bit blurred out. And this one has more detail. So how do you take care of that? Well, in the later versions of Photoshop, if you open up the Properties, let's say you like this one, click on this button. This enhances. So click on it. It enhances the detail. And now have a look. So here is the before, see that, and here is the after. I wish I could show you more closely. So here's the before and here is the after. It just improves it way better than how it was before. Now you can easily turn this into a pattern. Just go to Edit, Define Pattern. This is our pattern. Let's name this Texture 2 because I had already created texture before. Hit OK. And now you can apply this pattern wherever you like. So I've opened this photo right here. So let's click on the Adjustment Layer icon, choose Pattern Fill and from the drop down right here, choose the pattern that we just created, Texture 2. And you can change the scaling, that is the advantage of it. Let's say 80 if you want it smaller. Or if you want it bigger, you can have it 120. And here's the best part, you can move this around. It's absolutely seamless. Hit OK. So you can select the subject layer and select any of these three tools. Make sure Sample All Layers is unchecked. Click on Select Subject. Now we have a selection. Come back to the mask with black as the foreground color, press Alt+Backspace or Option+Delete. There you go. Ctrl or Command-D to deselect. Now you can change the blend mode to Overlay or Soft Light, see which one works for you. Let's go for Overlay. And then if you double click on the symbol of the Adjustment Layer, you can move this around. I can actually make it even larger. Let's go for 156. Why not? Like so. Fantastic. Now I would blur the background a little bit and you can do it yourself because it should be a bit out of focus. Now Generative Fill uses the Adobe Firefly model. Now with Adobe Firefly, it is trained on a lot of photos. And if you try to fill something, it's going to take reference from that. And sometimes when you try to remove something, it just fills that area with the same thing. So in those cases, you need to be clever with the prompts. For example, in this case, let's say you wanted to remove the braces. First of all, let us make a selection of the braces and to save you time, I already have a selection. Now with the selection active, if you were to click on Generative Fill, and because the selection is shaped that way, it's around the teeth, if you type in teeth right here and click on Generate, see what happens. And there you have it, braces again. So you need to be careful with the prompt. Either try typing nothing or you can also try typing no braces, just to be sure. And now click on Generate. And hopefully this time, we will not have braces. Here is the first one, the second one and the third one. Just so that you know, sometimes we have to be a bit clever with our prompts. This is one of my favorite new features. Oftentimes, when we are using Generative Fill, we keep on generating after generating, and we never get satisfied with maybe something that we like or there is something that we like in our result, but there's a problem with it. Maybe the pose is different from what we wanted or maybe something else is off. And this one really helps you reduce that and get you exactly what you want or close to exactly what you want. Let's say you wanted a professional photo offer, maybe for a LinkedIn portrait, or maybe something professional in suit, something formal. Let us select her outfit. I already have a selection. Let's come back to Layers and click on Generative Fill, and we want a suit right here. Click on Generate. Let's see what it creates. Hopefully it will be good. All right, there we have some nice options. First, second, third. If there is something or nothing you like, let us try Generate again and give it a bit more time. First one, second one, third one. I actually like this. Now if there is something that you closely like, you can generate similar. And that is one of my favorite features. Click on the three dots right here and click on Generate Similar. Now every new generation will be like this and so good. Oh, my gosh. Similar, very, very similar. And then you can go on to pick what you like and go from there. So you don't have to waste your time generating multiple times just to get something closer to what you like. Just select something that is close to what you like and generate similar. Have a look at this landscape. This is a bit dull and flat, right? So how can we add some dimension to it? How can we add some depth to it? One of the most ignored features in Photoshop is the Depth Map. And you can use it to do a variety of things. First of all, let's go to Filter, Neural Filters. Inside of that, you will come down to Depth Blur. Make sure it is installed. Turn it on. And we don't want to add Depth Blur in here. If you want to add, that is fine. Let's scroll down and choose Output Depth Map Only. Check that. It's taking a bit of time. Just check that. Make sure Output is set to New Layer, hit OK. And now you have a Depth Map. The darker areas are closer to the camera and the brighter areas are far away. Now let's go to Channels right here. If you don't see Channels, go to Window and you want to make sure Channels is checked, and then hold the Ctrl or Command, click on the thumbnail of RGB or any one, all of them are the same. Done. Now you have a selection based on the Depth Map. Let us come back to Layers and you don't need it anymore. Delete it. Now click on the Adjustment Layer icon and then create a Curves Adjustment Layer. And now it's this curve that's going to affect more on the faraway areas and less on the closer areas. Let's say you want to target the closer areas. So select the Mask right here, press Ctrl or Command-I to invert the mask. Let's come back to Curves and then let's say the closer areas have more contrast and further away areas have less contrast. So let us just increase the contrast a little bit. With the help of the hand right here, let's click and drag it down, like so. You can also manually do it, up to you, and make the bright areas a little bit brighter just to have more contrast in the areas that are closer. Let's have a look at the before and after. Here's the before, here's the after, making it better, contrasty, punchy. Now for the faraway areas, you can add one more Curves Adjustment Layer by clicking on the Adjustment Layer icon, choose Curves, and you can fade it slightly. So hold the Alt key or the Option key, click and drag this mask and drop it right there. Yes, we want to replace it and we want the opposite of this mask. So select this mask, press Ctrl or Command-I. Now if you want it to be absolutely in the extreme back further areas, you can modify the mask. With the mask selected, you can press Ctrl or Command-M to apply curves just to that mask. You can always also apply Ctrl or Command-L for levels. And now if we move this slider, have a look, the closer areas are less and less affected. And you can have more in further away areas. Hit OK. And now let's come back to the Properties and we want it to be a bit faded. There you go, a bit more faded in the further away areas and a bit more contrast in the closer areas. And just by doing that, here's the before and here is the after, add so much more depth. So you can use this technique to apply adjustments based on depth. By the way, just to share with you what it can do, I had created this series of adjustments only on Depth Maps except for the last one. Again, here is the before and here is the after. Makes it so much more 3D kind of an effect. Hope that makes sense. A lot of times, we spend a lot of time creating complicated masks, but we don't always have to do that. And sometimes Select Subject may not work properly. And in those cases, you can use another kind of mask that is always adjustable. Let's say in this case, you have to remove the sky. This is the original image. And at the back, we have a brand new sky. Let's turn this on. Now definitely, you can select the Quick Selection Tool or any of these three tools and click on Select Subject or go to Select, Sky and try to remove the sky. But it may not do a good job when it's super complicated. Maybe in the future versions of Photoshop, it gets way better. But for right now, there is a more effective technique for super complicated areas. And you can use a combination of both, combination of Select Subject or Select and Mask along with this technique, and that is using Blend If. So here are the trees, right, and this is the new sky. If we double click on the right hand side of this layer, we can take away the bright areas from the current layer, right, by taking the slider of the current layer from right to left. But the problem is, it also takes away the bright areas of the trees. So how do we tackle that? We know that the sky is bright, but we also know that in this specific case, the sky is blue too. So we can take advantage of that and change the Blend If channel from gray to blue. And now when you play with the sliders, have a look, instantly just goes away. Fantastic, isn't it? And now you can work through the sliders because this is very harsh at the moment. As you can see, the edges are very harsh. So I'm going to zoom out just to share with you what it is doing. Hold the Alt key or the Option key to break the edges to make the transition smoother between the areas that are selected and the areas that are not.
There you go.
Fantastic. Now the bright areas are not going away as much and hit OK. So darn cool, isn't it? Now let me share with you another example of real world color grading. And this becomes extremely useful, especially if you're working with LUTs or creating LUTs. So let's create a Color Lookup table at the top. You can use Curves, whatever you like. And in here, let's choose maybe 3Strip. Looks fantastic, but it's oversaturating the skin too much. And the skin comes in which channel mostly? Reds. So double click on the right hand side of this layer, you can easily go to the Red, right here and remove it from the bright areas like so. And it just goes away from this. Let me share this with you again. Here's the before as we do it. See, it's going away. Now we didn't want it to completely go away. So hold the Alt key or the Option key, click on the slider to break it apart to make the transition smoother. Take it all apart like that and take it apart like so. So good. Hit OK. And have a look at the color grading right now. Here's the before. Here is the after. So darn good. And you can save this now or export it as a lot to use in other images. Coming to one of my favorite features of the season, this saves so much time and works like a miracle. This is a photo that I took in Colorado Springs and there are just so many people right here. It's easy to remove, but it's time consuming. You can use the Remove Tool to circle around each person and try to remove them one by one. But what if there are many, many more people and you want to save the time of individually selecting each person? There is a new automatic feature in the newer versions of Photoshop. When you select the Remove Tool, at the top, you'll see this new button called Find Distractions. Click on that and choose People and it automatically detects the people. Or it should do that. There you go. Done. And now all you have to do is to hit Enter or Return. And just like magic, it goes away, like so, all at once. So here's the before, here is the after. And if there are some discrepancies, you can individually fix that. But this is just incredible. And it's not just limited to that. One of the crazier things that distract us are these wires and cables all around. You can remove that automatically too. But first, I recommend, with the background layer selected, make a copy by pressing Ctrl or Command-J. Now click on Find Distractions, Wires and Cables. It's not editable. Do keep that in mind. It's not going to create a selection of the wires and cables that you can edit later. No, it's just going to remove it. So let's give it a bit of time. It helps if it's on a separate layer. It's magically gone. There you go. Here's the before and here's the after. So darn good. Even right here, before, see all that and after. Now it's going to mess up right here definitely because it is text and how can he guess it? So how do we fix that? We need to salvage it a bit. So click on the Mask right here. And then with the brush with black as the foreground color, let's bring back as much as we can. So I'm just going to paint right here.
All right. Now for that area and that area only, we will select the Lasso Tool and make a selection. Try to be as close to this as possible.
All right.
And try Generative Fill. Let's go to Window, contextual taskbar, I had removed the bar. Generative Fill and Generate. When nothing works, Generative Fill is usually your savior. And done. It's better than I expected. First, second, third. Let's go with the second one. How wonderfully guessed and filled up the text and all wonderfully gone. Before, after. So those were the 10 futuristic Photoshop tricks. I hope you enjoyed it and I really hope that you will include it in your workflow. I'll see you around again maybe online, maybe in-person or maybe in another session. Till then, stay tuned and make sure that you keep creating. [music]
