[Music] [Paul Trani] So welcome. Welcome, this is Next-Level Techniques and Exciting New Features in Photoshop. My name is Paul Trani. Just to make the other sessions jealous, can we just get a big round of applause and some whoo-hoos. Yeah, let's go! Yeah, we're doing better than you!
Just kidding. We're all friends here, but thank you for that. Feels good, gets the blood flowing, and I'm into it. So my name is Paul Trani, evangelist for Adobe.
See, those jerks. I love it. It's so much fun. But thank you so much. Like let's keep the conversation going like on social media, you can like hit me up. My email is here as well, so there's a lot going on and I might mention something just like let's keep the conversation going. But again, the goal is to obviously talk about Photoshop and go over sort of so you feel empowered so-- Huge jerks. Are we done? Are we done? Okay. We started it.
That was fun. So yeah. So this might be really affirming for some of the things you might know which is awesome and hopefully, obviously, you'll hopefully learn some new things. If you don't learn anything new, then hey, you can just speak here next year and then I can take the hour off, which is fine for me.
Like in the agenda, it says, we'll talk about sort of setting up Photoshop, like having it work for you ultimately.
I use a lot of layers, but we'll talk if you're using larger file formats and doing editing, we can talk about that as well, but we want to just like optimize Photoshop. It's amazing if you just spend five minutes getting rid of the roadblocks in your workflow, like how much faster you will be, but I know it's kind of hard to do sometimes.
But yes, we'll customize Photoshop, get it to work for us, show you some scripts, some other things. We'll get into cleaning up photos, right? So that's the number one thing people want to do. Quick editing, things that we have to do all the time, and then we'll get into some more complex things. So it's going to be creating, compositing, bringing things together, making sure they look correct when you bring them together, and then we'll have the Photoshop Beta which I've been using it a lot. But I'll kind of show you the features that will be coming to Photoshop, and you have access to the Beta because it is a public beta and then exporting as well. So, yeah, I'm just so happy you guys are here. So, yeah, we'll just kind of start with, again, Photoshop as we have. So right in here. Let's get rid of that. I was just like messing around. Too many things. You might not have this stuff up of course when you're working on this. So we'll hide all that. First off, did you know if you ever want to see the menus in Photoshop, all you have to do is click this Photoshop logo. So you click there and bingo, you're in Photoshop. Because too many times I do File, new, and then set up sort of my panels or see what's in a library. It's like I could just hit the Photoshop logo.
Starting out, again, you have these presets that you've probably set up or not, but I usually have everything sort of set up in here exactly how I want and I'll start creating. Typically, you'll start creating in here. Number one thing, just kind of starting quickly with the background. Like old school. Yeah, remember, we're not covering the paint bucket tool. We're not. I'm clicking once. But what usually happens is I'll start with a canvas and then I'll have to stretch it out and do something like that with the Crop tool. I'm like, oh great. Now I got to go in and fill that again, right? And I just don't use-- I'm sorry, I just don't use the paint bucket. I don't have a layer of pixels. What I have is I have sort of a layer of solid color is what I would have. So, right in here. Selecting a solid color background, and this is how I determine the background. So I don't need that anymore, but anytime I change this, whether I extend it out or whatever, it's always just going to extend out the color. All right. So we have this set up. We have our sort of canvas in place, and now what I want to do is kind of bring in some content. And before I do that, we'll do a little bit of customizing.
You guys are probably aware of and maybe you have the toolbar set up the way you want, and you may have an opinion about a lot of these. I do as well. I would love to talk later. Like, I honestly don't use the Frame tool. I'd be curious. If you ever use the Frame tool, I feel like giving you a shirt. It's like, "Wow, somebody uses it." So since I don't necessarily need or use the Frame tool, I could just go in here to the edit toolbar and start moving things over. You're probably using keyboard shortcuts. Spacebar for the hand tool. Right? You're zooming in and out sort of plus, minus. Right? Rotating R. So some of the things you need, they're still available, but you can nest them off to the side. But some of the things I need because I use the selection tools all the time, so I'll pull that out. Selection brush. Have my lasso tool out. So I have a lot of my selection tools out here.
And then-- Yeah. And then I like to hop on some other people's machines and remove.
It's like, "Hey, I don't know. Is your subscription up to date? Maybe they start taking away tools if it's not." And shortcut key, if you hold down what? Control, Option, Command, just all the keys and I'm going to click Done, it turns this into a little banana.
So Control, Option, Command, Shift. I just hold mash down all the keys because I can never remember which one it is. You don't have to either. Just mash them all down. Click the Okay button. Now you have a little fun little banana little snack for later.
All right. We have our snack. We have our tools squared away, and another thing that kind of annoys me, you probably like this as well. I don't know, but these rich tool tips. So let's talk about freaking turning on and off things. Let's jump in here. So we will go into Settings. I absolutely love and it's kind of hidden right up here. You could search through all your Preferences. Right? So if I'm curious about, even if I misspell something, I can do C-O-L-R, right? Because I'm looking for say the Color Picker or Color Theme. So you can find anything you want even as I'm talking. If you get it, just go right there and it'll go right to that preference.
Okay. Another keyboard shortcut. Option, Command, Shift. Click in here. You want a little coffee? You want a little dark roast? You could have a dark roast. Oh, you want some rye toast? There's some rye toast. I'm just holding, mashing down most of the keys, but whether you want a latte, I don't know what this would be. Just a splash of coffee and mostly milk. It would be called not enough caffeine, but in here obviously. And also I'm curious who has their interface like this bright.
I could probably-- Oh, you do? Oh, I feel like giving you a shirt. I could tell because it looks like you have a tan from all the light hitting you. I'm kidding. Just joking. I'm going to get there someday. I mean, shoot, I'm wearing glasses. Neutral color mode. You're like, "What the heck is that? You want to see what this is?" I'll show you. It's kind of ridiculous. What is in color out of the whole interface? The only thing that's in color is this little freaking stupid little blue. It's not dumb. I love the color blue. We're kind of hearkening back to Behance because you could share on Behance, but that will neutralize that color is what happens. Click Okay. Done. But it's literally for that one button which is kind of funny.
Because somebody was. You put some chain, put a color in the interface like, "I kind of don't want that." Okay. We're trying to satisfy everybody is the goal. Now let's get back to what we're talking about. Rich Tooltips was a big thing in here. Well, jeez, now I don't even know where it is. It's right in here. Rich Tooltips. Again, I can type that in. Rich tooltips. Just turning that off.
We'll go through a couple more of these as we talk about things.
Even when it comes to the types of files you might use. So performance. Like if you're doing things that are huge pixels, if you're doing a lot of photography, click right here. It changes the history states, the cache level, and the cache title size. So this just plays with the cache levels and the current cache size. I think this is weird web UI design. This is more like compositing. So if you're dealing with things with lots of layers, ultimately, that's what you want, but you obviously can see that it's changing that, accordingly. I'm going to get into some more things because as I bring up the topic, we'll jump back in here and I'll tell you what you need to turn on and turn off because now that we have this in here, I'm like, okay, I need to grab some images. We need to work with something. So let's like grab some content. I'll jump in here grab some things, drop them in here. And this is always super annoying to me because I'm like, "Oh, I have to hit enter each and every time." So it's like getting in my click steps or something like that. I don't need that. I remove those roadblocks, and this is what I'm talking about. Just like removing the roadblocks from various settings. So in here I'm like, you know what, skip transform when placing. I don't need that. Also, don't resize image during place as well. So just like that, turn those two off. Right? Everybody works different, so I don't mean to pick on anyone, but let's just take all those. And again, still might take a second because it's going to bring all those in at once, but now I can sip my fake latte in the interface as these things load in. All right. There they are. Boom. Everything comes in. Guess what? We want to reveal all. We'll reveal all under image, and we can see sort of all that imagery. All right. I'll turn on and off some of these things because there's some new things that are happening in here. Typically, first off, like, this kind of helps me determine like how new school or old school you are with Photoshop is this little button because notice if Auto-Select is turned on. So you have this, obviously the move tool, and Auto-Select is turned on by default. So what does that mean? It'll automatically select that layer when I click on it. Right? And maybe you work this way, maybe you don't. I actually don't work this way because I don't want to accidentally move things. I actually just turn that off, but oftentimes I need it. So that's a case where I'll just hold down the Command key and it will toggle. So I could still kind of pan around and do my thing, and then when I need to click the skull, I'll hold down the Command key and it toggles that on and off. All right. So that's what I'm doing. Holding down the Command key. Moving things around. Look what's happening in my layers panel. It's actually highlighting that layer which is new even as I roll over, see how it's highlighting, highlighting, highlighting, right? So that's brand new. Maybe you find it distracting just like the Share button is blue. Maybe I don't want that. It's right up here. It's kind of hidden under this little gear and you can say don't show hover bounds from layers and show layer bounds on hover. Those are two things that are going on. In fact, show layer bounds on hover, and I'm sorry the background's blue. Easy enough to change. I'm not going to grab that paint bucket. I'll just click on what I want. Everybody's kind of quietly judging for the color I'm picking. But as I roll over, see how it's like highlighting those? And again, I personally find that a little distracting. Sometimes it works out great, sometimes it doesn't. Turn that off. So those are the two things that I turn off, and it just makes it easier for me to work. And then Command click-- Command key click, move things around, right? And I see what's happening here.
Everybody, I don't want to give this away. So let me just switch over real fast. What happened? Oh, no. Let me check the cable really fast. What's happening in here? What is going on? Oh, okay. We're back. We're back. All right. So anyways, this is typically what your Layers panel looks like.
Right. Wasn't like this a second ago because right in here, this is probably the biggest tip if you remember anything. Going to the flower for the Layers panel, going down to panel options, going to those options right in here. Changing this to Layer Bounds. So just show me this purple flower and not this big blank canvas. I have no idea what this stuff is, but if I change it to Layer Bounds, maybe I adjust the size, and even I'll just I'll turn off Add copy to everything. Right? So this is typically my setup. Layer bounds. Nest everything and keep everything clean is what I'm trying to say. Click Okay. And now, I can see what these are. I got a clap. I got one clap. We got more claps. Yeah. We're doing cool stuff.
Oh, you guys are too kind. But it is the little things, truly. And notice what else is happening. Okay, well, I know this is a hot flower-- Is that even how you say that word? Hot? Howt? Howt? I don't know. But the question is where is it? Where the heck is it? Hold down the Option key, click. Hold down the Option key on that layer, click. It'll jump to it. What about this leaf? Hold down Option key, click. We're bouncing around the canvas to any one of these. How nice is that? Being able to navigate around this. Okay.
Even background, we want to bounce back out, boom. There we are. Okay.
Because what did you probably used to do? And I'll still sometimes do it, is you hold down the Option key and you'll click on that layer eyeball, and that turns off everything except for that one thing. So there's two ways of doing it. Just show me the thing and then Option click zoom to the thing by clicking on the thumbnail. Right? So easy ways to bounce around good old Photoshop which works out well. Okay. So with these things, it's positioned correctly and all this good stuff. Notice how my layers that kind of named a mess. If you want to do this, I don't know, you do you. It doesn't really matter if you name your layers or not. I've never had a client say, "Hey, how are your layers looking? How are those how are those layers named?" But we could obviously always change those. The easy way to do that is if you double-click, it obviously highlights it and I could say flower and then if you hit the Tab key, you'll go to the next one. So this might be your life. Maybe you're doing that. I don't know. It actually would make me feel very good to just have that everything organized, but I'll do you one better for that. And by the way, undo works with that. I'll take this. Let's do haute flower. Haute, haute flower. This is just a script.
Well, that really comes in very clear. You hearing that? Wow.
So this is in the document that you guys can take a photo of later just like let me know it's in my speaker notes, or you could just do a search for something called Layer Name Edit. It's been around for 15 years, a very long time. The Layer Name Edit, I'll open this up. This is how old it is because it like doesn't even display correctly.
Paste in that general name, and actually I'll do one better because you might not know this, but I'll steal this.
I'll steal like an icon, and I did not-- Well, wait one second 'cause I just realized it'll just do it for that one that I have highlighted. So I just actually put that icon right there.
The thing is even with that particular script, I could select all these layers and everything that's named Haute Flower, I can give it the actual flower icon and then hit Okay, and there we have, give me a moment. Isn't it pretty now? It's pretty. I'm into it. All right.
So we have that squared away. We're getting an idea of how to move things around. Again, holding down the Command key. We could see all that content, how all that content works and looks. I'm going to step ahead a little bit, okay, because I start to layout my design. And before I get too far, I kind of wanted to talk a little bit about-- Oh, shoot. Yeah. I want to talk about content credentials. Okay. Let's do that, can I? I want you to be aware of this. It's okay. Slight diversion, but let's just show you this really fast because I don't want to forget it. Let's open up one of these files for instance. Let's do this one.
This is in the Photoshop Beta. So this is like skip forward a little bit.
In the Photoshop Beta, you have something called Content Credentials. So we'll open up this Content Credentials Beta. So this is basically kind of adding a digital signature to your work and it'll keep track of roughly just the things you do. Like you might have used the brush. Not specific, but I have this Content Credentials Beta in the Photoshop Beta turned on. So I have all my connected accounts. So now it says for this file, I have these social media platforms attached to this file. Okay? And in fact, if we go into our Preferences, we could see right in here. And, again, this is where I would actually probably search because I know I'm not going to be able to click on. I'm so glad there's a search in there. Trust me. I'm going to search any second. Wait for it. Oh, you know, it's under Files.
File handling. Exporting. That's all right. So we're going to do this. Content, C-O-N-T-- Content Credentials. Here we go. So I already turned this on. It's under History. I was so close. There it is. It's even the name. History and Content Credentials. I'm such a goofball. So right in here, Content Credentials Beta. I publish two content credentials cloud and I enable for new and saved documents. So it's always going to add my name and my credentials as I work on a file. Okay. In the Beta, which is again pretty cool. So I'll show you what that means because again we fast forward a lit little bit, congratulations, you have this. Not only that but as you work on it, let's go to preview. Here's a lot of the general stuff that I've done. So I've made some drawing edits and done some different things. I've used some of these files and might not know where they came from, but these are all the various assets that I've used as well. Just dropped them in there from my Creative Cloud library. That's why they're that weird name. Look, I actually have-- We're adding attribution, and notice how I've added a file that already has attribution to it. So it stays with the file. Okay? And then we go Export As. Yes. Make my default preference setting, that's what this says. It means right down here. Hey, Publish to Content Credentials Cloud. So with this image, attach my content credentials to it and it's going to upload it to the cloud, and what that means, so I could do attach to file. If I did attach to file, it's kind of like metadata, so a pretty smart person could probably strip it out of there. Right? But if it's in the cloud, and I think this uses block chain technology because that's why there's the Ethereum in the other window. It means you're not going to be able to get rid of it, is the idea, but that's what's happening. We'll click Export. We'll export it to my desktop. We'll just call it, you know, design, doesn't matter. I don't even have to do anything with it. I don't have to publish it or upload it anywhere. If I do on-- Oh, was that too large? Might be too large. And then you could always check it in here, contentcredentials.org.
So right in here, inspect. That file might be too large. Let's take a look. There we are. Search for possible matches.
Let's take a look. I just did this, by the way. Okay. There we go. Wait. Actually I did this. This is actually when I created it. I already attached Content Credentials to it and I exported out to JPEG back in July.
Right? So that's what I'm doing. I'm checking this file. So if you can imagine, and you can do this even on my website. You can go to, you know, some of this content in here if you scroll down like this one, if you do a screenshot, there's Content Credentials associated with this file. Right? It even says so. So if you can imagine, it kind of protects your file. If somebody tries to steal it, and I can upload that one real fast, but just so you know what happens here, since it's already uploaded. As I click on it, oh, look, all that stuff that I used is in here. In fact let's see all that stuff. Look at all those layers. All right in there. In fact, let's go ahead and compare the original. We can peel that back. So the original image I started with and the final design.
Thank you for your applause. Yay. Hey, how about how about just being transparent with what we're doing, what we used. I'm okay with it. Yay.
All right. So feel free to do that. Again, I could do that with that other image. You probably don't need me to go through that process, but trust me, like that will work even from a screenshot. I've flipped it before, I don't know how much editing you can do to it. I'm sure you'll reach a point to where maybe you do too much editing and it might not recognize it, but I've flipped it and it's different sizes cropped differently. Even for this one, look at that. Look, I've moved these flowers. I moved the flower around a little bit. Hardly. Nobody's going to notice any of the changes I'm making. I'll probably notice, but that's Content Credentials and that's pretty huge. All right. So we have that turned on. That is in the Beta that gets attached to your file and that is all good because that's what would happen here. It's like ultimately end up with that piece of artwork. So let's load that up into our good old Photoshop.
And we can talk about sort of more of the sort of craziness that we can do, and really, it gets down to organization with some of this. So let me even load up this one. Oh, this is actually a good one to use as well. All right, so I'm trying to pick some complex pieces. These are both made of roughly like the same thing. Okay. We got some sparkles, we got some flowers. This one kind of has the same situation. I'm feeling a little bit more organized, but let's talk about like sort of doing some color adjustments to this.
And I'll do this really fast and then we'll get into cleaning up images. But I think this goes along with layers. This is huge.
First off, like in here, I have all these flowers, right? And let's turn that off.
I have a lot of stuff going on here. Some I even painted on, it looks like-- Oh, I have this. Oh yeah. So here we go. Ready? I have all this stuff going on in this folder. Okay? And I honestly might need to brighten these up. So I might go to that layer and I'll add an adjustment layer. So I'll go, okay, let's just add a Hue and Saturation. And yes, you know how to clip them. Right, we can make a clipping mask by holding down the Option key click and that's just going to affect that one flower. Right, so hopefully, you're aware of that. You could see this one brightening up. Right, this one. But I'm like, "Hey I need to brighten up all of them." So I could do that. It's like okay, I did that one once. I'll duplicate it. Command + J. Right? And maybe move it up and do like that. Okay, so that will do this one right here that we can see. So I've brightened up both of those, and I have these two, Hue and Saturation adjustments layers. Some of you guys are thinking, okay, I'm smarter than that. I would probably take that and I would put it up here and apply it to my Layer group. You're like, "Oh, I really just need everything to be this saturated." So you'll clip it, and it'll like make everything brighter. And let's really crank that up, okay? And you could do this, for sure. I get a like a little bit more fancy because it's like you have blend modes in here.
In fact, if you notice, there's blend modes in here, and we can talk about these, but if you take a look at this folder, and this folder has this extra one called pass through. So everything else is the same, but it has this pass through one. If I change this to normal and watch what happens because I'll typically put this inside of here. Notice how it's affecting everything and brightening up the background, but if I change this to normal, it will just affect the things in the folder. So that's how I usually do it. It's like, hey, change this to normal and now it's just changing those flowers in there. Okay? So nest those in there. You have that. You now know about clipping masks. You can clip them to a folder, and then also make sure that it just affects everything in this folder as well.
All right. Oh, did I change that to darken? Normal. So there it goes. So see how it's changing those things. All right. You got it.
You can kind of see what's happening there.
Cool. So that looks good. We're getting our layers named and organized and all that good stuff.
Fast forward a little bit, and maybe I'll jump over to the other file because you sometimes might have difficulty, as I'm still talking about layers, and sorry for bouncing between these two files, but I'll use files and I'll use my Creative Cloud libraries in here. So I'll have all my assets squared away in here, and sometimes I'll break the link. Okay. So I'll break this. I'll break a linked file as well. So that will happen. Right? And you might need to find those files. Well, in your Layers panel as well, if you go up here to the top, right in here, we can, if we take a look.
Wait for it. Wait for it.
I feel like I'm missing-- Okay. I might have to get back to you guys on that.
For some reason, I'm missing-- I should be able to sort through all those files up at the top. I'll check that out. Let me actually make sure-- Yeah. That's very interesting. Okay. So I just realized something. Maybe I broke it. Do you notice? Right up here. It's in the Beta for some reason, but this is what you should have. So it's like show me all of the files that might be vector. Or right in here, show me all the smart objects, and it just filters out the smart objects. Or show me all the smart objects right in here that are linked. So that's what I will do. It's like if I see anything that's broken, I'll go to smart objects and I'll sort and find the broken image as well. So that's how I'll typically kind of sort through all these things. I don't know why it's not in my other Photoshop, but that's how that works. Also, if somebody turns this on, this could really throw you off too because if somebody for some reason has a ton of layers and working with this, notice how a lot of things like will disappear because they have just only maybe the visible items on or something like that. So just be aware of that. You can even change it to sort of what's selected. Look, nothing's in there. Isn't this freaking bizarre? Nothing's in my Layer panel until you select it.
And right in here, let's go boop, boop, boop, boop, boop. That's the idea. So again, if you're dealing with a ton of layers like me, you might end up in these situations where you just can't find stuff and things are broken. All right. Let's move on. Let's check time. Okay. Good. We're doing well. All right.
So we understand layers, and I'll click back to my slides as well. Worked through a lot of layers and all that stuff.
Let me see if I'm forgetting anything. I do like to keep a competitive edge and hold back a little bit. Oh, yeah, but it's always because I accidentally skipped something. Let's talk about different like file types like really fast just so you're aware before we get into, sort of cleaning up photos. It's like where do these photos come from? Or when you're working on stuff, maybe I have and first off this has content credentials. Maybe I want to know where this file is. You can right click reveal in finder. Boom. Right? It'll open that up. Oh, I can see that this is a PSD.
There's PSB, which you know. I've been typically asked like how many different Photoshop native file formats? They're PSD. PSB as in big, which is how short was that meaning.
You know, it's a big file format. And then there's actually there's a PSD C, which is your cloud document, which is all of these that exist out in your cloud documents that exist out in the cloud as well, but then there's also template files. So this is kind of hidden. It's like, hey, you know what? I don't want anybody to mess with this, but maybe I need to share it with others. Maybe like a template file. If I just add T there, when I change it to T and I open it, we'll open this up. Look what happens to my file name. It makes a brand new file is what it does. So it's going to protect the original, and like as I like move things around or whatever and I hit Save. Of course when I hit Save, it's a new file. You might want to save it, and that's how that works. So you want to save a file. A lot of people don't know that. Works for Illustrator as well. AIT is that file format.
So we have that done, and we know how to get to these files. You know, again, reveal in finder. We'll like jump right to it.
All right. Sweet. Got all that. Let's kind of move around a little bit more. Let's get into cleaning up files as well like I mentioned before.
And I kind of don't need that file right now, and that one got a little messy. But let's get into some of these.
Pretty straightforward. You saw this earlier today, but if in case you didn't catch it, you do have to select when you're going in here. You have to select the Remove tool, and the Remove tool is like sort of AI powered, but it's not using-- See, here we go. It's using some generative AI, but it's so much faster than do doing Generative Fill. So I can come in here and just like paint accordingly, and I'll make that disappear. You know, and right here I have it set to remove after each stroke. Since I have so many of those, I might want to turn that off.
And this is going to be really hard actually.
Well, I'm not even doing a good job at clicking, but let's just see what happens.
I have one job, draw a line. And I couldn't even draw a line. I'm like, all right.
But you could already see, I actually love this tool because it's like you have Content Aware Fill is your first one. That is my go-to because I'm like in here. Let's just do-- Content Aware Fill is usually my first go to because it's the fastest.
Secondarily, it would be the Remove tool, and then from there is Generative Fill. So if we go to fill, Content Aware Fill, in this situation that's what I'd use it for. So as you get more complex into some of this stuff, it's going to be much more difficult. But what did we see earlier today? We have our Remove tool, as you just saw a second ago. Remove tool, and then brand new is like finding the distractions.
Wires and cables. Click.
There we go. New notifications, I didn't notice. It's got to go through and kind of remove those wires. Lots of people that work for the city going out to that little town, chopping up the-- Like how it says-- Everybody's like, "Whoa, what happened to my Internet?" But there you go. Boom, boom. I must say, I don't know if I could do as good of a job.
Anyways, this is freaking ridiculous.
So, let's take a look. Take it to another level. Like, we have this situation, you know, when it comes to people. And honestly, are these people or just little beige blobs for the most part? Right? What is it going to do? Is it going to figure it out? But up here again, we have editable people.
So like it does. This makes me feel better about my selection process because it's pretty wonky. And they did some misses. It's like, "Oh, are you the top of a thing or what?" You're like, "Okay. Well, I get to do, I'm doing stuff." So, obviously, the Option key will sort of remove. We could check to see. Okay. You're out of here, kid. That looks like a towel, but it highlighted everything in that nice little color that you can always adjust accordingly. Right? So you can kind of see what's happening in there. But that's all that's happening. You just hit that little checkbox. It'll go through. Figure it out. Do its magic, and I would try this first like on its own layer as a first go, and then go back into it. Is it even doing anything? Do we see anything? Let's do this one more time. People. Find the people.
Oh, yeah. And then you have-- I don't know why we have this. I think we have Generative AI on and Generative AI off. I'll tell you why we have that because there's kind of an issue where people want to know when Gen AI is being used and when it isn't. So that's kind of why we added that in there. Why is this not doing its thing? Let's make sure I deselect, and then go in here. Select people, and then checking. You know, let's even just do that. Let's see what happens.
All right, so this was just released, and there, all the people disappeared. Yay. It works. I don't know why it's not working. I did it earlier. Here's the final. Yay. I could have just clicked on the layer and try to trick you, but I'm not going to do that. Trust me, I did it, and it does work, and I typically would do that on a separate layer, and it will do its job. But that's what's happening here. You do have some different options in here. I hope we don't have, I mean, there's some talk internally like, I don't want this on every single option that uses AI. Like, ultimately, like, maybe if you don't want to use AI for whatever reason, maybe you could turn it off in Preferences, and then it just turns it off everywhere. Or I don't know. There's just like controversy around that and we're trying to be as sensitive as possible.
All right. Cool. We got that. It's looking good.
And yeah. So we have that. So we have that removed. So what are we doing? We're typically cleaning up images. Removing people, removing wires, and then adding. Even when we have this case, you know, where I want to, nine times out of ten, what you need to do at a photo, like one of the most popular things like removing back-- It's like removing external issues, distractions, and removing the background. So right in here, we just have that as an option on any layer, and I just clicked, and it removes the background. What does it do? It does exactly what you thought it would do in that it adds that mask right there, and yeah, it's not perfect. I jump in, clean that up right with my brush. Sort of paint accordingly. You know how all that works. Right? As I change that a little bit. Okay. Boom. Boom. All right. So again, we just remove the background. What's the next step that you want to do? Typically, after removing is you want to add a background. So that's why we're trying to be a step ahead of you when it comes to this contextual taskbar. All right. So right in here, what do you want to do next? Well, maybe generate a background. Okay. We want a "beach with reflective water." I don't know. I think most water's reflective, but let's help it along, I guess. Hopefully, it'll recognize this guy. Looks like he's on the beach, but he's like on the moon, and there we have it, and it does. Does the reflection right there and we have these different options. One, two, three. I wanted to get some reflections in there just to see what happens, and we could see that's actually doing its job. Okay. So within two clicks, we have like a remove background and then we have generate background. And the thing that I love is off to the side, separate layers. I can change this at any time, which is really fun for me.
All right. We'll maybe pick the one we want. I like this middle one, and then right in here, again, a new option. So you see that little button right there? Enhance detail. If we click that, it will create a new version of that with enhanced detail as you can see right down here. Let's see what that is. It's going to enhance detail and might change it a little bit. Looks like it's changing it a lot, and this is the thing that's very interesting about kind of what's going on because we're using Firefly to create these images, and we're constantly like updating Firefly and like training it on new data set and refining it. So it's like never going to be like exactly the same. Even when I upscaled it, which is that's what I would call this, upscale, it actually changed it. Let's be honest, changed it pretty drastically.
But anyways, enhanced detail probably enhanced a little bit too much, but this is probably the biggest request is sort of up-resing if you will, your particular images that you like. So there we did that one. All right. And it should look a little better. Now I skipped ahead a little bit because to be honest with you, anytime you do use a generative technology like good old Firefly, it will only create an image that's, say, 2048, about 2,000 by 2,000 pixels. So I would typically use it in small cases. We're right in here. We want a coffee mug, for instance. Something small, it's going to do a good job.
For that image that I did a second ago, I would want to-- And also, look at the size of this. I even did it a little large.
See, I knew this would happen. It's not in proportion and there's no coffee in it. Because why? I didn't say put coffee in it. What are you, crazy? Man. So this is like, yeah, we have work to do. Make it the right size. It's going to put it at that size. The key thing is I would want to make sure I have enough maybe for a shadow in that same angle. So let's do coffee. Let's just do coffee. We're going to see what-- I don't know what's going to happen, guys. Do you think I would have done this before, but I like challenging it. Why not coffee? I should have done a glass of whiskey or-- So look, I did coffee. I did something even similar. It gets the shadow in the right spot and we kind of click through it. This one, good. So again, this is why we give you options. Some will work, some won't. It's fine. We could always change it right up here as well. Coffee. Okay. So I like using in these small scenarios typically, because again just be mindful of the resolution, and again, you could do enhanced details as well.
Think I ran this couple more times, like here's another coffee cup that I worked on. So there's one, and I'm like, okay, well, she had her coffee. She wants a beer. Hey, let's throw a cocktail in there. Why not? Look at that. Like if you look at that, like it gets the reflection. Be careful with the overlapping, but like, yeah, it starts to get that. Let's take a look. She gets a little hungry. Here's a little sandwich. Why not? A bag of chips. What else? Hot dog. Does the hot dog in the shadow? No plate. I don't know. You do you. Nobody's watching. You can eat where you want.
Cookies, cake, ice cream.
She's like, you have a little alcohol, you get some munchies. You order the food truck, you have a food truck.
Hey, can you-- I don't know. They work that way. Gets the reflection in the water.
And then what you do after that starts having, you get all that food, then you have all these animals start to show up.
Bear. "Do you mind? You got to finish that sandwich?" He's like, "Do you mind?" So anyways, easy to do. All I did is add that to these various prompts and we could see different versions of those. Right? So they're all still in there. If you're concerned about file size because it does stay with the file, you could just eliminate those. Just kind of be mindful of that, but it does a good job. Right? And like I mentioned earlier, if you do, and this is-- I didn't even talk about expanding. Let's do that now.
I'll do you one better real fast because it's time. Shoot. Let's do you this. So I can expand this out. You probably know about Generative Expand and I talked about earlier today. We have the Crop tool, and we go right up here. We want to change it to Generative Expand because they decided we want more of the sky and just more of the land, whatever. We can hold on the Option key, drop from the center, like so, and then we hit Enter, and you can add a prompt in there if you want to. You could say nature scene with lake. It's going to figure it out. Since it only returns 2,000 by 2,000, I would almost extend to the left, extend to the right, do the top, do the bottom, like if you need, you'll get maybe cleaner results, but like it does its thing, which is great. So again, we started with this and now we're that big. Right? Super cool, super easy.
We could do that like in number of ways. I'll do that with like some online content. Like, we'll open this up and we'll, like, extend this out. Right? Because I'm like, okay. I want this to go sort of Instagram story style.
Right? Taking that, hitting Enter, it's going to take that. I don't know what's going to be up here. My ceilings are definitely not that high, for sure. But it will just figure it out, and I usually challenge it. Apparently, I got some recessed chandelier. Still needs some work. Actually, this is not bad. That's probably close to what I have as well. But the cool thing about this and the reason I show this as well is, like, this actually is, like, is using a video. Hey. What's up, everyone? Paul from Adobe here to talk about Adobe's terms of-- It's like I just brought a video in because I shot it at, like, 16x9 here, and I needed a vertical one for social. So I brought it into Photoshop, expanded it up, and now I have all that room for text and other things. So again, Photoshop can do video and there we have that happening, doing its thing. All right.
Thank you. I'll just look at you guys until you clap, just start staring at you. That's weird. Darn it.
I do not have a lot of hard drive space, sadly, and we don't have a ton more time. So let me just kind of skip ahead and make sure. Oh, man, there's so many things I need to talk about. So many things.
So many things. Can I show you some cool things? Can I just kind of rapidly go through? First off, like this is really fun? I'm just going to show this fun image. We're going to get into Photoshop like Beta and show you like a couple quick things. This is what I did just real fast on this. Like, okay, make a selection and I've had you hear stories of executives that never want to take photos, but they want a new outfit each year for the annual meeting. Right? And there you go. It's like, okay, you're set up. You got your black tie situation. You know, I want to be a doctor. You know if you want to be? I don't know. Maybe this is for your online profile. It's like Tinder. You jerks.
We're going to be third. Okay? You want to be fancy? There you go, why not? And what do we have going on here? It's this princess. If you want to be a princess, be a princess. If you're creative, do what you want. You want to be a queen in a cold room? I don't know.
Help us all.
This is what you could also do and this is why I jumped into the Beta really fast because you have the ability to like do a selection. I'll do a selection on that and the contextual taskbar will go to Generative Fill, and then you have this option. This is in the beta. You can actually sort of use a reference image. So from here I can grab maybe an image, whatever, found online, who knows what, and use it. So you're like, "Well, I look good in that or this." I don't know. So this is just kind of fascinating. You do some shopping online. You download the image. You pick it, and that's the idea is like click Generate. That's my only reference in there. I could type in yellow corduroy shirt, but that's the idea. It still has to make up a lot of like my neck and stuff, but again, using that as a reference image. So I encourage you to like push that where it needs to go, and there we go. It's like, hey, hey, oh. Little funky there, little funky around the neck. Can we agree? That one's not bad. Cool. Reference image coming your way. Oh, man. So many things, but I've covered a lot of the sort of the generative technologies in cleaning up stuff.
So many things. I'm getting a little messy here in the end, but let's show you this too because I've done Generative Expand. I want to show you this because this will just blow your mind, and this is in the Beta as well. Okay? So this is like an idea of kind of like some of the things to come since I'm in the Beta.
Since I typically do a lot of this like crazy stuff, right? And maybe I use a lot of effects. So let me grab this file real fast.
So for this, this is just like even just a vector smart object. I wanted to show you parametric filters. So the whole idea is like you don't have to wait for us to make filters. It's like, you know, we can open this up to the community because now we have this thing called parametric filters. So I can select any one of these. It's like you want this chromatic look, I can click on that, and now I have all the controls for that. Right? So I can adjust that, the RGB, the blur and glow intensity. But this is basically a filter that somebody made. I'm going to go beyond that so you notice a number of those properties. I'll get rid of that. This is the one I like because I'm like, oh, I need to do make this look like it's embroidery. Like it's stitched. Here's this embroidery filter. So I'll select that.
I just made it look like it's stitched. Look at all that.
"Hey, Paul, you're great." So cool.
I didn't make it. I'm just showing it. But from there, you can sort of increase the stitch density and you have all of these controls. This is an SBSAR file. For those of you who care, it's like a 3D file, a material file. So it's made with these stager tools, 3D designer. Right? And then we can even get into the actual color, the stitching and all of that. But I absolutely love embroidery and I wanted to show you those because those are like coming your way as well. All right? So we have that in the Photoshop Beta. I'm going to click back to my image. Again, I was working on, you know, adding cool effects because I'm working on this particular image, which is kind of all over the place, and that's okay. I probably want to clean up this skull for one.
So it's like maybe remove that.
Yeah. We'll kind of just get rid of that maybe. This is a case where like we started adding all of those. I'm really pushing this to its limits because that video is actually taking up all the room on my hard drive. Nonetheless, I want to do you one more thing that's going to really be super awesome and intense. Generative Workspace. So I've done the sort of Generative Fill earlier, and remember how I dragged in all those flowers. I'm like, okay, now I need to add more to this. We have this Generative Workspace in the Photoshop Beta. So even rather than jumping out to some other service, I can come in here. You know, here's my last prompt. I did a galaxy majestic exotic flowers. I really just want to do an exotic flower and leaves. That's all. And I could type in hyper realistic, but notice how it's already there because you have those effects right in here. So hyper realistic, just don't have to worry about typing that in. You know, gets added. Cool. Done. We don't want digital art. Maybe we don't want concept art. This is the cool thing. It's like I could do exotic, and then right in here I would do pink. Let's highlight this word. Because you know what, I want like eight different types of flowers. So let's do add a variable. Pink. Here we are. And then right in here we can say, hey, pink, teal, magenta, white, whatever. However many different ones you want, and we'll click Generate.
Initially it will make four, and now it's making one, two, three, four-- 20, whatever five times four is, 20, 20? Oh, god.
Good thing I do graphics for a living because I will not make it otherwise. Here's all my beautiful flowers. I would take another level because I would say, hey, you know what put this on a beige background or something like that or just some neutral background and then I would start to knock it out. But since I have the leaves in there, but look at how gorgeous those are. So I can come in, bring in this one. Oh, I like these nebula ones for the background. Oh, there's a number of other items like right up here. Here's some of the ones that I did on the beige background because I was using those. So it's just a matter of selecting those. Yeah. I could favorite them, but more importantly add them to whatever document I'm working on. So from there, select our document on separate layers or on one layer with all of them as variations.
I'm clicking Okay. Aw. That's why it's like, "Paul you're done with your session of your scratch. This is full." But I already have it in here. It will actually go through and generate all of those which are all right in here. So here's each one of my generated images and I've knocked out the background and done all the things. So there it is. As you can see, like nice and neat in there. So there here it is back with the prompt. So did a beautiful exotic pink flower, like so. So now I can knock out like 50 things in one and just like helps me work like a lot faster, which is why I like Generative Workspace.
So yes, that is what's going on there. Yeah, and since I'm kind of I'm probably missing a couple things, but no. I think I actually covered everything. There's some other things we could have talked about neural filters. I would encourage you. We haven't talked about neural filters for a while. Use these in here. So this is just an easy way if you want to make one image like an image of a subject match the background. There's something called harmonization in there. So you just select that layer and select the background match it and it will match it, and then you get individual controls after that. And then there's also portraits, smart portrait in there and a number of other options that pop up. But yeah, my computer is basically saying, "Paul, you're pretty much done." But I pretty much hit all of it. And again, this is being recorded, and you also have all of my notes with links out to the different things when I talk about scripts and other things. And again, this is like all the new features that I tried to get through. There's the adjustment brush tool, all these things that I didn't even get to that you'll discover later on. It's like, oh, there's bullets and numbering. You're like, "Oh, there wasn't bullets and numbering before?" That's what I think. Wait, there wasn't? So that's how I was like, "Let's not highlight that." Enhanced detail, we did generate a background, you know, all those. And here's the link to the notes as well. So I'll let you take a photo of that, and if you're following me on X or Twitter or Instagram, I'll probably tweet this out and post it and all that stuff, that link. We got to be third.
But again those are my pro tips. Let's keep the conversation going online and thank you so much everybody. I appreciate you. Yay.
Yeah! Whoo! Yay! And thank you so much, everybody, guys. Enjoy MAX. Let's hang out. Let's have a drink later. And there's additional information as well. [Music]
