[Music] [Kristina Sherk] Welcome, everybody.
This is a new experience in surround sound. Sound. Sound. Sound. Sound.
I don't know if that did anything to you guys or not, but, my name is Kristina Sherk. I am a Professional Retoucher and Photographer based out of Washington, D.C. And today's class, let's get pumped. This is really exciting.
We're going to figure out how to save time, right? Save time, work smarter, and with less headaches. And I think that is going to make everybody just a little bit more happy. So Photoshop and Lightroom and that's going to be classic. The Powerhouse Pair.
So first of all, even though I mistakenly majored in Photoshop, and that's what I like to tell people because I was a digital art major in college, so I just learned Photoshop full-time for four years, which is a luxury, I know a lot of people do not get.
And so one thing that people don't necessarily know about my background is that not only do I teach Photoshop through sharkpixel.com I'm also a professional headshot photographer based out of Washington, D.C. So what I want to talk about today in our class on how do we make Lightroom Classic and Photoshop work to the best of our ability is creating consistency across a bunch of different random headshots that you've been given as-- Somebody working on a website, that, you're given all of these headshots and they look completely different. They were taken on different days by different photographers, different backgrounds, different lighting, and you've got to make them look as if they look the same. Has anybody had to do that? Yeah. Yeah. We got some cheers. Yeah. So this is a very frustrating task. And I see it a lot-- Because I do so much headshot photography for businesses.
So that's going to be our case study for today and we're going to talk about how we integrate the two programs together and how we integrate some of our new AI features, which are amazing to make our lives easier. So I hope everybody's excited.
I don't want you guys to take feverish notes. If you want to take little notes here and there, that's fine. But I am going to be giving you the notes printout, you can go on and you can download them from my site. So I don't want you to be writing such complete notes that you look up and then all of a sudden you're lost and you've missed three steps because I've been there before, and I want you to just absorb what you can. I know that it's been a crazy couple of days and you guys have been learning such incredible stuff, but just be with me, be present, and then I'll give you the notes later in exchange for some nice five star ratings. No, I'm kidding. Everybody's going to get the notes even if you pan me.
Okay, so what's the difference between the two programs that we're going to be talking about today? I am going to be using the beta for this, for Photoshop.
So we got to talk about the background of both of these programs just a little bit before we can talk about how they speak together and how we work with images throughout the two. All right, so Photoshop. Photoshop, we use Photoshop for-- Let me quit my mail. That's nice. Go away. And I should be on Do Not Disturb. Okay, good. All right. So for Photoshop, we deal with layered files, okay? So files that you have your background layer and hopefully we are all editing non-destructively. So anything that we do we're going to add a layer on top of that. And maybe we add some saturation using an adjustment layer. And then maybe we get rid of some spots and dots, and we do that on another layer. And what we're doing is we're editing, we're never touching that background layer. So we are editing non-destructively and we're doing that by that layer format. So that's how we use Photoshop. Now every time we open an image in Photoshop, we're going to open that image, we're going to work on it, and then we're going to save it, and then we're going to close it out. So has anybody here had to do that for 10 files? Yeah. Open, do something, save, close. I mean, that stuff takes time. Even if it's just a couple of seconds, that is compounding your time every time you-- If you have 10, if it takes 5 seconds, and let's be honest, it probably takes 10 seconds. If you take 10 seconds and you do that across 15 images, it's starting to get up in time, right? So that's another thing attribute when we're dealing with Photoshop. Now Photoshop technically if we're not talking ACR or Adobe Camera Raw was not necessarily meant as a Raw processor, and that's why they added Adobe Camera Raw to Photoshop. Okay, so if you've got a large bulk, a large chunk of images and they are raw images, it's going to be very clunky to do that through Photoshop if you aren't in Adobe Camera Raw.
So Photoshop is more for a single image when you are working on a single image, and it's really not for batch processing. It wasn't built out that way. But for Lightroom Classic, it's a newer program. It's a full-blown raw processor, right? So that's all built into the back end, and the engine underneath the hood.
So changes, when you make a change to a photo within Lightroom Classic, that change is saved in two places. It's saved within the Lightroom catalog that you're working in, if you're working on raw photos, it's also saved to an XMP file. How many people have seen that XMP little file? How many people have inadvertently deleted the XMP files because you don't know what they are, and then you're with the RAW files and then all your changes are gone. Yeah, we've all been there. We've all done it. So that little sidecar file, it's called a sidecar file. I think of the motorbike and then the little seat next to it with the dog in it with the glasses, that's your XMP file.
You never want to separate the two of those. You want to keep the RAW with the XMP.
So that's how changes are saved. Now finally, when you have all of your changes made to your images within Lightroom Classic and you go and you export those, that's the same as flattening your images in Photoshop, and then all of those changes to your images are written to the files when you export them.
So it's just a little bit of two different modes or methods of managing photographs, right? You've got your Photoshop way, and you've got your Lightroom way, and your Lightroom Classic way. And again, Lightroom Classic much better if you are dealing with a volume of images because you're not doing that open, change, save, close. Open, change, save, close. Okay, that's a mess.
So when you're dealing with a volume of images, Lightroom Classic is one of the Lightrooms is going to be what you're going to want to do. So when we need to take an image from Lightroom into Photoshop, there are a few ways that we can do this. So just for this example, I'm going to take this photo into my Develop module and I'm going to go ahead and just decrease the saturation of it.
And now what I'm going to do is I'm going to take that photo, I'm going to right-click on it, and I'm going to choose Edit, and I'm going to choose Edit in Adobe Photoshop, okay? So I'm using the Beta for this.
And once we click on that, we've got a few features here, a few choices that we can choose from. So first is going to be Edit a Copy with Lightroom Adjustments.
So that will just basically take the change that you've done to that file, and that change was desaturating our file, right? So that's what we did. We desaturated the photo. So what it's going to do is it's going to bake that in and give you a copy of your image.
That's the first Edit a Copy with Lightroom Adjustments. It's going to make a copy of that file for you. The next one is just going to make just a copy of the photo without the Lightroom adjustments, and then the third one is Edit the Original. So the original file-- Do you think that it's technically, right now, if I looked at it in outside of Lightroom, do you think that this photo would be black and white or color? [Man] Color. Good. Who said color first? Come get a shark or a ducky.
Squirt ducky. Somebody can come up and get a-- Whoever said color first, somebody came-- All right, there we go. Yeah. Thanks. Yeah. Okay.
So if we go to Edit Original and we choose Edit-- Hopefully-- This is what happens when I get sidetracked in the middle of doing something. You know some things never work. Okay, so you can see here that we have the image and it is color because that change that we made in Lightroom is only in Lightroom currently. So what if we come in, let's use our Brush tool and let's draw something on this file, then we save and we close, and then we come back to Lightroom. If we look here, we can see that that adjustment that we just made has been added to the underlying file, but it still looks like it's black and white because of the change that we've made in Lightroom, okay? So everybody with me. So there's two different ways that we can change our photos in Photoshop but also in Lightroom. And then once you export whatever you've got, that's when everything gets baked into itself, okay? Okay, so there is a fourth way to interact your Photoshop and your Lightroom Classic together, and that's going to be to open as a Smart Object. So let's come into this image real quick. I'm going to go into my masking section in Lightroom Classic. I'm going to wait for it to detect people, and I'm going to go ahead and click on my person here. So let's say that our company, we're working on a company website for the people page. And our company has blues and greens as their color scheme, and this red dress, while beautiful, is just-- Taking command of the page and it's the only thing you see in this headshot. We can go ahead, we can create a mask for just the clothing, and we can choose to Create Mask, and then we can come in here and maybe adjust this color, and we'll go ahead and add some blue, some purple to it, to make it just blend in with what we're working on with our color scheme of our website that's going to work just a little bit better. I'm not going to pay attention today to little masking issues like this because I just honestly don't have time, but we all know that we can go in and adjust the masks and everything like that. All right, so this is much more pleasing. It's cohesive when we're looking at our web page with all of the people on it. So what we can do, if we needed to make an adjustment and we needed to take this over into Photoshop, we can go choose Edit In, and then we're going to come over here and we're going to choose to Open as Smart Object in Photoshop.
Okay, so once I do that, you can see here, down here we've got our layer, and it has that Smart Object icon. Can everybody see that? Okay, so, if I double-click this icon-- Let's say that I'm working on, I don't know, layout, or cropping, or whatever, and I realize that, you know what this color, I need to just adjust the color again, I'm not feeling this purple. We can come into our masking section within Adobe Camera Raw. Remember, we are in Photoshop right now. We can come into our Masking panel in Adobe Camera Raw, and I can come in and I can say we want to adjust this. Maybe I want to make it more of a teal gray than an actual purple because I feel like this looks better with our company website. Okay, so we have the ability through Camera Raw within Photoshop to adjust the same things that we applied to our image in Lightroom Classic. Now there are a couple caveats when managing photos back and forth this way. This is going to work on a RAW image, and it's going to work on a JPEG image. If your base image that you're starting this on is a Photoshop file, it's going to react differently when you open up that Smart Object. It's not going to take you into Adobe Camera Raw. So this works for JPEGs, it works for RAW photos. It'll take you into Adobe Camera Raw, and it does not work with the Camera Raw filter. So you have to go into Camera Raw Cropper for that. So now if we save and we close this file and we come back into Lightroom Classic, you can see now that we've got this little one of two icon here. And if we click on that, you can see our original one, and then our new one with our change. Now the reason why this has saved a secondary file is because whenever you work with Smart Objects, they want to make sure you don't want to do anything that you can't back up and undo. So that's why they're going to give you a new file, and you can use that as a PSD file, and that's going to give you your new version, okay? So it's just a little bit of how these two programs speak to one another. Does everybody still with me? Yeah? Okay, cool. Cool, cool, cool.
Okay, so that is just a little bit about changing, opening different files and moving between programs. And then we talked about the different ways we can open and close, and then we talked about Smart Objects as well.
So now let's talk about cropping. We want to crop all of these images so everybody looks the same, everybody looks consistent. So I've done this already on a few of these images, but there are a few that the crops really need to change. All right, so I'm going to come in here and let's go back to this, and let's start with this one. Let's hit the R key to bring up our Crop tool. And then I know that I want all of the different images to end up being pretty much an 8x10 or 4x5 ratio. So we'll come into our Crop tool and we're going to choose that ratio right there, and that's going to go ahead and lock that ratio in. And then we can hit the X key, which is going to switch the crop from horizontal to vertical and vice versa. And then whenever I'm trying to do crops and I'm trying to crop things to make them consistent, what I use is the Rule of Thirds. And that's this overlay that you see on your crop right now. So what I'm hitting is the O key at the moment, and that's going to give me all of these different overlays for your crop to figure out which one looks best and to aid in your cropping. So what I'm going to try and do for all of the images that I'm working on, is I'm going to try to line up the eyes, and I want the eyes, basically, to go from this line here, okay, to this line here. And I want them to be as close to this horizontal line as possible. So that's the way that I'm going to be manually creating consistency across these different images that I have. So this is definitely not an exact science. So I've got this one that I've just cropped, and I know that I'm going to have to do some damage control on this one because this one's like wildly different than all of the others. So we'll get to that in a second. I'm going to go through these and I'm going to select the ones that I want to sync this crop to, all right? And I want to manage this one as well. So this is important here. So I have all of the images selected that I want to sync this crop to. But here's one thing that's very, very hard to see. I don't even-- Yeah, you can see it there. So if I zoom in here, you can see that this photo, which is my initial selected photo, has a little bit of a different color than the other photos that I have selected. Can you guys see that? Okay, so this is my primary photo.
And so anything that's on this photo, any change that has been applied to this photo is going to be synced to the other ones, but it's very hard to see the difference in color of that overlay. All right, so I'm going to choose to Sync Settings. And you'll probably have something like this set, so I'm going to come in here and I'm going to choose Check None, and then I'm going to come over to my Crop and I'm going to just activate the crop because that's all I want to sync across these images, okay? All right, so we're going to go ahead and synchronize. And that's going to crop all of my images.
And now what I want to do is-- We're going to have to come through these and just adjust all of these crops anyway. So we're going to hit R, X, and we're going to come up here and I'm just going to adjust this guy. So what I'm trying to do again, I want to get those eyes in the middle of those two Rule of Thirds lines, okay? And I'm just trying to keep in mind the amount of space up here, and then I'm trying to get the eyes to be between those two Rule of Thirds lines, and then I want the eyes as close to that top Rule of Thirds horizontal line as I can. And then let's go ahead and sync this again.
Because when I did that one, it was a horizontal, I hit the X key. All right, so this is what I'm more used to. So we'll go through this. And this one has to be zoomed in significantly. Now remember we are just doing this for web. So it's okay that I'm doing an intense Crop In like that. And we'll come in here. Let's zoom this out just a touch.
Again, going to try and make these crops as consistent as I can-- While keeping in mind the top of his head, I don't want to cut that out or anything like that.
All right, here we go. Everybody say, "Hi, mom." This is my headshot of my mom.
All right.
Okay, good. So we're increasing this.
All right, that looks good. And I'm just manually doing this at the moment. I wish there was a way to create consistency. There's a JDI for the Lightroom team. If there was a way to be like to just click one button, and it would say create consistency across all of these crops that would be amazing.
I don't know about you guys, but that would save me a lot of time.
All right, coming in here, open this up just a touch.
So one really nice thing that I like about working in this way and working in Lightroom to do all of these kinds of layout things is that I can go through here, and I can just easily look at everything in front of me, and it's very easy for me to be like, "Oh, there's too much headroom here. Let me just double-click that and adjust that." And then go back to my grid view, which is what I hit G on my keyboard to go up to preview everything in my library mode really quickly, and then I can see everything and say, "All right, well, what needs to change?" Okay, so if I go ahead and select all of the ones that I've worked on so far and hit the N key, let's hit Tab to remove my side panels. You can see that we're starting to get a little bit closer in consistency across the board of the headshots that we're working with. Does everybody agree? Okay, so we're still on our way.
We've got some changes to make. So I want to bring this one into Photoshop, and I also want to bring this one into Photoshop because these are my two ones that I'm not really able to adjust in Lightroom. I need to expand these out, I need to make some high-level changes to them. So we're going to right-click on those, we're going to choose Edit In, and we're going to choose Adobe Photoshop, and we're going to choose Edit Originals. Okay, so here we go. So now we are moving over into Photoshop-- And what I want to do is I'm going to hit my C button, which will bring up and activate my Crop tool, and I'm going to come into the Ratio section right here and go to 4x5 again, and I'm going to bring this over to center it up. And what's nice is that I have those same Rule of Thirds lines that I did previously. If you don't, for any reason, this is going to be your little icon to change your Grid view overlay. All right. How are we thinking about the pace? Okay. Yeah. Okay. Cool. Okay, so this is the problem, right? We have the top of her head cropped off, it's way too close in. If I put this one next to the other head shots that I have over in Lightroom, it's not really going to look great next to it. So what we can do is we can just actually click and drag and use our Crop tool to actually zoom out this photo. And so I'm going to try and just keep in mind what my parameters are whenever I'm trying to crop the photos that I was working on over in Lightroom Classic, right? I was trying to use the Rule of Thirds, I was trying to have their eyes fill up that middle portion, that middle third, and then I wanted their eyes to be as close to this middle line, this middle horizontal line as possible. So I know that that's going to be what I'm trying to get at the end of the day, but just for conversation's sake, let's just go ahead and make this just a little bit larger, just so I have a little bit of breathing room in case I need to make any adjustments to the crop when we go back into Lightroom. So one of the really nice things that Photoshop has done is they have integrated into the Crop tool, the Generative Fill technology. So what we used to have to do was we would crop it like this, and then we'd go in with our selection tool and we'd make a selection of an area, and then we'd run Generative Fill or even, up until last year, we were using the Clone tool to fill in those areas, right? So things have really rapidly changed in the last year, which is good for us because it's much easier now to do some of those mundane tasks that we didn't like to do in the first place. So up here in the fill area, this is probably going to be set to Transparent, but if we go through this drop-down menu, we can choose Generative Expand as our fill option. So when I go ahead and accept this change of this crop, it's going to automatically fill the transparent areas that you see on my canvas right now with Generative Fill stuff, okay? I'm super technical.
Okay. All right. So let's see the stuff.
And I love demoing stuff I can't replicate. Okay. All right. So here we go. So we've got one choice, we have choice two, and we have choice three. All right, so honestly, they're pretty good, right? I mean, right off the bat, I think that we've got three very good-- Things to choose from for this crop.
All right, so let's see.
All right, so I think that this one is the closest, I'm not really liking what's going on with this armpit over here. And armpits are something that I have found Generative Fill struggles with, like where the arm meets the body. So what we can do is I've got this one, I like the lines that it's giving her on her body.
So what we can do now is we can come to this three dots menu and we've got a new feature here. So we can choose to Generate similar, okay? So what this is going to do is it's going to say-- All right, well, this is the one that she liked, or this is the one that the user liked, so let's try and give some more variation of those. Now one thing that I do want to bring to everybody's attention is that we are now working with Generative Fill model three. So when we're working with our Photoshop, our regular Photoshop, before this update came out, it was model one, and nobody really knows what happened to model two, but I'm okay with it because we're now moving on to like the Ferrari of generative AI and Firefly. So let me tell you a little bit about what is in this new generative AI model three. So it's using Firefly, obviously, it's Image model three. Your generations are going to be a lot more photorealistic.
They are going to be much more harmonized, meaning the colors that you get in your generations are going to be much more harmonized with the overall image that you're working on, it's going to listen to your prompts better.
We'll wait and see.
I'm on the fence about that one.
They're going to give you more variety in your variations. Now I know this is not a very good example of that because I wasn't like using Generative Fill and selecting the top of the head and being like hat.
If I did that, it would probably give me much more variation. It would give me a snow hat or a winter hat, it would give me a birthday hat, and it would give me a cowboy hat. So more variation across your variations, more variety across your variations. That's a big new thing in Image model three. It's going to remove objects better as well. And so now, I know before we were told not to use the word remove, but I think as model three comes out-- Personally, I heard a lot from people when they were selecting something and trying to remove it was, I selected the person in the background that I wanted to remove, and then I just hit Generative Fill because you're not supposed to use the word remove, and it just put another person in there. So I heard that a lot, and so I think that what Adobe has probably heard the exact same thing, and so what they've said now is if you're trying to remove something, you can put in the word remove and that'll help a little bit better. So we'll see. We'll see.
I'm open mind, right? Okay, so we've got three new generations, one, two, and three. I still like this first one. We're just going to move on with that one. So if I come in here and I zoom in, we can see where the difference was from the generated pixels to the native pixels that were in my image originally. Okay, so the reason why it looks like this is because when we are doing a Generative Fill-- All of the areas that are being filled with those generated pixels are being filled with 1024 pixels in width. That is what's generated whenever you do something with Generative Fill, okay? So has anybody played around with that, like that 1,000 block square and you fill that area with Generative Fill, and then you select another block, and then you fill that with Generative Fill? Okay, so that used to be our workaround. And if I have time at the end, I'll show you that if somebody reminds me because I've got ADD brain, like hard core, I can show you guys that at the end if I have time or if people want to come up, I can show you that as well. But when you're dealing with Generative Fill, you're only going to create 1024 pixels, no matter how big your selection area is. And then what Photoshop's going to do in the back portion is they're going to use Super Resolution or Super Zoom, which is a Neural Filter to up-res those pixels that it created to fit your canvas, okay? It's great what we've got right now and it's only going to get better, but we have some limitations when it comes to gigantic RAW files. Like, if you're shooting medium format or something like that, it's going to be harder to create an area. So what we have now at our disposal is this little button here that says Enhance Detail. And so we have this for every variation that we have. So if I go ahead and I click that Enhance Detail option. Did you guys see what it did there? Okay. So we now have additional variation. So this was our first variation, and then this one is the Enhance Detail, and the way you can tell is because that little icon now is grayed out. Can you guys see that it's grayed out now? And actually it's very helpful because if you hover over it, it says, "Variation has already been enhanced." So yeah, so what that's doing is it's just running a Super Zoom, again-- Like a sharpening algorithm on top of it to just give the illusion of more pixels.
If you're a real stickler for me, I don't really care because this is going on web anyway, right? So for this example. But if I needed to do this in print, what I would do is I would use my Rectangular Marquee tool, I'd come in, I would use-- Do you see those little things there? That's what I'm counting. I don't want the area that I fill feel to be more than 1024 because if it's more than 1024, you're filling it with pixels that are smaller than the area you are trying to fill. Does that make sense? Okay, so I'm going off topic here, but I want to make sure-- So I would go through hypothetically and I would do a Generative Fill on this area, and then I would move to the next box, and then I would do another Generative Fill on that area.
When Gen Fill first came out, I did a whole masterclass on AI, and I started with this tiny box of the background of my son. Oh, man, okay, I'll look for it, but I called it over lensed and he had this big lens and he was standing in the middle of the frame. And I built out the background box by box and it was like a Serengeti, and then I put him standing next to a zebra and a wildebeest. And then he was just standing there with the animals, and he had this big lens and he doesn't know what to do with it. So yeah, so that was my-- I am totally digressing. Okay, let's get back to headshots.
So that's what you would do if you needed something print-ready, okay? I would do it chunk by chunk. I'd still be doing that chunk technique. All right, so but this Enhance Detail new feature is really good. It's really good.
It works 90% of the time, as long as you're not like, doing some massive print, okay? So I'm loving the Enhance Detail, I'm loving the crop that I have for this, I'm happy with that. I'm going to go ahead and Command or Control+S to Save, Command or Control+W to Close. And then if I look back at my Lightroom, we have that updated. It's already been update, okay? There's no clicking and dragging and re-importing into Lightroom, there's no going back, finding your folder, clicking through, click synchronize, you don't have to do any of that stuff. Because we started in Lightroom, we took it to Photoshop, we saved it there, and then we came back, we closed it and it's already there. So that's the beauty of working with these two programs in tandem with each other.
All right, so we're going back to Photoshop because I want to work on this lady, I'm going to erase this star that we have that we added earlier. And so what I want to do is, I don't know why anybody would give a headshot to somebody with a border, but I'm sure you guys have seen crazier stuff given to you by employees of your company. What do you mean you can't use this photo taken of me at a wedding where the bride is in the background, throwing her bouquet? I thought I could use that as a headshot. [Man] Yes. - Yes? - Yes. What do you mean you can't crop out the person standing right next to my face like this? Somebody feels me over there. Okay, so we want to get rid of this border. So let's go ahead. We're going to do the same thing. I'll start with my Magic Wand tool which everybody seems to have forgotten about, and we'll come over here and I'm going to make a selection around that border, which I don't need. Now one thing I want to do before I go ahead and just hit that Generative Fill, is I want to expand this selection, so I have a little bit of the data and the pixels from the edge of the area to blend it a little bit better with what is already there, okay? Now technically when you do a Generative Fill, this is done for you anyway, but let's just like be extra precautious. That is so not a word. I'm going to make up my own dictionary by the end of this. So thank you guys for understanding. So I'm going to go ahead and I'm going to choose Modify and Expand my selection, and then I'm going to go ahead and expand the selection by 5 pixels.
And then we'll go ahead and press OK. And if we look closely, you can see that now we have increased the selection size. I'm just going to hit Generative Fill, and I'm going to just choose Generate.
I'm not putting anything in, not expand anything or do anything like that-- Just hitting Generate, and let's see what we get.
So when you expand your selection to include a little bit of the native pixels that are already there, does that affect your selection as well? It doesn't, really.
More or less is not-- It's not going to make a better generation if you include more pixels in your expansion. It just needs a little bit so that you don't end up with a line like a one pixel line of ridiculousness that you now have to go in and Clone Stamp or Healing Brush tool out, I guess.
Okay, so we've got a couple of variations here. One, two three. One, two, and three. Okay, so I like one for the top of that hair, but the problem is that I like two for her arm expansion. Has this happened to anybody? [Man] Yes. Okay.
So what I'm going to do for this, this is a little bit of a workaround, I'm going to duplicate this layer, and I'm now going to use this part for the arm. Well, let's turn this layer off. So this layer here is going to be my arm layer. And it's already on variation number two, so I'm happy with that. This layer up here, I'm going to turn on this third layer. Can everybody see down here? Because it's hard. Okay, so this one, I want to change the variation from the arm to the top of the head. So from variation two to variation one, and then I'm going to come to the mask of this duplicated layer, and I'm going to fill it with black. Shift-Delete fill with black-- And then I'm going to use my Brush tool on white, and I'm going to come in here and I'm just going to add in that area, okay? [Man] So how did you get those two variations on two separate layers? How did I get two variations on two separate layers? I just duplicated the Generative Fill layer. And because that is a new type of layer, because we have our sparkles, little sparkle icon down here, that's a Generative Fill layer-- It's going to retain all of the variations because all it is, is a duplication of the layer that was originally used to create that Generative Fill. So it has all that non-destructive data in it. It's going to carry the variations to the duplicated layer, so it's just exactly the same. But because I changed the mask of the second layer, I was able to use a portion of the generation of the first variation for the top of the head, and I was able to use a portion of the second generation for the arm underneath of it. Is everybody with me? [Woman] Yes. [Man] Yes. Has everybody learned something so far in this class? [Woman] Yes. Yes.
All right. Okay, I have 15 minutes left, so I'm going to start moving a little bit faster here. All right, so we're happy with that. Save and close and let's go back here, and now voila. There is our updated photo. So I need to just come in here and crop this and make it consistent with the others just a little bit, and you can do that this way.
Okay.
All right, so definitely moving along, happy with what I've gotten so far, but I still want these backgrounds to look just a little bit more consistent, so what I'll do is I'll come into my image, I'm going to come into the masking section, and then I'm going to choose background mask, which is going to select the background of my image. And what I'll do is I'll just cool it down a little bit, knowing that my color scheme for my website is blues and purples and that's my color scheme for my company, and then I'm going to go ahead and do a color overlay as well on that background. So that's going to turn, it's just going to lay. It's as if I took like a blue gel for my lights and just slid it in between the background of my subject, right? It's just going to shift everything a little bit more blue. All right, so I'm going to go ahead and I'm going to click Sync. So I selected my first photo, then I held down Shift and I selected the other photos that need this applied to it, and we'll go ahead and hit Sync Settings down here. But instead of syncing the crop, I want to come and sync the Masking now. [Man] That's awesome. Okay.
Who just said that? Come get a shark.
Oh, I didn't do sports for a reason. Oh.
Went under there. Okay, you got your ducky shark. Yeah. Okay, so as we can see, we have been able to sync the backgrounds across all of these images now. And if I take them like this and I preview them, we are getting closer to everybody looking consistent and having a nice like feature to it and everything like that, everything's looking blue and it's on brand and on message and all of those lovely fuzzy words that I don't know, your marketing manager likes to hear. Okay. As you can tell, I've never worked for a company a day in my life.
Okay, so just one other feature that I want to point out, so for this mask right here, it's just a little bit too green for my liking. So when we have this area over here, when it touches this Saturation, it's not going to take away this Saturation, which is the color that we added on top. It's going to take the native saturation underneath of it out, okay? So I thought that was just a little bit too green and it didn't really match the rest of the images. So I can go ahead and adjust those little by little and make it less green, tealy, and more matching with the rest of them. So this one too, I can come into this mask because it's just a little bit too bright or light, I can go ahead and just bring down that darkness on that one, and that's going to match those in. So this is one of my problem children now, okay? So this one the background is just too dark. So what I want to do is I want to Edit this one, go over into Photoshop, we're going to Edit Original. And now you can see that the crop has disappeared, right? Because the crop was applied in Lightroom, it's still there, we just can't see it at the moment because we haven't baked it in. All right, so what I want to do now is I want to go ahead and choose this remove background quick button. Oh, lovely. Oh, it would be good if I were on the right layer.
It's late. Okay, so it went ahead and it removed the background for me, and so now what I have is this amazing-- In my Contextual Taskbar, I have this amazing new button that's like, "Oh, she's just removed the background. She might want to put a new one in there." So if I hit Generate background, I can go ahead and do that. And let's type in extremely blurry-- Headshot background-- With lots of bokeh.
All right, we're going to go ahead and generate through for that. And as you can see that when it generated background, it actually added my layer underneath of my subject. Okay, so we've got one, we've got two and we've got three. I like two, happy with that. Let's go ahead and save that and close that out. And now when I come back into Lightroom, there we go. We have a new background now, okay? So let's say that there was one background that just, even if you didn't want to do that, you didn't want to just generate a background just for one photo, let's say that there's a photo that just really needs a complete overhaul, and you want to start from scratch. We can go back into our Photoshop, we can choose File, New, and I'm going to keep the same 8x10 ratio that we've been working with. We'll go ahead and create that. And then down here, we have this new fancy button called Generate Image. So if we go ahead, this is basically Firefly Version 3 integrated into your Photoshop. So you no longer need to go to the web. Now the nice thing about Generate Image is that it's going to generate an image that is two times larger than a Generative Fill. So when you're dealing with Generative Fill, how big is the generation? [All] 24. Okay. Yes! When we generate an image, a complete image, it's going to generate at 2048.
All right, so let me come down here because I need to make sure I do this prompt exactly. Extremely blurry-- Office scene.
You guys, I'm so dyslexic here. This is why I chose pictures for a living. And now I have to actually come in here and do words. Is it going to give you the same options if you use the exact same words? Is it always going to give you the same options if you use the exact same words? I wish it did.
No.
Hence why this is so stressful right now.
Yeah. So now that would be really, really nice if you had a button that just said, "Generate the exact same thing you did last time." Extremely blurry office scene with lots of bokeh-- Nothing in focus.
If I do all caps, do you think it will listen to me more? Do not include people.
Do not include people-- very shallow depth of field.
Who can spell check for me? Am I good? My mom's an editor, and she had a dyslexic child, so that was her digging her own grave there. Okay, so you have the choice of art or photo, so let's go with photo because we want it to be photorealistic. We've got our reference image. So funny thing, you know how you have that reference image that you can upload in Generative Fill, this is completely different.
When you do the reference image or reference photo in Generative Fill, like say you did hat, you made a selection around the top of the head and you put in hat, and you got a birthday hat, and you got a winter hat, and you got a like, I don't know, something else, but you wanted a cowboy hat. You could upload a picture of a cowboy hat, and then your generations on your person would be more of a cowboy hat. We've seen that reference image that way. For this, this reference image, it's going to reference the style of the photo. So for me, I'm just going to leave this blank. I'm also going to leave Effects blank, and we're just going to hit Generate.
All right, and we have one, we have two with people, and we have three with people.
Okay, well, at least I got one. But let's say that we like-- Let's see.
I like this one the best. So let's just do Generate similar really quick.
One. Oh, wow. Okay. All right, I like this one. But I'm going to use this one because I want to see if this will work.
Okay, so I like this one. What I'm going to do now, I'm going to duplicate this layer, Command or Control+J, and then I'm going to rasterize this layer because right now it's got its sparkles, and with its sparkles come all the variations, right? So I want to go ahead and rasterize this layer because I want to use a new tool here in the Remove tool.
So over here, we've got our Remove tool. And one of the fancy-schmancy new features is this fine distractions and people option. And did you see when I clicked on that it actually made selections around the people? Okay, so if I go ahead and just hit the check mark-- It should-- Everybody cross their fingers for me, remove those people from my background, okay? This is the coolest stinking thing. And then also in here, I don't have a demo image for you guys, but you've got to try out the wires and cables. It's bonkers. It's so fun. So anyway, so that's why I wanted to use this one for my example for generating that headshot background that I want. If it doesn't select all the people, can you go in and revise it? Yes, you can. I don't have time to show that because I only have six minutes left. Okay. So what I'm going to do here is I want to make this background a little bit bigger. So what I'll do is I'm going to go into my Canvas Size first, I'm going to take my Canvas Size and I'm going to come in here and instead of Pixels, I'm going to put Percent, and I'm going to change this to 200% for the Width, and I'm going to change 200% for the Height, and then that's going to make my canvas larger, but my image is still the same. So I'm going to take that layer, I'm going to go into filter and I'm going to activate one of my Neural Filters. So we're going to go into Neural Filter and we're going to choose Super Zoom. Now this is going to increase the zoom using AI to create those pixels for you. So by hitting this little plus sign down here, we're going to basically double the size of our image. And then for our output, yours is probably going to be set to new document. But I don't need to make a new file for this because I've already expanded my canvas to double the size, right? So I'm going to keep it as just a new layer on the document that I'm working with, and I'm going to go ahead and press OK.
And this will process this.
Okay, so let's go ahead and just hit OK, and see what happens. Okay, so it did do the uprising thing. But for some reason, it showed me that it wasn't doing it. But just because it's the last day and the last class.
Okay, so we've got this, we like this background, let's go ahead and save it.
So I'll save it on my computer, and what I've done is I've actually created like a few of these office backgrounds, and I have a folder of generated backgrounds that I can drop in, should a headshot come in from a new employee, that's just atrocious, that needs a new background, right? So the cool thing is, now we can go through here, I'll go into my headshot backgrounds folder and I'm going to go ahead and synchronize this folder. Right-click. So I've got my Headshots Background folder open, I'm going to right-click on it, and I'm going to choose Synchronize Folder. And that basically just pings the folder in finder or in explorer, and it says, "Hey, is this the same as what we see in Lightroom?" And if it's not, it's going to say, "All right, well, we got to manage those two and make them look identical." And so you can see here it says, "I have a new photo to import." So let's go ahead and synchronize that, and that will import that new photo into our section here. And so if I go back to my headshots, I have this headshot of my mom that has a transparent background. So it looks white at the moment, but you can see that this is a PNG file. So that means that everywhere where you see white, it's actually transparent. So this cool feature, and I can't take credit for this, this is a trick that I saw from Ben Willmore who is incredible. You guys know who Ben Willmore is? He's amazing. So what you can do, and you do need to be in Loupe View for this, is you can actually go into Loupe View and choose Loupe Overlay and choose Show, and then I can go into my folder of my Headshot Backgrounds, and if I hold down Command or Control, I can go ahead and move this headshot around, like if it doesn't line up appropriately or anything like that. I can also scale this headshot. But the cool thing is that I'm previewing this photo on all of the different headshot backgrounds that I have in my folder, okay? That all goes to Ben. I'll send it to Ben. Yes. Super cool, love this effect. But now I can use Lightroom Classic to preview what composite I want to do in Photoshop, and then I can take those into Photoshop, I can create the composite, and then I can take them back into Lightroom and then export everything together. All right, we got one minute. So you guys know how to export photos from Lightroom? [Man] Yeah. Okay, it's in the notes too. So here is where you're going to download the notes from sharkpixel.com/7 Pretty easy to remember. All you need to do is go in and put in your email address, and it will take you right to a Dropbox folder, and you can download the notes from there. And I am here to answer any questions that you might have, if you want to come up. But thank you so much and enjoy the rest of your show.
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