IntroductionWelcome| 00:04 | Hi! I'm Jan Kabili.
| | 00:06 | Welcome to Up and Running with
Photoshop Elements 10, which is Adobe's consumer
| | 00:10 | level photo editing and organizing application.
| | 00:13 | The purpose of this basic course is to
get you up and running with Photoshop
| | 00:18 | Elements 10 as quickly
and efficiently as possible.
| | 00:21 | First, I'll show you how to import your
photos and how to manage and find photos
| | 00:26 | in Elements' powerful Organizer.
| | 00:28 | Then I'll introduce the range of
editing features in Elements from quick photo
| | 00:32 | fixes, to guided photo edits, to the
basics of editing in the full edit
| | 00:36 | interface where I'll cover cropping,
removing blemishes, understanding layers,
| | 00:42 | and working with
selections among other fundamentals.
| | 00:45 | I'll suggest how to get creative with
your photos, and I'll cover sharing your
| | 00:49 | photos from Elements by e-mail,
in print, and on Facebook.
| | 00:54 | So let's get up and running
with Photoshop Elements 10.
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| What is Photoshop Elements?| 00:00 | Photoshop Elements is a one stop
shop for amateur photographers.
| | 00:04 | In a way it's like having two programs in one:
| | 00:07 | an organizer for keeping track of
photos, and an editor for making your photos
| | 00:11 | look their very best.
| | 00:12 | Let's take a tour of the main
components of Elements to give you a sense of
| | 00:16 | what each one does, and how to get from
one area of the program to the other.
| | 00:20 | Later in the course, we'll come back
to look at each area in more detail.
| | 00:24 | I happen to be working on Windows, but
Elements works pretty much the same way on a Mac too.
| | 00:29 | I'll point out any small
differences as we go along.
| | 00:32 | I launched Elements on Windows from
this shortcut that was added to my Desktop
| | 00:36 | when I installed the program, and
that took me here to the Welcome screen.
| | 00:41 | From the Welcome screen I can access
either of the two components of Elements;
| | 00:45 | the Organizer or the Editor.
| | 00:47 | If I wanted to jump right into edit a
particular photo, I could click the Edit
| | 00:51 | button, and that would launch the
Editor portion of the program to the Full
| | 00:55 | Photo Edit workspace.
| | 00:56 | But usually, I first want to go to the
Organizer, either to find the photos that
| | 01:01 | I want to bring into the Editor, or
to import new photos to the Organizer.
| | 01:05 | So I'll click Organize.
| | 01:08 | That launches the Organizer, which you see here.
| | 01:11 | If you're following along, and this is
the first time you've launched Elements
| | 01:14 | 10, you may see a couple of prompts
when you open the Organizer asking if
| | 01:18 | you want to convert previous catalogs, and
whether you want to import pictures or videos.
| | 01:23 | For purposes of this course, go
ahead and just dismiss those prompts.
| | 01:27 | So that's launching Elements
for the first time on Windows.
| | 01:30 | Launching Elements for the first
time on a Mac is slightly different.
| | 01:34 | On a Mac, go to your main Applications
folder and click Adobe Elements 10 Organizer.app.
| | 01:41 | That will take you directly to the
Organizer rather than to the Welcome
| | 01:44 | screen as on Windows.
| | 01:46 | On either Mac or Windows, if you ever
want to get back to the Welcome screen
| | 01:49 | from the Organizer, you can do that by
going up to the little house icon at the
| | 01:54 | top right and clicking.
| | 01:55 | But the truth is, I hardly ever go
back to the Welcome screen, because I can
| | 01:59 | navigate directly between the
Organizer and all the parts of the Editor, as
| | 02:03 | you'll see in this movie.
| | 02:05 | First, a quick overview of the Organizer.
| | 02:07 | Over on the left is the content
area, and when you bring photos into the
| | 02:11 | Organizer, as you'll do in the next
chapter, thumbnails of each photo will appear
| | 02:16 | over here in the content area.
| | 02:18 | The column on the right spells out
the main functions of the Organizer;
| | 02:22 | of course, the first is to organize
your photos, and I'll be showing you how to
| | 02:25 | do that using albums and
keyword tags later in the course.
| | 02:29 | You can also make photo creations
here in the Organizer, like prints, photo
| | 02:34 | books, greeting cards, calendars,
and more, and you can share your photos
| | 02:40 | and your creations with family and friends
in all the ways that you see in this list.
| | 02:45 | You can even make quick photo
corrections here in the Organizer by clicking the
| | 02:49 | Fix tab here, and then choosing
from this menu of Photo Fix Options.
| | 02:54 | But when you're more serious about
editing photos, you'll select one or more
| | 02:57 | photos in the large content area, and
then go into the Editor component of
| | 03:02 | Elements where there are three editing
workspaces to choose from that vary in
| | 03:06 | their levels of simplicity.
| | 03:08 | So how do you get from the
Organizer into the Editor?
| | 03:10 | To do that I'll click the arrow to the
right of the Fix tab, and from this menu
| | 03:15 | I'll choose Full Photo Edit, the
workspace that gives me the widest range of
| | 03:19 | editing possibilities,
| | 03:21 | Quick Photo Edit when I just want to
make some quick changes to lighting and
| | 03:24 | color, but with more control than I can
get from the Organizer Fix controls, or
| | 03:29 | Guided Photo Edit, which offers step-by
-step instructions to walk me through
| | 03:33 | specific editing tasks.
| | 03:35 | Edit Videos is for use with another
program, Premiere Elements 10, and that's
| | 03:39 | outside the scope of this course.
| | 03:41 | So I'll choose one of these three; I'll
go with Full Photo Edit, and then I may
| | 03:46 | have to wait a moment to launch the
other part of the program: the Editor.
| | 03:49 | I'll maximize the Editor by clicking this
icon on Windows, or the green button on a Mac.
| | 03:54 | So this is the Full Photo Edit
workspace, and we'll be looking at this in more
| | 03:58 | detail in a later chapter.
| | 03:59 | From here, I have another way to
access those other two editing workspaces;
| | 04:04 | the Quick Photo Edit workspace and
the Guided Photo Edit workspace. And I
| | 04:08 | also have other places that I can
access the Photo Creation options and the
| | 04:14 | Photo Sharing options.
| | 04:15 | I'm going to go back and click on the Edit
tab, and I'll select the Full Edit workspace.
| | 04:20 | I can get back to the Organizer from
any of these three editing workspaces by
| | 04:25 | going to the top of the Editor and
clicking the Organizer button, like this.
| | 04:29 | I might do that if there were some
other photos that I wanted to find and
| | 04:33 | open into the Editor.
| | 04:34 | And then of course I can go back into
the Editor, as I showed you before, by
| | 04:38 | clicking the arrow to the right of
the Fix tab and choosing the editing
| | 04:41 | workspace that I want.
| | 04:43 | So that's an overview of the major
parts of elements, the broad functions of
| | 04:47 | each, and some tips on how to
get from one area to the other.
| | 04:51 | In the rest of this course, we'll
spend lots of time working in these various
| | 04:54 | areas, and you become very
familiar with each of these workspaces.
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|
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1. Importing Photos to the OrganizerWorking with Organizer catalogs| 00:00 | The Organizer can keep track of your
photos no matter where you store them,
| | 00:04 | whether that's on your computer, or on
external media, like an external drive or a DVD.
| | 00:09 | To do that, the Organizer uses
databases, which are called catalogs in Elements.
| | 00:14 | In this movie, I'll explain the catalog
system, and I'll show you how to make a
| | 00:18 | new catalog for the exercise files or
your own practice files that you'll use
| | 00:23 | as you work with me through this course.
| | 00:25 | An Organizer catalog contains a record of
each photo that you include in the Organizer.
| | 00:30 | It's important to understand that that
record is not the actual photo. It's just
| | 00:35 | information about the photo, and that
information includes a thumbnail sized copy
| | 00:40 | of each photo for display here in the
Organizer, along with information about
| | 00:45 | the photo, like the date on which the
photo was taken, and other information from
| | 00:49 | the digital camera, and a link to
the photo wherever you store it.
| | 00:54 | So when you bring photos into the
Organizer in the next movies, you won't
| | 00:58 | actually be importing photos into the
Organizer itself. Instead, you'll be
| | 01:02 | importing information about,
and links to, those photos.
| | 01:06 | Here you can see some personal
photos that I have in a catalog.
| | 01:09 | These are not part of the exercise
files, and for personal photos like these,
| | 01:13 | most people use just the default
catalog: the one that opens when you first
| | 01:18 | launch the Organizer.
| | 01:19 | You can see the name of that catalog down
here in the bottom left corner of the Organizer.
| | 01:24 | There are good reasons to use just
one catalog. For one thing, Elements can
| | 01:28 | search for photos only in one catalog
at a time, and for another it's just
| | 01:32 | easier to keep track of one
catalog than multiple catalogs.
| | 01:35 | But there are some special cases when
you might want to have a separate catalog.
| | 01:39 | For example, if you shoot a lot of
weddings, and you want to keep one client's
| | 01:44 | photos separate from your other
clients, then you could have a separate
| | 01:48 | catalog for each client.
| | 01:50 | And for purposes of this course, if
you're following along with the exercise
| | 01:53 | files, or you're using your own
practice files, you might want to keep those
| | 01:57 | files separate from your personal photos.
| | 01:59 | In that case, here's how to create a
new catalog for the exercise files, or
| | 02:04 | your practice files.
| | 02:06 | I'll go up to the File
menu and I'll choose Catalog.
| | 02:09 | That opens the Catalog Manager.
| | 02:11 | From here there are lots of functions
you can use to manage your catalogs,
| | 02:15 | including converting any old catalog
that you have from a previous version of
| | 02:19 | Elements into a Photoshop Elements 10 catalog.
| | 02:22 | For now, I just want to create a new catalog.
| | 02:25 | So I'll click New, and I'll
give my new catalog a name.
| | 02:28 | I'll call this Ex Files, and I'll click OK.
| | 02:32 | That closes the Catalog Manager, and in the
Organizer I now have a new empty catalog.
| | 02:38 | You can see there are no thumbnails
here in the content area, and down at the
| | 02:42 | bottom left, you can see that
I'm in my new Ex Files catalog.
| | 02:46 | I'm going to use this catalog for the
next movies, and you may want to do the
| | 02:50 | same, but I could get back to my
personal photos at any time by going up to the
| | 02:55 | File menu, again, choosing Catalog, and
selecting the name of my personal photos
| | 03:01 | catalog, and then clicking Open.
| | 03:04 | I'm going to stick with my exercise
files catalog for now, so I'll
| | 03:08 | just go back to that one and I'll click Cancel.
| | 03:10 | Now with this new empty exercise files
catalog, we're ready to learn how to get
| | 03:15 | information about photos
into Elements' Organizer.
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| Using the exercise files| 00:00 | This movie is for those of you who
have the exercise files for this course,
| | 00:04 | which are copies of the photos you
will see me using in these movies.
| | 00:07 | If you have a Premium subscription to
the lynda.com Online Training Library, you
| | 00:12 | can download the exercise files
and use them to work along with me.
| | 00:16 | If you don't have access to the
exercise files, don't worry; you can still
| | 00:20 | follow along with me using your own photos.
| | 00:22 | I will show you how to bring your own
photos into the Organizer in the next movie.
| | 00:27 | In this movie, I will explain how
to bring the exercise files into the
| | 00:31 | Organizer, and how to set up the
Organizer to make the exercise files easiest to
| | 00:35 | access during the course.
| | 00:37 | If you haven't already downloaded the
exercise files, go ahead and do that, and
| | 00:41 | put them on your Desktop,
| | 00:43 | then launch the Organizer.
| | 00:45 | My Organizer is open here to the
default display called Thumbnail View.
| | 00:50 | In the last movie, I suggested that
you make a new Organizer catalog for the
| | 00:53 | exercise files so they don't get
mixed in with your personal photos.
| | 00:57 | Check at the bottom-left of the screen
down here to make sure that you're in the
| | 01:01 | exercise files catalog.
| | 01:04 | Now, to bring in your exercise files,
go up to the File menu at the top of the
| | 01:07 | screen, choose Get Photos and Videos,
and slide over to From Files and Folders,
| | 01:14 | just as you would if you were
bringing in any files from your computer.
| | 01:19 | That opens this dialog box, which
looks slightly different on a Mac, but it
| | 01:22 | works the same way.
| | 01:24 | The idea is to use the navigation
features to navigate to your Desktop, and then
| | 01:29 | to select the Exercise Files folder there.
| | 01:31 | Next, I go down to the bottom of the
screen where I'll check the File Type menu,
| | 01:36 | called the Enable menu on a Mac, to
make sure it's set to its default of Media
| | 01:40 | Files (photos, videos, audio).
| | 01:42 | I'll come over to these options, and I
want to make sure that Get Photos From
| | 01:47 | Subfolders is checked, because the
exercise files are organized into subfolders.
| | 01:51 | I will leave these other options
unchecked, including those that are grayed
| | 01:55 | out or not available, and then all that's
left to do is to click the Get Media button.
| | 02:01 | And Elements quickly brings each of
the exercise files into the Organizer.
| | 02:05 | I am going to dismiss this prompt;
| | 02:07 | it's just asking if I want to bring into
the Organizer any keyword tags that are
| | 02:12 | attached to the exercise files.
| | 02:15 | The answer is no, so I'll leave
everything here unchecked, and I will click OK.
| | 02:20 | Whenever you bring new files into the
Organizer, it reminds you that the only
| | 02:24 | items you can see at the moment
are those that you just imported.
| | 02:27 | If I wanted to see any other items
that were already in the catalog, I would
| | 02:31 | have to go up to the menu
bar here and click Show All.
| | 02:34 | But in this case, I don't have any
other photos in the catalog, so I don't have
| | 02:38 | to bother to do that.
| | 02:39 | I will just click OK to dismiss this prompt.
| | 02:43 | Here is a thumbnail size copy of each of
the photos in my Exercise Files folder.
| | 02:47 | Now that you've got the exercise files
in your Organizer, what's the best way to
| | 02:51 | make them easy to access as you
work through the movies in this course?
| | 02:54 | Right now the Organizer is displaying
the files in this large area, which is
| | 02:59 | called the Media Browser, by the date the
photos were taken, as you can see from this menu.
| | 03:05 | That maybe a useful way to arrange
personal photos, but as you work through this
| | 03:09 | course, it will be easier for you to
find the exercise files for a particular
| | 03:12 | movie if the thumbnails
are organized by subfolder.
| | 03:15 | So I suggest that you switch over to an
alternate display called Folder Location
| | 03:19 | View to find your exercise files.
| | 03:22 | To get there, I'll go up to the Display
menu at the top-right of the Organizer,
| | 03:26 | and I'll choose Folder Location.
| | 03:29 | In Folder Location View, there is a
column on the left that shows a hierarchy of
| | 03:33 | the folders on my computer, and the
first of the folders that contains exercise
| | 03:38 | files is highlighted down here.
| | 03:39 | I am going to scroll up so that you
can see that each of the folders on my
| | 03:45 | computer has a little icon next to it.
| | 03:47 | Clicking those icons lets me expand
folders in this list so that I can navigate
| | 03:51 | down to whatever folder contains the
files that I want to use at the moment.
| | 03:55 | Notice the little blue icon on some subfolders.
| | 03:58 | That means that that subfolder
contains one or more files that have been
| | 04:02 | imported into the Organizer.
| | 04:04 | You won't see a subfolder with a blue
icon for every movie in this course,
| | 04:08 | because not all the movies have exercise files.
| | 04:11 | If there are exercise files for you to
use with a particular movie, just click
| | 04:15 | on the corresponding subfolder, and
you'll see a thumbnail of each file in that
| | 04:19 | subfolder over here in the Media Browser.
| | 04:22 | From here, you can access them and
open them into the workspace that's the
| | 04:26 | subject of the movie.
| | 04:28 | You can use the size slider at the top of
the Organizer to make the thumbnails bigger.
| | 04:34 | And to make it easier to find files, you
can display the file name of each photo
| | 04:38 | under its thumbnail by going up to the
View menu, making sure that Details is
| | 04:42 | checked, and clicking Show File Names
| | 04:46 | to see the file name under each thumbnail.
| | 04:49 | So that's how to bring the exercise
files into the Organizer, and access them
| | 04:53 | there for use during the course.
| | 04:55 | Of course, everyone also wants to know how
to bring his own photos into the Organizer.
| | 04:59 | So stay tuned for the next two movies
on importing existing files from your
| | 05:03 | computer, and new photos
from your digital camera.
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| Importing photos from a computer| 00:00 | You've probably got lots of digital
photos already on your computer or
| | 00:04 | on external drives.
| | 00:05 | This movie covers how to bring
your existing personal photos in into
| | 00:09 | Elements Organizer.
| | 00:10 | There are no exercise files for this movie;
| | 00:13 | instead, work with a few of your own photos
to get a sense of what I'm doing with mine.
| | 00:18 | The good news is that Elements can
manage photos on external media, as well as
| | 00:22 | those on your computer.
| | 00:23 | So you can leave your existing
photos wherever you currently keep them;
| | 00:27 | on your computer, on external
hard drives, or even on DVDs.
| | 00:32 | You probably already have some sort of
hierarchy of folders set up to organize
| | 00:36 | your photos, and you don't
have to change that either.
| | 00:39 | The Organizer will keep track of
your photos inside whatever folders and
| | 00:42 | subfolders you normally use.
| | 00:44 | But I do recommend that you take some
time before bringing existing photos into
| | 00:48 | the Organizer to just
tidy up your folder system.
| | 00:52 | So I'm here in My Pictures folder, where
I've got some loose photos to do just that.
| | 00:57 | I've been meaning to put these loose
photos into folders, and to give those
| | 01:01 | folders meaningful names.
| | 01:02 | So I've got a folder here for 2011 photos.
| | 01:05 | I will just select all
these photos and drag them in.
| | 01:09 | The reason I'm showing you this is
to make the point that after you bring
| | 01:12 | photos into the Organizer, it is not a
good idea to move photos around in your
| | 01:16 | operating system the way I just did.
| | 01:19 | If you do that, the Organizer can lose
track of those photos, and they'll have
| | 01:23 | to be reconnected, which is not always easy.
| | 01:26 | Once you've tidied up your photo
folders, go ahead and bring your photos
| | 01:29 | into the Organizer.
| | 01:31 | When you're importing your own photos
to the Organizer, you'll probably be in
| | 01:35 | the default Thumbnail View, so I am
going to switch there by going to the
| | 01:38 | Display menu and choosing Thumbnail View.
| | 01:40 | Then I will go to the File menu at the
top of the Organizer, choose Get Photos
| | 01:45 | and Videos, and slide down
to From Files and Folders.
| | 01:49 | I will navigate to the folder where I'm
storing the photos I want to bring in,
| | 01:53 | my 2011 photos, and I will make sure
Get Photos from Subfolders is checked in
| | 01:58 | case I have any subfolders in there.
| | 02:01 | I'll leave all the other options here
unchecked. I will leave the File Type
| | 02:05 | menu, or the Enable menu on a Mac, set to its
default of Media Files, and I will click Get Media.
| | 02:12 | I don't want to bring in any keyword
tags with these photos, so I will click OK.
| | 02:15 | I am going to move this message
out of the way, so that you can see
| | 02:20 | the thumbnails of the photos that I just
brought in from my computer to the Organizer.
| | 02:24 | Keep in mind that these are just
display copies of my actual photos.
| | 02:28 | As I've said before in this course,
bringing photos into the Organizer doesn't
| | 02:32 | move them on my drive.
| | 02:33 | What I've brought into the Organizer
is just a link to each photo wherever I
| | 02:37 | keep it, along with information
about, and a thumbnail copy of, each photo.
| | 02:41 | By the way, this message is telling me,
as always, that the only items I can see
| | 02:45 | right now are those I've just imported.
| | 02:48 | When I'm ready to see the rest of the
items in the catalog, I will click OK to
| | 02:52 | dismiss this, and I will go
up here and click Show All.
| | 02:57 | Now, if I scroll down, you can see the
photos that I just brought in arranged
| | 03:02 | according to the date they were shot
among all the other photos in this catalog.
| | 03:07 | Now that you've got your photos
inside your Organizer, if you want to move
| | 03:10 | them, it's important to do it from inside of
the Organizer, not out in your operating system.
| | 03:16 | Let me show you what happens if you
move or rename a file that you've brought
| | 03:19 | into the Organizer out in your operating system.
| | 03:23 | Out in my operating system, I am going
into my photos folder, and I'm going to
| | 03:27 | take this photo and drag it
from there onto my Desktop.
| | 03:30 | No, I'll go back into the Organizer.
| | 03:33 | Now if I do something to this photo
that I moved, like select it and then go up
| | 03:38 | and adjust the size of the thumbnails,
you can see this there is a question mark
| | 03:42 | at the top-left corner of this photo.
| | 03:44 | That means that the
Organizer doesn't know where it is.
| | 03:47 | If I double-click that question mark,
the Organizer tries to go out and find it.
| | 03:52 | If it's not having any luck, as it
isn't, then I have to go into the File
| | 03:56 | menu, and to Reconnect, and go out and find
the file myself, and that isn't always easy.
| | 04:03 | So let me show you the better way to move or
rename photos once they're in the Organizer.
| | 04:09 | First, I'll switch to Folder
Location view from the Display menu at the
| | 04:13 | top-right of the Organizer.
| | 04:15 | In the Folders panel, I will navigate to a
folder that contains a photo I want to use.
| | 04:20 | I am going to navigate to my
Desktop where I've put this photo.
| | 04:24 | To move this photo, I will just click on
it and I will drag it where I want it to be.
| | 04:28 | I will put it back in my 2011 photos folder.
| | 04:31 | Now, when I click on that folder, and
move the size thumbnail back to the left
| | 04:36 | so you can see all the photos in that
folder, there's the photo that I just
| | 04:41 | moved back from inside of the Organizer,
and there is no question mark on it,
| | 04:45 | meaning that the Organizer knows where it is.
| | 04:47 | So that moved the actual photo on my hard
drive, and helped the Organizer keep track of it.
| | 04:52 | So that's how to bring your existing
photos into the Organizer, and how to help
| | 04:56 | the Organizer keep track
of photos that are there.
| | 04:59 | As you shoot more photos, you'll
want to bring those new photos into the
| | 05:02 | Organizer too, as I'll show you how
to do in the next movie about importing
| | 05:06 | photos from your digital
camera to the Organizer.
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| Importing photos from a camera| 00:00 | The most direct way to get photos out
of your digital camera and into Elements
| | 00:04 | Organizer is to use the Photo
Downloader that comes with Elements, along with
| | 00:08 | your camera or memory card reader.
| | 00:10 | When you plug your camera or your card
reader into your computer, you may see
| | 00:14 | an autoplay alert like this on Windows, or
maybe an application like iPhoto on a Mac.
| | 00:19 | For simplicity's sake, I suggest you close
all of that, and then go into the Organizer.
| | 00:26 | When you're bringing photos into your
Organizer, you'll probably be in the
| | 00:29 | default display, the Thumbnail View,
so I'm going to switch over to that.
| | 00:34 | To get photos off my memory card,
I'll go to the File menu here in the
| | 00:38 | Organizer, I'll choose Get Photos
and Videos, and I'll slide over to From
| | 00:42 | Camera or Card Reader.
| | 00:44 | That opens the Organizer's Photo
Downloader to this view; the Standard View.
| | 00:48 | This is the view that I will use when
I want to bring in all of the photos
| | 00:52 | from a memory card.
| | 00:53 | It has just a few fields to go through.
| | 00:55 | But if I want to bring in just some
photos from my card, then I'll go down here
| | 01:00 | and I will click Advanced Dialog.
| | 01:02 | It's unfortunate that it's named
Advanced, because it really has just the same
| | 01:06 | fields as the Standard
dialog box, plus a few extras.
| | 01:10 | I am going to click there so you can
see this other view of the downloader.
| | 01:14 | To start, I will go up to the source
field, and I will choose the device from
| | 01:18 | which I want to get photos;
| | 01:19 | in this case my Nikon.
| | 01:21 | If you don't see your camera or card
reader here, then click Refresh List.
| | 01:26 | In just a moment, I'll see a
thumbnail of every photo on my memory card.
| | 01:31 | I really like this, because I can go
through and select just the photos that I
| | 01:35 | want to bring in, leaving the duds behind.
| | 01:38 | I'll go down and click Uncheck All,
and then I'll put a check mark under just
| | 01:44 | the photos that I want to
bring off the memory card.
| | 01:46 | I am going to get a few more that I
took on another day as well, and I'll put a
| | 01:52 | check mark under a few more photos here.
| | 01:56 | Then I'll go over to the column on the
right, and I'm going to fill out just
| | 01:59 | the same fields that I would have filled out
in the Standard View of the Photo Downloader.
| | 02:04 | First, I'll choose the location to which I
want the photos copied from my memory card.
| | 02:09 | I'll click Browse, and I'm
going to go into My Pictures folder.
| | 02:12 | I'd like the photos to be
copied into my 2011 photos folder,
| | 02:17 | so I'll select that, and
I'll click Select Folder.
| | 02:20 | If you like your photos further
organized into more subfolders, you can have the
| | 02:24 | Downloader make those
subfolders for you automatically.
| | 02:27 | By default, the Downloader makes
subfolders by the date photos were shot;
| | 02:32 | year first, then month, then day.
| | 02:34 | I am going to stick with that default, but
there are a few more options here to choose from.
| | 02:39 | I think it's important to leave
this field set to Do not rename files.
| | 02:44 | I don't recommend renaming photos
while importing them, because if you forget
| | 02:47 | whether you've imported from a
particular memory card and you insert it again,
| | 02:52 | if you leave the names the same,
Elements will recognize the photos as
| | 02:55 | duplicates, and it won't reimport them.
| | 02:58 | Since I am just going to fill out the
basic fields, the ones that I would have
| | 03:01 | seen in the Standard dialog, I'm going
to skip through all these options, and
| | 03:04 | come down to this important field
where the Downloader is asking what to do
| | 03:09 | with the photos on the card after
it copies them into my computer.
| | 03:13 | I think it's important to leave this set
to After Copying, Do Not Delete Originals.
| | 03:18 | It's safer to wait until you're sure
that all the photos are in your computer to
| | 03:21 | delete them off your memory card.
| | 03:23 | So I do that later using
the controls in my camera.
| | 03:27 | So those are all the basic settings.
| | 03:29 | Now, I'll come down and click Get Media.
| | 03:31 | The Downloader goes about copying the
photos from my memory card into my computer.
| | 03:38 | This is really a two-step process.
| | 03:40 | Now that the copying is done, this
message tells me that the Organizer is now
| | 03:44 | going to bring information about the
copied files into my Organizer catalog,
| | 03:48 | and it's asking whether I want to see just
those new files when that process is finished.
| | 03:53 | I'll click Yes, and the Organizer again
reminds me that I'm only looking at the
| | 03:58 | files I just imported. I'll click OK.
| | 04:01 | So here I can see a thumbnail inside
Elements Organizer of the photos that I
| | 04:05 | copied off the memory card
and included in the Organizer.
| | 04:09 | Bringing these photos into Elements
didn't move them from the folder to which
| | 04:12 | I downloaded them a minute ago; it just created
a record of each photo in this Elements catalog.
| | 04:18 | At this point, I would usually add some
keyword tags, perhaps organize some of
| | 04:22 | my new photos into albums, all of
which I'll show you later in the course.
| | 04:26 | For now, I'm just going to click Show All,
and that takes me back to see all the
| | 04:32 | photos in this catalog,
including those I just brought in.
| | 04:35 | If you like to see not only the date
the photos were taken, but also the file
| | 04:39 | names under each photo, be sure to go
up to the View menu, and make sure that
| | 04:43 | Details and Show File Names is checked.
| | 04:46 | It seems like everyone I meet has a
different way of bringing photos from their
| | 04:49 | camera into their computer.
| | 04:51 | I really like using this Photo
Downloader with Elements Organizer, because it
| | 04:55 | not only copies photos from your card
or your camera into your computer, but at
| | 05:00 | the same time, it indexes all those
photos in your Elements Organizer.
| | Collapse this transcript |
|
|
2. Managing Photos in the OrganizerKeyword tagging| 00:00 | Keyword tags are subject matter labels
that you attach to images so that you can
| | 00:04 | more easily find them.
| | 00:06 | Since a photo can have multiple tags,
tags increase your chances of finding
| | 00:11 | a particular photo later.
| | 00:13 | Let's look at the basics of creating
and applying keyword tags, and then we'll
| | 00:16 | see how to quickly find photos that have tags.
| | 00:19 | There are a number of ways to
create tags and apply them to images.
| | 00:23 | To save time, I like to do
both those things at once.
| | 00:27 | These first three photos were
taken in the city of Zurich.
| | 00:29 | I have lots of photos from Zurich, so
it would be useful to have a Zurich tag.
| | 00:34 | I can kill two birds with one stone --
| | 00:37 | forgive the pun -- by applying this tag to these
photos at the same time that I create the tag.
| | 00:43 | I'll click on the first of these photos,
| | 00:44 | I'll hold the Shift key, and I'll click
on the last to select all three. And then
| | 00:49 | I will go down to the Keyword Tags
panel over here in the Organize column.
| | 00:53 | At the bottom of the Keyword Tags panel
there's a field called Tag selected media.
| | 00:57 | I am going to click there,
| | 00:59 | I'll ignore this pop-up menu,
and I'll type the name of the tag.
| | 01:03 | I'll type Zurich, and I'll click Apply.
| | 01:08 | That creates the Zurich tag here in
the Keyword Tags panel, and if you look
| | 01:12 | closely you can see that its icon is a
tiny version of one of the photos that I
| | 01:17 | selected at the time that I made this tag.
| | 01:20 | Up in the Media Browser you can see
that each of these three photos now has
| | 01:23 | an orange tag on it.
| | 01:25 | If I hover over that tag, you can see
that it represents the keyword tag, Zurich.
| | 01:30 | As long as I have these photos
selected, I'll create more keywords that apply
| | 01:34 | to all three of them.
| | 01:35 | For example, I have lots of photos of swans,
| | 01:38 | so I'll create another keyword tag: swan.
| | 01:41 | With the photos selected, I'll go
down to the Keyword Tags panel again,
| | 01:45 | I'll click in the Tag selected media
field, and I'll type's swan, and click Apply
| | 01:50 | again. And there's another Keyword Tag,
and if I hover over any one of these three
| | 01:54 | photos, you'll see that it has
two tags attached: swan, and Zurich.
| | 01:59 | That means it'll be easier to find
this particular photo, because one day I
| | 02:03 | might be searching for swans,
and the next day for Zurich.
| | 02:05 | In both cases, this photo
would come up in the search.
| | 02:09 | So that's how to create and
apply new tag all at once.
| | 02:13 | What about applying an
existing tag to other photos?
| | 02:16 | I'll click off of these photos to
deselect them, and let's say that I want to
| | 02:20 | apply the Swan tag to these three photos,
which obviously are also swans. These
| | 02:26 | are ones that I shot somewhere
else; in Lucerne in Switzerland.
| | 02:28 | I'll click on the first of these, I'll
hold the Shift key, and I'll click on
| | 02:32 | the last to select all three. And then
I'll go over to the Keyword Tags panel,
| | 02:36 | and I can just get that swan tag, and drag it
out and on top of any one of the selected photos.
| | 02:43 | That quickly applies it to all three.
| | 02:45 | Alternatively, I could have clicked on
any one of these photos, and dragged it
| | 02:49 | on top of the swan tag
in the Keyword Tags panel.
| | 02:52 | You can see that the Keyword Tag,
swan, is now attached to each of these.
| | 02:57 | As long as I have these selected, I
will make another keyword tag for Lucerne.
| | 03:02 | Again, going to Tag selected media, and
typing Lucerne, and then clicking Apply.
| | 03:08 | So you can start to see how
quickly the process can go.
| | 03:12 | The whole purpose of keywording is
to make it easy to find photos later.
| | 03:15 | To understand the power of searching
on keyword tags, I am going to switch
| | 03:19 | over to Thumbnail View for a moment,
going up to the Display menu, and
| | 03:22 | choosing Thumbnail View.
| | 03:25 | There are quite a few photos in this
catalog already, and you can imagine as it
| | 03:29 | gets bigger that it would be more and
more difficult to find particular photos
| | 03:33 | by just scrolling through the catalog,
but because I took the time to keyword my
| | 03:36 | photos of these swans, locating
them will just take a second.
| | 03:40 | To see all the photos of swans in
this catalog, I'll go to the Keyword Tags
| | 03:44 | panel, I'll find the swan keyword, and
I'll click in the box just to the left
| | 03:49 | of that keyword tag.
| | 03:51 | There are all my photos of swans.
| | 03:53 | If I want to narrow that search to see
just the swans that I shot in Lucerne,
| | 03:58 | I'll click Lucerne as well.
| | 04:00 | Now there is a little icon to the left
of both swan, and Lucerne, and the Media
| | 04:05 | Browser is displaying just the
photos that have both those tags.
| | 04:08 | Now let's say that I want to see
all the photos that I took in Zurich.
| | 04:12 | I have to cancel this search by clicking
in the box next to Lucerne, and the box
| | 04:17 | next to swan, and now I can
start a brand new search.
| | 04:20 | For example, I can click in the box next
Zurich, and see all the photos taken there.
| | 04:26 | One more thing that I like to do with
my keyword tags is to organize them into
| | 04:29 | categories, particularly as
the list of tags gets longer.
| | 04:32 | I am going to expand the Keyword Tags
panel by clicking on its top border and
| | 04:36 | dragging up, so you can see that it comes
with four different categories of tags:
| | 04:41 | People, Places, Events, and Other.
| | 04:44 | All the new tags came in in the Other category.
| | 04:47 | I am going to take that Lucerne tag, and
drag it up into the Places category, and
| | 04:53 | that changes it to a green tag.
| | 04:55 | I'll do the same for Zurich
tag, putting it in Places too.
| | 05:00 | You can see on these photos
that the Zurich tag is now green.
| | 05:04 | You can create your own categories,
and subcategories too, from this menu.
| | 05:09 | And if you ever want to delete a tag,
maybe one that you think you're not
| | 05:12 | using, you can select it here in
this menu, and click the red minus sign.
| | 05:17 | That will delete the tag, not only from
the list, but also from any photos that
| | 05:21 | you've already applied it to.
| | 05:22 | I am going to click Cancel for now.
| | 05:25 | So those are the basics of creating,
applying, and searching on Keyword Tags in
| | 05:29 | Element's Organizer.
| | 05:31 | It's definitely worth taking the
time to tag your images when you bring
| | 05:34 | them into the Organizer.
| | 05:35 | You'll be very glad you did the next
time you're looking for a particular photo.
| | Collapse this transcript |
| Finding similar photos| 00:00 | The Organizer has some really powerful
features to help you find particular photos.
| | 00:05 | In the last movie, I introduced
the Text Search feature here.
| | 00:08 | If you go to the arrow to the right
of the Text Search field, you will find
| | 00:12 | three other commands.
| | 00:13 | These will help you to find
photos based on similarity.
| | 00:17 | Let's take a look at each.
| | 00:18 | We'll start with Visual Similarity Search.
| | 00:21 | I am going click to close this menu, and
let's say that you take lots of pictures
| | 00:25 | of sunsets, like I do.
| | 00:28 | I can use that command to help find
many of the other sunset pictures that I've
| | 00:32 | taken, and that I've brought into this catalog.
| | 00:34 | I will click on one of my sunset photos here,
and then I go up to the Text Search menu.
| | 00:39 | I'll click the arrow and I'll
choose Visual Similarity Search.
| | 00:43 | When you click this, you may get a prompt
asking if you want Elements to index your photos.
| | 00:48 | Go ahead and click yes if you see that prompt.
| | 00:51 | Elements just searched through all
the photos in my catalog, and it's now
| | 00:54 | displaying those that it thinks are most
similar to the sunset that I selected.
| | 00:59 | It's displaying those in
order of perceived similarity.
| | 01:02 | The tag under each photo indicates
how similar each photo is to the one I
| | 01:06 | selected, based on color and shape,
which are the parameters that Elements uses
| | 01:11 | in all of these Similarity Searches.
| | 01:14 | Elements did an okay job to start out.
| | 01:16 | It did find a couple of sunset photos,
and even though these are different colors
| | 01:20 | than my original photo, and the clouds
are different shapes, Elements is able to
| | 01:25 | recognize them as sunsets from all the
many different photos in this catalog.
| | 01:30 | It did find some other photos that
aren't sunsets at all; these umbrellas, and
| | 01:33 | this building, and some more umbrellas,
but here it's found another sunset.
| | 01:38 | If I want to refine these results, I go
to this Color/Shape slider that popped
| | 01:41 | up, and I'll drag toward Color to
emphasize color in the search, over shape.
| | 01:47 | And that did change the results.
| | 01:49 | This photo now moved up in the rankings
of similarity, and I see down here that
| | 01:53 | there's another sunset photo.
| | 01:55 | Another way I can refine the results is
by adding up to a total of four photos
| | 02:00 | to the search parameters.
| | 02:02 | To do that I'll go up to this bar, and
I'll click the plus symbol to the right of
| | 02:07 | my first photo, and that opens
this box with a question mark.
| | 02:10 | I will get another photo that's also a
sunset, and I'll drag it from the Media
| | 02:16 | Browser up into that box, and release,
and that changes the results again.
| | 02:21 | So the first four photos that
Elements returned are indeed sunsets.
| | 02:26 | If I want to close this pop-up menu, I
can click this icon right here, and when I
| | 02:31 | want to go back and see all my
photos again, I'll click Show All.
| | 02:36 | Now let's take a look at Object Search.
| | 02:38 | This is a new feature in Elements 10 that
will detect the same object across photos.
| | 02:43 | For example, a pet that
appears in lots of your photos.
| | 02:46 | You define the object, and this
command will find photos that contain that
| | 02:50 | object, even if the object was shot in
a different setting, or at a different
| | 02:54 | scale, or in different lighting.
| | 02:56 | Again, I can work in Thumbnail View,
or in Folder Location view as I am now.
| | 03:01 | In this folder, I'm going to select
one of these photos of a bird, and then
| | 03:05 | I will go up to the Text Search
field, I'll click the arrow, and I'll
| | 03:09 | choose Object Search.
| | 03:10 | That zooms in on that photo, and it brings up
this box that I can use to define the object.
| | 03:16 | I'll click in the box and I'll drag it
over what I think are the most defining
| | 03:20 | features of the bird:
| | 03:21 | his eye, and part of his beak. And then
I can click on any of the anchor points
| | 03:26 | and drag to change the scale of this box.
| | 03:32 | I try not to get too much of the
background inside the box, because it's the
| | 03:36 | bird that's the object.
| | 03:37 | Then I'll click this Search Object
label, and Elements goes out and looks through
| | 03:42 | my entire catalog, and
found these photos of the bird.
| | 03:46 | I can refine these results, just like I
did the Visual Similarity search, by using
| | 03:50 | the Color/Shape slider --
| | 03:52 | I'll try dragging this toward Color,
for example -- and by adding to the photos
| | 03:57 | that are in the search parameters by
clicking the plus symbol and dragging other
| | 04:01 | photos of the bird up there.
| | 04:06 | You may see a yellow rectangle
on top of your photos, like this.
| | 04:10 | You can hide that rectangle by going to the
Options menu and choosing Hide Highlights.
| | 04:14 | So as you can see, these results are
imperfect, but they got me a lot of the way
| | 04:19 | to where I wanted to be.
| | 04:20 | I have a lot of my bird photos now
available at the top of my Media Browser.
| | 04:25 | When I'm done with this search, I'll
click Show All, and that took me back to
| | 04:29 | Folder Location view.
| | 04:31 | To show you the last similarity feature,
Duplicate Search, I'm going to go into
| | 04:35 | the Thumbnail View by going up to the
Display menu and choosing Thumbnail View.
| | 04:40 | This is where you're most
likely to do this search.
| | 04:43 | Duplicate Photo Search comes in really
handy in order to find any duplicates you
| | 04:48 | have of a particular photo in your
catalog so you can decide whether to delete
| | 04:52 | those extras from your catalog.
| | 04:53 | It's also useful if you have
multiple versions of a particular photo, say
| | 04:58 | different edits that you'd applied to
the photo, and you want to group all those
| | 05:01 | together into a virtual grouping called a stack.
| | 05:05 | So here is how it works.
| | 05:06 | Right now, I am looking at
all the photos in my catalog.
| | 05:09 | I could narrow this search to just
photos in a particular album, if I had one,
| | 05:13 | or just photos with a particular
keyword tag by selecting those tags here, but
| | 05:18 | I'm going to search through
my entire catalog for now.
| | 05:21 | I'll click the arrow to the right of
the Text Search field, and I'll choose
| | 05:24 | Duplicate Photo Search.
| | 05:26 | In each row, Elements is now showing me
photos that it thinks are duplicates of
| | 05:30 | one another, and it is
right about a lot of these.
| | 05:33 | These are the same photo, these three
are the same photo, now these two are the
| | 05:37 | same, and these are similar.
| | 05:39 | So what Elements is doing is
showing me not only exact duplicates, but
| | 05:42 | near duplicates as well.
| | 05:44 | If I scroll down, I can see
more suggested duplicates.
| | 05:48 | One of the reasons to do this is to
clean up your catalog, removing any extras
| | 05:53 | that you don't need of a particular photo.
| | 05:55 | Now, be careful about doing this,
because I don't want you to delete photos from
| | 05:58 | the exercise files that you'll need
to use in later movies in this course.
| | 06:02 | But here, there is a
duplicate photo that you can remove.
| | 06:06 | When I move my mouse over any of these
thumbnails, I see the path and the name of the photo.
| | 06:10 | So here is a photo in the 02-02 folder
that I'm going to delete, because it's
| | 06:17 | the same as the photo next to it.
| | 06:18 | I'll select the photo, and then I'll
go down to the bottom left of the screen,
| | 06:22 | and I'll click Remove from Catalog.
| | 06:25 | That removes this item from my
Organizer catalog, but it doesn't delete it
| | 06:28 | from my hard drive.
| | 06:29 | The other thing I can do with these
suggested duplicates is to stack them
| | 06:35 | together into virtual groupings.
| | 06:37 | So here, for example, I see that this
is a photo that I labeled edited, and this
| | 06:42 | is a non-edited version of the same photo.
| | 06:45 | I can group these together by selecting
one, and then holding the Command key on
| | 06:49 | the Mac, the Control key on the PC, and
selecting the other, and then I'll go over
| | 06:53 | here and I'll click Stack, and that
stacks those two photos into a virtual group.
| | 06:59 | If I click this arrow, I can see them
both. If I click the arrow again, that
| | 07:03 | collapses the two photos into one spot.
| | 07:06 | When I am done here, I'll click done,
and that takes me back into my Media
| | 07:10 | Browser, and you can see my photo stack
here, which I can expand like this, or
| | 07:15 | contract like this.
| | 07:16 | So this is just way to clean up my Media
Browser, putting similar photos together.
| | 07:21 | If I ever want to unstack these,
I can right-click, and choose
| | 07:25 | Stack>Unstack Photos.
| | 07:27 | So give these three visual
similarity searches a try on your own photos.
| | 07:31 | Don't be discouraged if you
don't get perfect results every time.
| | 07:34 | These are new and complex features, and
they're evolving with each version of Elements,
| | 07:39 | but I think you will be surprised at how
many times these visual search features
| | 07:43 | do find the similar photos
that you were looking for.
| | Collapse this transcript |
| Arranging photos in albums| 00:00 | Albums are great ways to be able to
quickly see similar photos, even if they're
| | 00:04 | located in different folders, or even
on different drives, as long as they are
| | 00:08 | all in the same catalog.
| | 00:10 | You can make subject matter albums.
| | 00:12 | You might make albums for particular
projects, like those photos that you want
| | 00:16 | to e-mail to your family eventually.
| | 00:18 | You can even make albums to
gather together your best photos.
| | 00:22 | To make a new album, I'll go to the Organize
column on the right, and up to the Albums panel.
| | 00:26 | I'll click the arrow to the right of
the green plus sign, and I'll choose New Album.
| | 00:30 | I'll give this album a name;
| | 00:33 | these are My favorite photos. And then
I'll just drag photo thumbnails from the
| | 00:39 | Media Browser over into the
Content tab of the Albums panel.
| | 00:43 | This is one of my favorite
photos here, so I'll drag that one in.
| | 00:47 | These two are favorites also.
| | 00:48 | I'll select one, and I'll hold the
Command key and the Mac, the Control key on the
| | 00:52 | PC, as I select this one too, and then
I can drag them in together. And here's
| | 00:58 | another old favorite too.
| | 01:00 | Making an album like this
doesn't move photos on my drive;
| | 01:03 | it just creates links between the
photos where I keep them and this album.
| | 01:07 | I can add to the album at any time by
just getting another photo and dragging it
| | 01:11 | in, and if I change my mind about a
photo, I can delete it from the album by
| | 01:16 | selecting it, and clicking this red minus icon.
| | 01:20 | When I'm done making an album, I'll
click Done, and that lists the new album here
| | 01:25 | in the Albums panel.
| | 01:26 | It also adds a small green icon to the bottom
of each of the thumbnails that are in that album.
| | 01:32 | If I make my thumbnails
bigger, you can see that.
| | 01:35 | If I want to see the contents of an
album at any time, I'll just click on it
| | 01:39 | here in the Albums panel.
| | 01:41 | One of the great things about albums is
that you can rearrange photos inside an
| | 01:45 | album, and that makes albums really
useful if you're gathering photos together
| | 01:49 | to use for particular purpose, like in
a calendar, or on the pages of the book.
| | 01:54 | So if I want this photo to be last, I'll
just select it here, and drag it over to the end.
| | 02:00 | The same photo can be in more than one album.
| | 02:02 | I am going to go back to see all my
photos by clicking Show All, and I'm
| | 02:06 | going to make another album of photos
that are candidates to be used in my
| | 02:10 | holiday cards this year.
| | 02:12 | I'll click the arrow, again, to the
right of the green plus, I'll choose New
| | 02:15 | Album, I'll give the album a name,
and I'm going to drag in some photos.
| | 02:21 | I am going to use this same photo that's
in My Favorites album, and as you can see,
| | 02:27 | that photo can be in more than one
album. And I'll put another photo in that
| | 02:32 | album, and then I'll click Done.
| | 02:36 | So those are the basics of creating and
using albums here in Elements organizer.
| | Collapse this transcript |
| Making simple photo corrections| 00:00 | The quickest way to fix common photo
problems is right here in the Organizer,
| | 00:05 | using the automatic Photo Fix buttons.
| | 00:07 | If you're working with a snapshot, and
you want to make it look better without
| | 00:10 | bothering to take it into the
editor, give Photo Fix a try.
| | 00:14 | I'll start by selecting the photo I
want to correct here in the Media Browser.
| | 00:19 | This photo has an orange color cast,
and it could also use and correction to
| | 00:23 | contrast, which is the difference between the
brightest and the darkest tones in an image.
| | 00:28 | I'll move over to the column on the
right, and I'll click right on the Fix tab to
| | 00:32 | reveal the Photo Fix Options.
| | 00:34 | The first button here, Auto
Smart Fix, is sometimes all you need.
| | 00:39 | Auto Smart Fix tries to fix all the
common problems of lighting and color at once.
| | 00:43 | I'll click that button, and
here's the result on this photo.
| | 00:47 | I actually don't really like what
Auto Smart Fix did to this photo.
| | 00:52 | Now the image has a color cast,
but it's a bluish color cast.
| | 00:55 | So I'd like to try out some of
the other Photo Fix options instead.
| | 00:59 | But unfortunately, I can't undo this
Photo Fix correction once it's been applied.
| | 01:05 | So instead, I'm going to go back
to the original photo to try out the
| | 01:08 | other Photo Fix options.
| | 01:10 | Fortunately, the original is right
here along with this edited copy in what's
[00:01:15.82s
called a version Set, which
is a kind of a virtual group.
| | 01:19 | When you apply any Photo Fix option,
Elements automatically makes a copy of
| | 01:23 | the photo, applies the fix to the copy
only, and puts the copy into a version
| | 01:28 | set with the original.
| | 01:29 | To see the original, all I have to do is
click the black arrow on the right side
| | 01:34 | of this copy, and that expands
version set, and over here is the original.
| | 01:39 | You can see from its file name
that it's not an edited copy.
| | 01:42 | So to try out a different Photo Fix
option, I'll click on the original, and then
| | 01:47 | I'll go over to the column on the
right, and this time I'm going to apply an
| | 01:51 | Auto Color Photo Fix.
| | 01:53 | Auto Color focuses on
trying to correct color cast.
| | 01:58 | And way over here is the second edited
copy, this time with the Auto Color fix.
| | 02:03 | I actually don't like this one very much either.
| | 02:06 | So I am going to try again,
this time applying Auto Levels.
| | 02:10 | Again, I'll go back and select the
original over here, I'll go over to the Photo
| | 02:14 | Fix options, and I'll click on Auto
Levels, and here is the third edited copy with
| | 02:21 | Auto Levels applied.
| | 02:22 | Auto Levels increases contrast,
expanding the tonal range between the darkest
| | 02:27 | shadows and the brightest highlights.
| | 02:29 | Auto Levels can also shift colors, and
here I think it's made a good color shift.
| | 02:35 | In fact, this is my
favorite of all the fixes so far.
| | 02:38 | Just for comparison, I'm going to
try one more with Auto Contrast.
| | 02:43 | So I'll go back, and I'll select the
original again. I'll come over to the Photo
| | 02:46 | Fix options, and I'll click on Auto
Contrast, and here is the fourth edited copy,
| | 02:52 | with Auto Contrast applied.
| | 02:54 | Auto Contrast, like Auto Levels,
increases contrast, but it does so without
| | 02:59 | affecting color like Auto Levels does.
| | 03:01 | So in this case, I still have an
orange color cast coming from the original.
| | 03:06 | So my pick here is the
third photo fix: Auto Levels.
| | 03:11 | So I'm going to continue with that one,
selecting it here, and then I'll move
| | 03:15 | back over to the Photo Fix Options to apply
one more photo fix, and that is Auto Sharpen.
| | 03:21 | Almost every digital photo can
benefit from sharpening before output.
| | 03:25 | So I'll click Auto Sharpen, and that
gives me one more edited version to which
| | 03:30 | I've applied both Auto Levels and Auto Sharpen.
| | 03:33 | I can go ahead and delete all of the
other copies, I'll select this one, I'll
| | 03:37 | hold the Shift key, and I'll click on
this one to select all of the other edited
| | 03:41 | copies. And then I'll right-click on
one of these photos, or Control+click with a
| | 03:45 | one-button mouse, and I'll choose
Delete Selected Items from Catalog.
| | 03:50 | I can also delete these other edited
copies from my hard disk altogether,
| | 03:54 | so I'll check this check box, and
I'll click OK. And now I'm left with the
| | 03:59 | original here, and the edited copy here.
| | 04:02 | As you've seen, the Photo Fix Options
are all one click, automatic corrections,
| | 04:07 | so you don't get a lot of control
over these corrections. But what you
| | 04:11 | lose in control, you do save in time
and effort, which is sometimes just what
| | 04:15 | you want.
| | Collapse this transcript |
|
|
3. Processing Photos in Quick Edit ModeQuick Edit basics| 00:00 | When you're ready to edit a photo, you
have a choice of four editing workspaces.
| | 00:05 | You can quickly apply Automatic Photo
Fix options in the Organizer, which I
| | 00:08 | covered in the last movie,
by clicking the Fix tab.
| | 00:12 | Or, if you click the arrow to the
right of the Fix tab, you have access to
| | 00:16 | three different editing workspaces in the
second component of Elements, which is the Editor.
| | 00:21 | Those are the Full Photo Edit workspace,
Quick Photo Edit, and Guided Photo Edit.
| | 00:26 | In this chapter I'm going
to cover Quick Photo Edit.
| | 00:29 | In this movie, I'll show you the basics of
working with the Quick Photo Edit interface.
| | 00:34 | First, I'm going to select some
photos to work on here in the Organizer.
| | 00:37 | I will click on one of these
thumbnails, I'll hold down the Control key on
| | 00:41 | Windows, or the Command key on a Mac,
and click on the other, and then I will
| | 00:45 | come back over to the arrow on the
right of the Fix tab, and from there I'll
| | 00:49 | choose Quick Photo Edit.
| | 00:51 | It may take a moment for your editor
to launch, and it opens here to the Quick
| | 00:55 | Photo Edit workspace.
| | 00:57 | Down at the bottom of this workspace is
a project bin that shows thumbnails of
| | 01:01 | all the photos that are currently open.
| | 01:04 | Up here is the document window that
shows a preview of the image you're working
| | 01:08 | on, with whatever changes you make
over here in the column on the right.
| | 01:12 | If I want to work on a different photo,
I'll just double-click its thumbnail
| | 01:15 | down here in the Project Bin.
| | 01:17 | Up here is an abbreviated toolbar that
offers a Zoom tool for zooming in, a Hand
| | 01:22 | tool for moving an image around in the
document window, a Selection tool that
| | 01:27 | allows you to make changes to just
part of an image, a Crop tool for cropping
| | 01:31 | the image, and a few prebuilt
effects that you can experiment with.
| | 01:35 | Over on the right are all
the Full Photo Edit controls.
| | 01:38 | The Smart Fix control is sometimes all you need.
| | 01:41 | Smart Fix tries to correct common
lighting and color problems all at once.
| | 01:46 | There are two ways to apply Smart Fix;
| | 01:48 | either automatically with one click
on this button, or by dragging the Fix
| | 01:52 | slider to the right, which allows you
not only to apply Smart Fix, but also
| | 01:56 | control how much Smart Fix to apply.
| | 01:59 | I can use these alone or together.
| | 02:01 | So I might apply Auto Smart Fix by
clicking the Auto button like this, and I see
| | 02:06 | the results here in the document window.
| | 02:08 | Then I will click the Fix slider, and
drag over to the right to increase the
| | 02:13 | amount of Smart Fix.
| | 02:15 | When I am done with the Fix slider, I
have to decide whether to commit that
| | 02:19 | change, or to cancel it.
| | 02:20 | I am going to click the check mark to commit it.
| | 02:23 | It's often useful to compare the results
of an edit both before and after the edit.
| | 02:28 | To do that, I'll go down to the View
menu underneath the document window, and
| | 02:32 | I'll change that from
After Only, to Before & After;
| | 02:35 | either a horizontal or a vertical view.
| | 02:38 | So there is the original image on the
left, and here's how the image looks with
| | 02:42 | the changes that I just made.
| | 02:44 | If I want to back up on some of those
changes, I can come up and click the Undo
| | 02:48 | button at the top of the screen, and
that takes me back one step: just before I
| | 02:53 | dragged that Fix slider over to the
right, but after I'd applied the Auto Fix.
| | 02:57 | I can continue to click the Undo
button multiple times to back up one step
| | 03:02 | each time, or if I want to go all the
way back to the beginning, before I had
| | 03:06 | applied any changes to this photo,
I'd go down to the bottom of the Edit
| | 03:10 | column and click Reset.
| | 03:12 | I am going to go back and apply Auto
Smart Fix again, and now let's say that I'm
| | 03:17 | all done editing the photo.
| | 03:19 | It's important at this
point that I save my changes.
| | 03:22 | That's different than the Photo Fix
options in the Organizer where changes are
| | 03:26 | saved automatically for you.
| | 03:27 | So I'll go to the File menu at the top
of the screen, and I'll choose Save As.
| | 03:32 | And here, I'm going to choose a destination to
which I am going to save a copy of this photo.
| | 03:38 | I'll choose the Format; I will leave it
set to JPEG which is a good choice for
| | 03:41 | saving a photo, and I'll choose a file name.
| | 03:44 | I want to make sure not to save
over the original of this photo.
| | 03:47 | So I'm going to click inside the file
name, just before the dot, and I'm going
| | 03:51 | to type underscore, and edited, and
that way I'll know that this is an edited
| | 03:55 | copy of the original.
| | 03:57 | In the Save options, I want to
include this edited copy in the Elements
| | 04:01 | Organizer, so the Organizer keeps
track of the copy, as well as the original.
| | 04:06 | I'm not interested in saving in a
version set, I will leave all the other
| | 04:09 | options at their defaults, and I'll click Save.
| | 04:13 | I'll click OK in the JPEG options, and
now that I'm done with this image, I'll
| | 04:17 | click the X to close it.
| | 04:18 | Now, I'm going to go back to the Organizer.
| | 04:22 | Here you can see my original, you can
see the copy that I just saved with edited
| | 04:27 | in its name, and over here you can see
that other photo that I had opened from
| | 04:31 | the Organizer into the
Quick Photo Edit workspace.
| | 04:35 | This red belt across the thumbnail means
that this image is still open in the Editor.
| | 04:40 | If I want to remove this belt so that
I can work on this image here in the
| | 04:44 | Organizer, I have to go back
into the editor and close it there.
| | 04:48 | So again, I'll click the arrow to the
right of the Fix Tab, I'll choose Quick
| | 04:52 | Photo Edit, and I'll click the
X here to close this file too.
| | 04:57 | So those are the basics of working with
an image in the Quick Photo Edit workspace.
| | 05:01 | We'll take a closer look at how to
correct lighting and color in this workspace
| | 05:05 | in the very next movies.
| | Collapse this transcript |
| Fixing lighting in Quick Edit| 00:00 | Many photos will look better with
corrections to brightness and to contrast.
| | 00:04 | You can fix lighting using controls
in the Quick Photo Edit workspace.
| | 00:08 | To do that, I'm starting in the Organizer
where I'll select a couple of photos to correct.
| | 00:13 | I'll click on one, I'll hold the Control
key, that's the Command key on Mac, and
| | 00:17 | click on the other, and then I'll go
over to the Fix tab and click the arrow to
| | 00:21 | its right, and I'll choose Quick Photo Edit.
| | 00:24 | Here in the Quick Photo Edit workspace
I'm going to start with a different photo.
| | 00:28 | So I'll go down to the Project Bin and
I'll double-click the photo of the rose.
| | 00:33 | My Quick Edit workspace is set up to
show a Before view, the original photo,
| | 00:37 | and an After View, a view of the
photo with whatever changes I make in the
| | 00:41 | controls on the right.
| | 00:43 | Here in the Lighting section of the
controls, I have a couple of Auto buttons,
| | 00:47 | and then if I want more control over
lighting, I can try using the sliders down here.
| | 00:51 | On this photo, I am going
to with the Auto buttons.
| | 00:54 | I'll start by clicking the Auto
Levels button, and that does change the
| | 00:58 | appearance of the photo.
| | 00:59 | There is more contrast in the rose,
but I also see an increased color cast up
| | 01:04 | here, and that's often what Levels does:
| | 01:07 | it can shift the colors in a photo.
| | 01:09 | So I am going to undo the Auto Levels
fix by clicking the Undo button at the top
| | 01:12 | of the screen, and I am going to
try the Auto Contrast button instead.
| | 01:17 | I'll click that, and now
I like the result better.
| | 01:20 | I've increased the contrast a bit.
| | 01:22 | You can see the shadows are darker and
the highlights are lighter, but I haven't
| | 01:26 | introduced a color cast.
| | 01:27 | Sometimes the Auto Levels or Auto Contrast
button won't give you the result that you want.
| | 01:33 | In that case, you can try to adjust the
shadows, the midtones, and the highlights
| | 01:37 | in an image individually using these sliders.
| | 01:40 | To show you what I mean I'm going to
open this other image by double-clicking it
| | 01:44 | down here in the Project Bin.
| | 01:45 | I'd like more room to work with this
photo, so I am going to collapse the
| | 01:48 | Project Bin by double-clicking its tab,
and I'll make these windows bigger by
| | 01:53 | going up to the toolbar, selecting the
Zoom tool, and then clicking at the 1:1
| | 01:57 | button here in the Options Bar.
| | 01:59 | First I'd like to brighten the darkest
areas in this photo, so I'll go to the
| | 02:03 | Shadows slider, and I'll drag that over
to the right. And as I do, notice that the
| | 02:08 | tower is getting brighter, but the
highlights in the image, particularly in the
| | 02:12 | clouds, didn't really change.
| | 02:14 | I'd also like to get more detail in the
highlight areas, so I'm going to go to
| | 02:18 | the Highlights slider, and I'm going to
drag that to the right, darkening the
| | 02:21 | brightest parts of the image.
| | 02:24 | Finally, I might want to increase the
contrast in the midtones a bit, so I'll
| | 02:28 | take the Midtones slider, and I'll
drag that slightly to the right.
| | 02:31 | I am happy with that result.
| | 02:34 | So now I'll go back up to the top of
the Lighting section, and I'll click this
| | 02:38 | check mark to confirm this edit.
| | 02:41 | Then I'll scroll all the way down to
the bottom, and I'll add a final touch from
| | 02:45 | the Sharpness section, which is to
sharpen this image. Almost every image can
| | 02:50 | benefit from a little sharpening at the
end, so I'll click the Auto button, and
| | 02:54 | there is the final result.
| | 02:55 | As I explained in the last movie, now
that I'm done, I need to save a copy of the
| | 02:59 | corrected photo by going to the File
menu and clicking Save, and then I could
| | 03:04 | close the photo by clicking the X here
at the top right of the Document window.
| | 03:08 | So that's how to use the controls
in the Lighting section of the Quick
| | 03:11 | Photo Edit workspace.
| | 03:13 | In the next movie, I'll show you how
to adjust color saturation, and hue, and
| | 03:18 | color balance using the
controls here in this workspace.
| | Collapse this transcript |
| Fixing color in Quick Edit| 00:00 | You can use the color controls in the
Quick Photo Edit workspace to fix common
| | 00:04 | color problems in your photos, like a
color cast, or too much color saturation, or
| | 00:10 | not enough saturation.
| | 00:11 | I am going to open a couple of photos
into the Quick Photo Edit workspace from
| | 00:15 | here in the Organizer, selecting them,
and then clicking the arrow to the right
| | 00:20 | of the Fix tab, and choosing Quick Photo Edit.
| | 00:23 | The color controls in the Quick
Photo Edit workspace are located in two
| | 00:27 | sections: the Color
section, and the Balance section.
| | 00:30 | I think this photo has a
couple of color problems.
| | 00:33 | First of all, it has a real obvious
orange color cast. That's caused by the
| | 00:37 | lighting in the location where I took the photo.
| | 00:40 | I also think that this photo is oversaturated.
| | 00:43 | Its colors are just too intense.
| | 00:45 | Now, many photos needs some additional
color saturation; I think in this instance
| | 00:50 | I'd like to cut back on the color saturation.
| | 00:53 | I can try to fix all of those
problems by going to the Color section, and
| | 00:57 | clicking the Auto button here, which is
kind of a one stop shop for fixing color
| | 01:01 | problems. And that did cut back on
the color saturation, and it tried to
| | 01:06 | neutralize that orange color cast.
| | 01:08 | It made the image a little bit too
blue, but I think that's better than the
| | 01:12 | bright orange, so I might go with that.
| | 01:14 | If you want more control over fixing
color problems than you get with the
| | 01:18 | Auto Color button, you can try using
the sliders in the Color section, and in
| | 01:22 | the Balance section.
| | 01:23 | To show you that, I'll switch to
another photo double-clicking the left-hand
| | 01:27 | thumbnail down here in the Project Bin.
| | 01:30 | This photo is also oversaturated,
and does have an orange color cast.
| | 01:34 | To try to fix the color cast, I'll
start down in the Balance section.
| | 01:38 | Here there are two sliders;
| | 01:39 | the Temperature slider, and the Tint slider.
| | 01:42 | Because this photo is obviously too
orange, I'll start with the Temperature
| | 01:45 | slider, dragging it to the left to try
to remove some of that orange color cast.
| | 01:51 | Now I want to try to counteract this
kind of greenish-blue that I see in some
| | 01:55 | of the shelf here, so I'll take that Tint
slider and drag it from green toward magenta.
| | 02:01 | When I'm happy with the changes I've
made to the Color Balance, I'll click the
| | 02:04 | check mark in the Balance section.
| | 02:06 | Now I want to try to correct the
oversaturation of color in this photo.
| | 02:11 | To do that, I'll go up to the Color section.
| | 02:13 | I'll click on the Saturation slider and
I am going to drag that the left to make
| | 02:18 | the photo less saturated.
| | 02:21 | That's not a perfect result, but I
think the photo now looks much more like the
| | 02:24 | scene that I photographed than the
oversaturated orange version on the left.
| | 02:29 | Since I'm satisfied with the saturation
change that I made, I'll click the check
| | 02:33 | mark here at the top of the Color section.
| | 02:36 | There's one more color-related slider in
Quick Photo Edit, and that's the Hue slider.
| | 02:41 | Changing the hue changes the
overall color of the photo.
| | 02:44 | So you can see, if I drag that to the left,
I start to get this abstract red look
| | 02:49 | to the photo, and this can be
interesting for a nonrealistic photo; one that
| | 02:54 | emphasizes pattern and
texture over the original content.
| | 02:57 | If I like that result, I
can click the check mark here.
| | 03:00 | I think I'm going to click the X to undo
that, and I'll stick with what I have here.
| | 03:05 | At this point, I would save the image
and close it, as I showed you how to do in
| | 03:09 | an earlier movie in this chapter.
| | 03:11 | So that's how to use the color related
controls here in the Color section and
| | 03:16 | the Balance section of the Quick
Photo Edit to fix common color problems in
| | 03:20 | your photos.
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|
|
4. Processing Photos in Guided Edit ModeGuided Edit basics| 00:01 | Many people say that the Guided Photo
Edit workspace is the easiest to use of
| | 00:06 | all three of the editing
workspaces in Elements Editor.
| | 00:09 | That's because Guided Photo Edit
walks you step-by-step through a number of
| | 00:12 | techniques, from basic
editing to special effects.
| | 00:16 | This movie introduces the
fundamentals of working in Guided Photo Edit.
| | 00:19 | In the next movie, I'll show you one
of the new guided edit techniques: the
| | 00:23 | Depth of Field guided edit.
| | 00:24 | I'll start here in the Organizer by
selecting this photo, and I'll bring it into
| | 00:28 | Guided Photo Edit by clicking the
arrow to the right of the Fix tab in the
| | 00:32 | Organizer, and choosing Guided Photo Edit.
| | 00:34 | You may notice that this Guided Photo
Edit workspace looks a lot like the Quick
| | 00:39 | Photo Edit workspace I
covered in the last chapter.
| | 00:41 | There is a Project Bin at the bottom that
shows all the open files; in this case just one.
| | 00:47 | There is a Document window here,
which I can set to show a preview of the
| | 00:51 | image with the effects I choose on
the right, or which I can set to show a
| | 00:56 | Before & After view.
| | 00:57 | I'll leave it at After Only for
now. And on the left there is an
| | 01:00 | abbreviated toolbar.
| | 01:02 | All of that is similar to Quick Photo Edit.
| | 01:05 | What's different here in Guided Photo
Edit is the column on the right, which
| | 01:09 | lists all the available Guided Photo
Edit techniques organized into sections.
| | 01:15 | Up at the top of the list are some
basic edits, like Cropping a photo, Rotating
| | 01:20 | and Straightening a photo, and
Sharpening a photo, as well as some special
| | 01:24 | techniques down here at the bottom.
| | 01:26 | I am going to scroll back up so that
I can access the section of Color and
| | 01:30 | Lighting Techniques that I'd
like to apply to this photo.
| | 01:33 | I think there is kind of a bluish cast
to this photo, so I'd like an easy way to
| | 01:38 | try to remove that color cast.
| | 01:40 | I'll click on the Remove a Color Cast
guided edit, and that opens the guided edit
| | 01:44 | here in the column on the right.
| | 01:46 | This is a typical guided edit in that
it explains what it does, it includes
| | 01:51 | some instructions that walk me
through exactly what I need to do, and it
| | 01:55 | provides a tool to perform the
guided edit technique. It is a result of
| | 01:59 | photographing in a particular light
source, and it instructs me that to correct
| | 02:04 | the color cast in an image, I need to
click with this tool on a part of the
| | 02:08 | image that should be neutral;
| | 02:10 | either gray, white, or black. So I'll do that.
| | 02:13 | With the tool selected, I'll move into
the image, and I'll try clicking on a
| | 02:17 | gray part of the wall.
| | 02:19 | I think that actually increased the
blue color cast in this case, so I'll come
| | 02:22 | back over to the guided edit, and I'll
click the Reset button that you will find
| | 02:26 | in many of the guided edit techniques.
And I'll try again, clicking on a different
| | 02:31 | part of the photo; maybe
the light part of this flower.
| | 02:34 | That's made the photo a lot more gold.
| | 02:36 | If I like that result, I'll come down to the
bottom of this guided edit and click Done.
| | 02:41 | So that's how to apply a simple guided edit.
| | 02:44 | You can apply more than one
guided edit to the same photo.
| | 02:47 | In this case, for example, I'd like to
increase the brightness, and maybe the
| | 02:50 | contrast of the photo too. So I'll
come up and click on the Brightness and
| | 02:54 | Contrast guided edit, and then I'll just read
through these instructions, and do what it says.
| | 03:00 | I can try applying this Auto
button, which is a good way to fix under
| | 03:03 | or overexposed images.
| | 03:05 | This image is a little dark;
let's see what Auto does.
| | 03:09 | It does lighten the image,
and I do like that result.
| | 03:12 | If I want to try to fine-tune that, I
can follow this instruction to drag the
| | 03:15 | Brightness slider to make the image
a little lighter, or a little darker.
| | 03:19 | In this case, I think I want it lighter.
And here, the guided edit explains what
| | 03:23 | contrast is: the difference between
light and dark, and it gives me a slider that I
| | 03:27 | can use to either increase
contrast, or decrease contrast.
| | 03:31 | I am going to increase contrast just a bit,
and when I am done, I'll click the Done button.
| | 03:36 | When I am finished applying all the
guided edits that I want to to this image,
| | 03:40 | I do need to save a copy of
the image with these changes.
| | 03:43 | So I'll come up to the File menu, I'll
choose Save As, and in this dialog box
| | 03:49 | I can choose the destination, and the File name,
and the Format in which I want to save the image.
| | 03:54 | I'll leave everything at its defaults,
except that I want to click right after
| | 03:58 | the File name and before the suffix,
and I want to type in edited, so that I
| | 04:02 | know that this is the edited version
of this photo, and so that I don't save
| | 04:06 | over the original version.
| | 04:08 | I also want to check Include in the
Elements Organizer so that the Organizer
| | 04:12 | keeps track of my edited copy of
this file, as well as the original.
| | 04:16 | I'll leave all these other things at
their defaults, and I'll click Save.
| | 04:18 | I'll also click OK in the JPEG Options
dialog box, and that's all there is to it.
| | 04:24 | You can imagine that Guided Edit is a
particular favorite of users who are new to
| | 04:28 | Elements, because as you've seen, it
explains and walks you through a number of
| | 04:33 | useful techniques for
enhancing and manipulating your photos.
| | Collapse this transcript |
| Using the Depth of Field Guided Edit option| 00:00 | Photoshop Elements 10 contains a
couple of new guided edit techniques that
| | 00:05 | are pretty exciting.
| | 00:06 | The one that I think is most useful is
the Depth Of Field guided edit that you
| | 00:10 | can use to simulate a shallow
depth of field in your photos
| | 00:13 | either to blur out a distracting
background, or to focus the viewer's attention
| | 00:18 | on the part of a photo that
you think is most important.
| | 00:20 | To show you the Depth Of Field guided
edit, I am going to open both these photos
| | 00:24 | into the Guided Photo Edit workspace.
| | 00:27 | I'll select them both, and then I'll
click the arrow to the right of the Fix tab
| | 00:31 | and choose Guided Photo Edit.
| | 00:33 | I'd like to start with the photo on
the left in the Project Bin, so I'll
| | 00:36 | double-click that, and then I'll move
over to the list of guided edits in the
| | 00:40 | column on the right.
| | 00:42 | I'll find the Depth Of Field guided
edit under the Lens Effects category.
| | 00:46 | I'll select Depth Of Field, and the
first instruction I see in this technique
| | 00:51 | is to choose a method;
| | 00:53 | either the Simple method, or the Custom method.
| | 00:56 | I'll start with the Simple method, and
then I'll scroll up to the top of the
| | 01:00 | instructions, and I'll just start
working through these instructions,
| | 01:03 | following the steps.
| | 01:04 | The first step is to add blur to the
image, which I'll do by clicking this
| | 01:08 | button as instructed.
| | 01:10 | Next, I am told to define the area of
the image that I'd like to have in focus,
| | 01:15 | and this diagram tells me this is
going to be a circular area of focus, and
| | 01:19 | instructs me to start at the center
of the focus area, and drag outwards.
| | 01:23 | I'll select this Gradient tool to do
that, and I'll come into the image. And I'll
| | 01:27 | start, say, at the bottom right, but I
can start anywhere that I want, and drag
| | 01:31 | toward the center here.
| | 01:33 | The length and the direction of the
line that I drag; which part of this photo
| | 01:37 | will be in focus will be in focus.
| | 01:38 | So here I have this curved area in focus.
| | 01:41 | I can add to this area by clicking and
dragging the line again, and each time I
| | 01:45 | do that, it adds to how
much of the photo is in focus.
| | 01:49 | If I like the results, I'll click and drag down,
and continue reading through the instructions.
| | 01:55 | The third step tells me to use this
slider to increase the amount of blur.
| | 01:59 | I'll give that a try, and if I
like the result, I'll click Done.
| | 02:04 | If I don't like the result, I
could click Reset, and start again.
| | 02:07 | I'll stick with what I have, so I'll click Done.
| | 02:11 | At this point, I would go up to the File
menu and choose Save As, and save a copy
| | 02:16 | of this image, perhaps with a different
name, or in a different location than the
| | 02:20 | original, so I don't save over the original.
| | 02:22 | Now let's take a look at the other
Depth Of Field guided edit: the Custom Depth
| | 02:27 | Of Field guided edit.
| | 02:29 | For that, I'm going to double-click
this thumbnail in the Project Bin, and so
| | 02:34 | that I can see that photo better in the
Document window, I am going to go up to
| | 02:37 | the Options bar and I'll click Fit Screen.
| | 02:40 | Now I'll come over and, again, I'll
click on the Depth Of Field guided edit, and
| | 02:44 | this time I'll choose Custom.
| | 02:46 | I'll scroll up to the top of these
instructions, and I see that this guided edit
| | 02:50 | works a little
differently than the Simple version.
| | 02:53 | Here I have a Quick Selection tool, and
I'm told to use this tool to mark the
| | 02:57 | area that I want to keep in focus.
| | 03:00 | So I'll get that tool, then I'll click
and drag over the part of the image that
| | 03:04 | I would like to remain in focus.
| | 03:07 | The Quick Selection tool selects
on the basis of color and tone.
| | 03:12 | So it moves ahead of me, selecting some
of the bows on the table in this image.
| | 03:17 | I'll start with that, and then I'll
go down to the next step, which tells me
| | 03:21 | to Add Blur, and this will add a blur to
the parts of the image that are not selected.
| | 03:26 | If I like that result, I can stick with
it, or I can move down and I can go to
| | 03:31 | the third step, which is a slider that
allows me to increase the blur to get a
| | 03:36 | more pronounced effect.
| | 03:38 | I'll drag that to the
right to increase the blur.
| | 03:40 | Notice that I have got blur both in
the background, and in the foreground.
| | 03:45 | I can leave it like this, or if I don't
like this result, I can click Reset and
| | 03:50 | go back and start again.
| | 03:51 | So let's try it a little differently.
This time I'd like to select the bows in
| | 03:55 | the foreground, and the table,
and just blur out the background.
| | 03:59 | Again, I'll get the Quick Selection tool,
I'll come into the image, I'll click
| | 04:04 | and drag over some of the bows to
select them, and I'm going to take that
| | 04:07 | selection all the way down to the front
of the table. And then again, I'll click
| | 04:12 | the Add Blur button. That blurs out
the background, but leaves all of the
| | 04:16 | foreground in focus, and if I like,
I can increase the amount of blur.
| | 04:21 | I like that result, and so I'm going to
click Done. And again, I would save this
| | 04:26 | image, and then I could
close it by clicking the X.
| | 04:29 | So that's one of my favorite
new guided edits: Depth Of Field.
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|
|
5. Introduction to Full Edit ModeThe Full Photo Edit interface| 00:00 | When you have got photos that you're
serious about editing, bringing them into
| | 00:03 | the Full Photo Edit workspace is the way to go.
| | 00:06 | The Full Photo Edit workspace offers
the widest range of editing features, and
| | 00:10 | the most control over the results.
| | 00:12 | In this chapter, I'll cover the basics
of the Full Photo Edit workspace, starting
| | 00:15 | with an overview of its interface here.
| | 00:18 | I'll open two photos into Full Photo
Edit mode by selecting them here in the
| | 00:22 | Organizer, and then going to the
arrow to the right of the Fix tab and
| | 00:26 | choosing Full Photo Edit.
| | 00:28 | The Editor launches, and the photos open
into the Edit tab in the Full subtab.
| | 00:33 | Here in the Document window there's
a tab for each of the open photos.
| | 00:37 | I can move between the photos by
clicking these tabs, or by going down to the
| | 00:42 | Project Bin and double-
clicking any of the thumbnails there.
| | 00:45 | At the top of the screen is the
menu bar, just like in any program.
| | 00:49 | This is where to look for commands
related to whatever it is you're working on.
| | 00:52 | So if I'm working with layers, I'll
look at the Layer menu, if I'm working
| | 00:55 | with selections, I'll check the Select menu,
filters are in the Filter menu, and so on.
| | 01:01 | The File menu has an Open command that
I can use to open photos directly into
| | 01:05 | Full Photo Edit, even if I'm not
using the Organizer to manage my photos.
| | 01:10 | I'll click in a blank area to close the
menus, and then I'll come down to the toolbar.
| | 01:15 | The toolbar contains the
tools you use as you edit a photo.
| | 01:18 | If you see a triangle on the bottom
right of a tool, that means there are
| | 01:22 | related tools behind it, and you can
get to those by clicking and holding on a
| | 01:25 | tool to bring up a flyout menu of related
tools, and then you can select a tool from there.
| | 01:30 | When you do select a tool, up here in
the Options Bar you will see options
| | 01:34 | related to just that tool.
| | 01:36 | So if I click on a different tool,
you will see those options change.
| | 01:40 | At the top of the screen is the
Application Bar. That contains icons for
| | 01:43 | frequently used commands like Undo, and
Redo, and a shortcut to the Organizer. And
| | 01:49 | over here are the important panels
where you will do a lot of work here in the
| | 01:52 | Full Photo Edit mode.
| | 01:54 | Some of the panels are grouped together.
| | 01:56 | To see a panel that's grouped with
another one, I'll just click on its tab here.
| | 02:00 | If I'm not using a panel or a panel group,
I can close them by going to the menu
| | 02:04 | icon that's on the right side of each
panel group, and from there choosing Close
| | 02:09 | to close the active panel, or Close Tab
Group to close the entire panel group,
| | 02:14 | like that. And now there's
more room to open other panels.
| | 02:17 | To open a panel, I'll go over to the
Window menu, I'll find the panels listed
| | 02:22 | here alphabetically, and let's say I
want to open the histogram so that I have a
| | 02:26 | bar chart of the tones in
this image as I'm adjusting it.
| | 02:29 | I'll click Histogram, and the Histogram
panel appears docked in the column on the right.
| | 02:34 | If I want to get the panels back to
their original configuration, I'll go up to
| | 02:38 | the Application Bar, and I'll click Reset panels.
| | 02:41 | I am going to make a change to the photo
in the Document window. Any change will
| | 02:45 | do for this example. I'll just go
into the Effects panel, and I'll click the
| | 02:49 | second icon there, and then click
Apply to give my photo this graphic look.
| | 02:54 | What I want to show you is that when I
make changes to a photo, and I haven't
| | 02:57 | saved the photo yet with those changes,
in the Document tab I'll see a little
| | 03:02 | asterisk, like this. So that means that I
need to save, and to save I'll go to the
| | 03:07 | File menu. I'll choose File>Save As,
rather than Save, because I'm careful not to
| | 03:12 | save over to the original, and here I
can choose a destination for the file.
| | 03:16 | I'll come down here and give the file a name.
| | 03:19 | I like to click just before the dot
in the suffix, and type _edited on files
| | 03:24 | that I've edited, and then I'll choose a Format.
| | 03:28 | When I am editing a file in the Full
Photo Edit workspace, I like to keep
| | 03:31 | a master version with my layers and
all the other proprietary features that
| | 03:35 | Elements adds by choosing the Photoshop
format, which respects all of those features.
| | 03:41 | Later, if I'm making another copy for
a purpose like attaching to e-mail, or
| | 03:45 | putting online, then I might choose a
different format for the copy, like JPEG,
| | 03:50 | which does a good job of saving a
photo and making it smaller. But at the
| | 03:54 | same time, it flattens the file, so I can't
access the layers in a JPEG for future editing.
| | 04:00 | So I'll choose Photoshop
for my master copy here.
| | 04:03 | I do want to include this edited copy
in the Elements Organizer, along with the
| | 04:07 | original, so I will check that.
| | 04:09 | I don't really care about Saving in
Version Sets, and I'll leave the other
| | 04:12 | options at their defaults, and click Save.
| | 04:15 | Now the asterisk is gone from the tab,
so I can click the X to close this file.
| | 04:19 | I'll go back to the Organizer so that
you can see that the other file, which is
| | 04:23 | still open in Full Photo Edit,
indicates that an Edit is in Progress, and so I
| | 04:29 | can't really work with it here in the Organizer.
| | 04:31 | To remove that red belt, I would have
to go back into the Full Photo Edit
| | 04:34 | workspace and close this file too.
| | 04:37 | You will get more familiar with the
Full Photo Edit interface as you work in it
| | 04:40 | through the rest of this chapter.
| | 04:42 | In this chapter, I'll begin each movie
with the file already open, and you can
| | 04:46 | use the techniques that I showed
you here to open your own files.
| | 04:49 | Also, don't forget to save and close
your files when you're done editing in the
| | 04:53 | Full Photo Edit Workspace.
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| Cropping photos| 00:00 | When you're editing a photo, you may
want to crop it either to improve its
| | 00:03 | composition, or to set it to a
particular width to height ratio to fit into a
| | 00:08 | frame when you print it.
| | 00:09 | I'll use the Crop tool, which
is located here in the toolbar.
| | 00:13 | If you don't see the Crop tool there,
click and hold on that tool slot, and
| | 00:16 | select the Crop tool from the flyout menu.
| | 00:19 | Up in the options bar for the Crop tool,
I am going to go over to the Overlay
| | 00:22 | menu, and I'm going to set it to None for now.
| | 00:25 | I'll explain the overlays in just a
moment, but first let's say that I want to
| | 00:29 | print this photo at 8 by 10 inches, so that
it fits into a particular frame that I have.
| | 00:35 | Down here at the bottom, if I click and
hold, I can see that that the photo is now
| | 00:39 | about 8 inches tall by 12 inches wide.
| | 00:42 | So I have to try to fit this
8 by 12 into an 8 by 10 frame.
| | 00:47 | That means I am going to have
to crop away some of the photo.
| | 00:51 | I'll go up to the Aspect Ratio menu, and
I can change it from No Restriction to
| | 00:56 | one of the sizes listed here.
| | 00:58 | If I don't see the size that I need in
this list, I can type a size into the
| | 01:01 | Width and Height fields over here, but I do
see 8 by 10 inches here, so I'll select that.
| | 01:07 | Then I'll come into the image, and
I'm going to start at the bottom right
| | 01:10 | because I know that I want this portion
in my photo, and I'll click and drag up.
| | 01:15 | And after just a moment, I can't go any
further. I've now drawn an 8 by 10 ratio boundary.
| | 01:21 | If I click inside that boundary and drag, I
can move it to different areas of the photograph.
| | 01:27 | I can click on any of its anchor points
and drag, and I'll get a smaller bounding
| | 01:31 | box, but it will always
remain in an 8 by 10 ratio.
| | 01:35 | If I like this result, I would click
the green check mark to confirm it. I am
| | 01:39 | actually going to cancel it by
clicking the red symbol down here.
| | 01:42 | Now let's say that I'm starting again,
and I have another reason to crop, and that
| | 01:46 | is just to improve the composition.
| | 01:49 | I think there's just a bit too much here,
and there's no real focal point the way
| | 01:52 | I framed the photo when I shot it.
| | 01:54 | So I am going to go up to the Aspect Ratio menu.
| | 01:57 | I am going to change that to No
Restriction, because I don't really care about
| | 02:00 | the exact aspect ratio of the cropped
photo, and that removes the width and
| | 02:04 | height from these fields.
| | 02:06 | Then I'm going to come over to the
Overlay menu, and I'm going to select one of
| | 02:10 | these overlays to help me
get the best composition.
| | 02:12 | The Rule of Thirds and the Grid
have been in Elements for awhile.
| | 02:16 | In Photoshop Elements 10 there's a new
overlay, and that's the Golden Ratio overlay.
| | 02:20 | Let's look at that one.
| | 02:22 | I'll select Golden Ratio, and then I'll
come into the image and I'll click and
| | 02:25 | drag a bounding box.
| | 02:27 | Notice this white, black, and green point here.
| | 02:30 | The idea of the Golden Ratio is to
put that point on top of the part of the
| | 02:34 | image that I want to emphasize.
| | 02:36 | To do that, I can click inside the
bounding box, and I can move the bounding box
| | 02:40 | around, so I might put it right there.
And then I can make the bounding box
| | 02:44 | bigger or smaller, the same way I
showed you before, by moving over any of the
| | 02:48 | anchor points and dragging.
| | 02:52 | What if I wanted the focal point to be
over on the left instead of the right?
| | 02:55 | Then I would come over to this icon
in the options bar and flip the Overlay
| | 03:00 | horizontally by clicking there, and
then I could put the anchor point exactly
| | 03:05 | where I wanted over here on the left.
| | 03:07 | What if I want the focal
point up at the top of the image?
| | 03:10 | Well, there is no vertical flip
button, so what I have to do is move my
| | 03:13 | mouse over any of the corner anchor
points, and the cursor will change to a
| | 03:17 | curved double pointed arrow, like this.
And then I'll click and drag, and I'll
| | 03:22 | rotate this bounding box.
| | 03:24 | I could rotate it vertically like that,
or I can keep going and get it all the
| | 03:29 | way around, like this. And now to get
the focal point over here on the left, I'm
| | 03:35 | going to click the Flip Overlay button.
| | 03:38 | Then I'll click and drag that focal point
where I want it; maybe on top of this shiny plum.
| | 03:44 | I'll adjust the bounding box a bit to
crop away these unwanted elements out
| | 03:49 | here, and when I'm satisfied with the
result, I'll click the green check mark.
| | 03:54 | And there's my cropped image, and I do
think the composition is improved from
| | 03:58 | the original photo.
| | 03:59 | So that's how to use the Crop tool to
improve composition or to crop a photo so
| | 04:04 | it's exactly the right
ratio to fit in your frame.
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| Retouching blemishes| 00:00 | When you're working on a portrait,
| | 00:01 | whether it's a professional portrait,
or a picture of a friend, you can try to
| | 00:05 | make the skin look better by
removing any unwanted blemishes.
| | 00:09 | To do that, I'll use the Healing Brush
tools here in the Full Photo Edit workspace.
| | 00:13 | When I'm retouching, I
like to be zoomed into 100%.
| | 00:16 | So I'll get the Zoom tool, I'll go up to the
options bar, and I'll click the 1:1 button there.
| | 00:21 | Here I see a couple of
blemishes I'd like to remove,
| | 00:24 | so I'll go to the toolbar, and I'll click
on the tool that looks like a band-aid.
| | 00:28 | From the flyout menu, I'm going to
start with the Spot Healing Brush tool.
| | 00:33 | Then I'll move into the image and I'll
find a spot that I want to remove, say
| | 00:37 | this dark area right here.
| | 00:39 | I'll make the brush tip just
big enough to cover that spot.
| | 00:42 | I'll do that by using the bracket keys
on the keyboard, which are located just to
| | 00:46 | the right of the P key.
| | 00:47 | Each time I press the right bracket key,
the brush tip gets bigger; each time I
| | 00:51 | press the left bracket key, it gets smaller.
| | 00:54 | When it's just big enough to fit over
that blemish, I'll click, and when I move
| | 00:57 | my cursor you can see that
the blemish has disappeared.
| | 01:00 | What's happened is that the Spot Healing
Brush tool looks for unblemished pixels
| | 01:05 | nearby, samples those, and places them
on top of the blemish blending the sample
| | 01:10 | in with the color,
lighting, and texture of the skin.
| | 01:13 | This tool is pretty quick to use, so I
can just move over another blemish, right
| | 01:17 | here. I'll click the left bracket key
once to size the brush, so it's just big
| | 01:21 | enough to cover that, and I'll
click, and that blemish is removed too.
| | 01:25 | Now here is a bit more complex area
where there are some lines in the skin.
| | 01:30 | So rather than rely on the Spot
Healing Brush to sample pixels from just
| | 01:34 | the right area, I'd like to control the
location from which the good pixels are sampled.
| | 01:39 | So I am going to switch to the
other tool: the Healing Brush tool.
| | 01:42 | I'll go back to the toolbar and
I will choose Healing Brush tool.
| | 01:46 | I'll move over the image on top of the
spot that I want to remove, and I'll size
| | 01:51 | the brush using the right and left
bracket keys until it's just a little bit
| | 01:55 | bigger than that spot.
| | 01:56 | Then I am going to move right next to
that spot here, and I'm going to hold down
| | 02:01 | the Option key on a Mac, or the Alt key
on a PC, and with that key held down, I'll
| | 02:06 | click to sample pixels from that location.
| | 02:10 | You can see that the cursor changes to a target.
| | 02:12 | Now I am going to release my finger
from the Option or Alt key, and when I
| | 02:15 | move my mouse, you can see inside the brush
tip exactly which pixels have been sampled.
| | 02:21 | You can see them better if I move over here.
| | 02:23 | So now I'm going to move over the
blemish, and I'm going to line up the pixels
| | 02:27 | that I've sampled with the surrounding
line in the skin, and when I have got that
| | 02:32 | all aligned, I'll click. And that
covers up that blemish with a sample that
| | 02:37 | almost perfectly matches the surrounding skin.
| | 02:41 | So that's how to use the Spot Healing
Brush tool, and the Healing Brush tool, to
| | 02:44 | remove unwanted blemishes from a subject's skin.
| | Collapse this transcript |
| Understanding layers| 00:00 | One of the big advantages of working in
the Full Photo Edit workspace, over the
| | 00:04 | other editing workspaces, is that
here you can take advantage of layers.
| | 00:08 | The beauty of layers is that layers
allow you to treat different pieces of
| | 00:12 | artwork as independent images.
| | 00:14 | So if you have a separate graphic or
part of a photo on its own layer, you can
| | 00:19 | paint on that layer, you can filter
that layer, you can add an effect to that
| | 00:22 | layer, you can move that layer, all without
having any impact at all on the rest of the image.
| | 00:28 | Control central for layers is
over here in the Layers panel.
| | 00:32 | If your Layers panel isn't showing, then
go up to the Window menu and choose Layers.
| | 00:37 | Each bar in the Layers panel
represents a separate layer.
| | 00:40 | To see what's on each layer in this file,
I'm going to make one layer at a time visible.
| | 00:44 | I'll start with the layer on the bottom,
the Background layer, holding down the
| | 00:48 | Alt key -- that's the Option key on a Mac --
as I click on the eye icon to the left
| | 00:52 | of the Background layer.
| | 00:53 | So now I've turned off the eye icons on
the other two layers, and what you see in
| | 00:57 | the Document window is just what's on
the Background layer, which is this blurry
| | 01:01 | photograph that takes up the whole layer.
| | 01:03 | Now, to see just what's on the next layer,
the sign layer, I'll hold the Option
| | 01:07 | or Alt key, and click in the
visibility field to the left of the sign layer.
| | 01:11 | The sign layer has this partial photograph,
and the rest of this layer is gray and white.
| | 01:16 | The gray and white checkerboard
represents transparency, or see-through pixels.
| | 01:21 | So wherever this sign layer is see-
through, we can see down through to the
| | 01:25 | content on the Background layer below.
And finally, there is a fish layer
| | 01:29 | here, I'll Option+click or Alt+click
in the visibility field to the left of
| | 01:32 | the fish layer, and you can see that
the only thing on this layer is this
| | 01:35 | little graphic of a fish.
| | 01:37 | The rest of this layer is transparent,
and you can see through it down to the
| | 01:40 | contents of the sign layer
and the Background layer below.
| | 01:43 | I am going to Option+Click or Alt+Click
again on the eye icon to the left of the
| | 01:47 | fish layer, and that turns on the eye
icons on all the other layers again.
| | 01:52 | I know you're wondering how I got these
different pieces of artwork on different layers.
| | 01:56 | The way that I did that was to make some
selections, and then delete the selected
| | 02:00 | areas, and you'll learn how to do that
in the upcoming movies in this chapter.
| | 02:04 | But for now, I'd like you to
concentrate on layers and how they work.
| | 02:09 | The beauty of putting these separate
pieces of art on separate layers is that
| | 02:13 | now I can work with any one of them
without affecting the rest of the image.
| | 02:17 | So, for example, let's say that I want
to move the fish. I'll select the fish
| | 02:21 | layer, and that's really important.
| | 02:23 | I have to click on this layer in order
to affect it, and then I'll go over to
| | 02:26 | the toolbar, and I'll select the Move tool.
| | 02:29 | Then I'll move into the image, and I'll
click and drag the fish, and as you can
| | 02:33 | see, only the fish is moving. The
sign and the Background didn't move.
| | 02:37 | I am going to move the fish a
little bit off the sign, like this.
| | 02:40 | Now let's say I want to move the sign;
same thing. I'll select the sign layer,
| | 02:44 | I'll get the Move tool in the toolbar, I'll
click and drag in the image, and the sign moves.
| | 02:49 | If I want to move the sign and the fish
together, then I'll select both layers.
| | 02:54 | To do that, I'll click on a layer, and
then I'll hold down the Control key on the
| | 02:57 | PC, the Command key on the Mac. I'll
select another layer, so you can see both
| | 03:02 | are now dark, meaning they're both
selected, and when I click and drag with the
| | 03:06 | Move tool, they both move together.
| | 03:08 | Now, moving isn't the only thing I
can do to the content of layers.
| | 03:11 | I can paint on a layer,
| | 03:12 | I can filter a layer, and so forth.
| | 03:14 | I have just used moving as an example here.
| | 03:17 | Another thing you can do with layers
is to change the order in which they
| | 03:20 | appear in the Layers panel, and that will
change the order of their content in the image.
| | 03:24 | So I'm going to click on the fish
layer here, so that that's the only one
| | 03:28 | selected. And then I'm going to click
again and hold on the fish layer, and drag
| | 03:32 | down to put the fish
layer beneath the sign layer.
| | 03:35 | When the border under the sign layer
lights up like this, I'll release my mouse.
| | 03:39 | You can see that I have switched the
order of those layers in the Layers panel,
| | 03:42 | and the content in the image has also changed.
| | 03:45 | Now the fish is behind the
sign, so we can't see his tail.
| | 03:49 | If I want to see the whole fish again,
I'll go back and click on the fish layer,
| | 03:53 | hold and drag to the top of the Layers
panel, releasing my mouse when the border
| | 03:58 | at the top gets dark, like that.
| | 04:00 | And with the Move tool still selected, I
am going to move the fish back where he
| | 04:03 | goes: in the middle of the sign.
| | 04:05 | What if you want to make a new layer?
| | 04:06 | To do that, with the fish layer
selected, I'll go down to the bottom of the
| | 04:10 | Layers panel, and I'll click this icon
that's called the Create a new layer icon.
| | 04:14 | It looks like a page with the corner
turned up. And that adds a new layer on top
| | 04:19 | of whatever layer was selected; in
this case, on top of the fish layer.
| | 04:23 | I think it's important to name layers, so
that you know what's on each layer by the name.
| | 04:27 | So to rename this from its default of
Layer 1, I'll double-click on the Layer 1
| | 04:31 | name, and then I'll type a name for this layer.
| | 04:34 | I am going to name this the paint layer.
| | 04:35 | Then I'll press Enter or Return on my keyboard.
| | 04:38 | To paint layer is currently completely
transparent, and you can see that from the
| | 04:42 | gray and white checkerboard on its thumbnail.
| | 04:44 | I am going to add some paint on this
layer, so I'll make sure that I have
| | 04:47 | selected the paint layer, and then
I'll go over and get the Brush tool.
| | 04:52 | I happen to have some gold
paint here in my foreground Color.
| | 04:55 | You can choose whatever color you like
by clicking on foreground color box and
| | 04:58 | choosing a color in the Color Picker.
| | 05:01 | I'll go with this gold.
| | 05:02 | I'll move on top of the
fish, and I'm going to paint.
| | 05:05 | Now remember, I'm not painting on the
fish layer; I am painting on my new paint
| | 05:09 | layer, and I'm laying down that opaque paint.
| | 05:13 | If I'd like to make that paint a little
bit see-through, so we can see the fish
| | 05:16 | below, I can use either a blend mode
from this menu, or I can try reducing the
| | 05:21 | opacity of the paint layer.
| | 05:23 | I'll start with the blend mode.
| | 05:24 | I'll click on this menu, and
there are many choices here.
| | 05:27 | These are all different formulas for
combining the color on the paint layer with
| | 05:31 | the colors on the layers below.
| | 05:33 | I urge you to experiment
with some of these blend modes.
| | 05:35 | I am going to go right for the Color
blend mode, which I often use when I want
| | 05:39 | to turn paint into a tint.
| | 05:41 | So when I choose the Color blend mode,
now that orange paint becomes more of a
| | 05:46 | tint on top of the fish.
| | 05:47 | If I want to make that tint a little
less opaque, a little more see-through, I
| | 05:52 | can use the opacity slider here
at the top of the Layers panel.
| | 05:55 | Clicking the arrow to the right of the
Opacity field and dragging to the left,
| | 05:59 | and that reduces the opacity of the
paint layer, and then I'll click to
| | 06:03 | dismiss that slider.
| | 06:05 | Notice that one of these layers,
the Background layer, has a lock on it.
| | 06:08 | This is typical of a photograph that
you might bring in from a digital camera.
| | 06:12 | A background layer like this can't be moved,
and you can't erase it down to transparency.
| | 06:17 | So to show you that I'll get the Move
tool, I'll select the Background layer, and
| | 06:21 | I'll try to move it, and nothing happens.
| | 06:23 | If I want to turn the Background layer
into a regular layer that acts just like
| | 06:27 | the other layers, I'll click on the lock,
and I'll drag that down to the trashcan
| | 06:31 | at the bottom of the Layers panel. And
now I can click and drag the content of
| | 06:36 | that same layer around, and its name
changes from Background, to layer 0.
| | 06:40 | Finally, what if you want to delete a layer?
| | 06:42 | So let's say I don't like the paint
layer; I want to delete it. I'll select the
| | 06:46 | paint layer, and I'll drag it down to
that trashcan at the bottom of the Layers
| | 06:49 | panel, and release my mouse.
| | 06:52 | So that's an overview of
layers in the Full Edit workspace.
| | 06:55 | As you can see, they give you a lot
of flexibility, and I urge you to give
| | 06:59 | them a try.
| | Collapse this transcript |
| Understanding selections| 00:00 | A selection isolates part of an image
so that you can modify just that area.
| | 00:04 | You could move, or delete, or fill, or
paint, or filter, or add an adjustment to just
| | 00:10 | a selected area without affecting the
rest of the image. And that's really
| | 00:14 | important for photographers, because
you'll often have part of an image that
| | 00:17 | just needs a little tweak, and you don't
want to affect the rest of your photo.
| | 00:21 | There are lots of different selection methods.
| | 00:23 | The trick is choosing the best
method for a particular selection.
| | 00:26 | There are Geometric Selection tools here.
| | 00:28 | If I click on the Rectangular Marquee tool,
I can make rectangular or square selections.
| | 00:33 | The Elliptical Marquee tool is for
making oval or circular selections.
| | 00:37 | I'll get the Rectangular Marquee tool,
and just to show you what it does, I'll
| | 00:41 | click and drag in the image;
| | 00:42 | it makes a rectangular selection
that's defined by these moving lines,
| | 00:46 | called marching ants.
| | 00:48 | Now if I were to do something to
the image, like press the Delete or
| | 00:51 | Backspace key on my keyboard, only the area
inside that selection boundary would be affected.
| | 00:56 | I am going to undo that by going up
to the Edit menu and choosing Undo.
| | 01:00 | The shortcut, by the way, is Control+Z on
the PC, Command+Z on the Mac, and that's
| | 01:05 | an important one to remember,
because you'll use it so often.
| | 01:08 | Now what if I want to get
rid of the selection boundary?
| | 01:10 | Well, that's another command. I'll
go to the Select menu and I'll choose
| | 01:14 | Deselect. And that's another one for
which you should remember the shortcut,
| | 01:17 | because you'll use it so much: Control+
D on the PC, or Command+D on the Mac.
| | 01:24 | Under the next tool there are a number of
Lasso tools that allow you to draw a selection.
| | 01:29 | For example, the Regular Lasso
tool is one that you can use to draw a
| | 01:33 | selection freehand.
| | 01:35 | Now it's really difficult to get a
selection around just part of the photograph,
| | 01:39 | but you can give it a try.
| | 01:40 | With any of Lasso tools, or the Marquee
tools, if I were to click outside of this
| | 01:45 | selection, watch what happens.
| | 01:47 | The initial selection goes away, and
that's because by default, in the options
| | 01:51 | bar for these tools, the New
selection icon is enabled.
| | 01:54 | I am going to make another
quick selection with the Lasso tool.
| | 01:58 | Now let's say I wanted to add to that
selection. In that case, I would go up and
| | 02:01 | select this option: Add to selection.
And now I can add to my initial selection
| | 02:07 | here, or here, or here.
| | 02:09 | If I want to subtract from a selection,
I'll click on the next icon, Subtract
| | 02:14 | from selection, and I can get rid of this
part of the selection, and this part, and so on.
| | 02:20 | I am going to put that back to its
default, and I'm going to deselect by pressing
| | 02:25 | Control+D or Command+D. There are some
other tools here that come in really handy
| | 02:29 | when you want to select an area
that's similar in color and tone.
| | 02:33 | For example, let's say I want to
select just the hat in this image.
| | 02:37 | I could try that with the Magic Wand tool,
but this tool is really hard to control.
| | 02:42 | So when I do click with the Magic
Wand like this, even if I have the Add to
| | 02:46 | selection icon highlighted up here, it
still is going to take me a number of
| | 02:50 | clicks to get the whole hat.
| | 02:52 | So I'm going to deselect, Control+D or
Command+D, and show you a tool that I think
| | 02:56 | often does a better job:
the Quick Selection tool.
| | 02:59 | With this tool, I'll move into the image and I'll
make my brush relatively small by pressing on the
| | 03:04 | left bracket key, which is right next to
the P key. Then I'll click and drag over
| | 03:09 | the hat, and the Quick Selection tool quickly
runs ahead of me selecting similar tones
| | 03:14 | and colors to the ones I'm dragging over.
So it does a pretty good job of selecting
| | 03:19 | the hat right away. This tool is also able to
recognize edges of objects; another advantage
| | 03:26 | over the magic wand. If I select part that
I don't want, like down here, then I'll
| | 03:30 | go to the options bar for the Quick Selection
tool, I'll click on this icon: Subtract
| | 03:35 | from selection, and I'll subtract this little
area. And then I'll go back and add to the
| | 03:40 | selection, which is the default for
this tool, and I'll get this last little
| | 03:44 | bit over here. So now that I have this area
selected, anything I do will affect only
| | 03:49 | this area. For example, I could come over
to the toolbar and select, from under
| | 03:54 | the Brush tool, the Color Replacement tool.
I happen to have blue as my foreground color.
| | 04:00 | You can click here and choose any color
you want. And then I'll move into the image.
| | 04:04 | I'm going to make my brush
big by pressing the right bracket
| | 04:05 | key, that's the second key to the
right of the P key, and then I can just
| | 04:11 | quickly click and drag to paint over
the selected area. And this particular tool
| | 04:16 | paints, but it doesn't lay down opaque
color. Instead, it respects the tones of
| | 04:21 | the photo underneath.
| | 04:22 | Now I'll deselect; Control+D or Command+D.
So that's an overview of the power
| | 04:27 | of selection tools.
| | 04:29 | To save yourself the most time and
effort, the trick is to find the selection
| | 04:32 | tool that works best for
the job that you're doing.
| | Collapse this transcript |
| Combining images| 00:00 | Now that you understand layers and
Selections, the subjects of the last two
| | 00:03 | movies, you're ready to combine
two images into one composite.
| | 00:08 | So here I have a costumed character.
I'd like to eliminate the area around
| | 00:12 | the character, and instead use as the
background this image, which I have
| | 00:16 | opened in the project bin.
| | 00:18 | I'll double-click this thumbnail so you can see
the image that I want to use as the background.
| | 00:22 | The first step is to put both
of the photos into one image.
| | 00:25 | To do that I'll select the image of the
costumed character, and I'll drag up and
| | 00:30 | into the image of the canal, and release.
| | 00:33 | Now if you look in the Layers panel,
you can see that in the image of the
| | 00:36 | canal I have two layers: the original
Background layer, and on top of that a
| | 00:41 | brand new layer that was made
automatically that contains the image of the
| | 00:44 | costumed character.
| | 00:46 | This comes in with the name of that
file. I am going to change that name to
| | 00:50 | something more meaningful by double-
clicking it, and I'll type costume instead.
| | 00:55 | With the costume layer selected, I'd
like to either delete or hide all of
| | 00:59 | this background so we can see
down through to what's on my preferred
| | 01:03 | background layer below.
| | 01:04 | Once way to do that would be to
select all this background and delete it.
| | 01:07 | I'll give that a try using the Quick
Selection tool set to its default of Add to selection.
| | 01:13 | I'll move into the image, and a
click and drag over the area surrounding
| | 01:17 | the costumed character.
| | 01:22 | If I miss a little bit, I'll go up to
the options bar and choose Subtract from
| | 01:26 | selection. I'll come in, I am going to
make my brush tip smaller by pressing
| | 01:30 | the left bracket key a few times, and then
I'll subtract this area from my selection.
| | 01:36 | And over here I need to add a little
bit, so I'll switch back to the Add to
| | 01:39 | selection icon, and I'll drag over
this area to include it in the selection.
| | 01:43 | When I like the result that
I have, I have two choices.
| | 01:46 | I could just delete all the selected
area by pressing the Delete key or the
| | 01:50 | Backspace key on my keyboard, like this.
| | 01:52 | And nnow what I've done is make all of
that area transparent so we can see down
| | 01:56 | through to the background of the canal
below, and you can see the gray and white
| | 02:00 | checkerboard that represents the
transparent pixels here on the layer thumbnail.
| | 02:04 | If I were in a hurry, I'd probably go with this.
| | 02:06 | But I think there's a better way to
do that, and that is to apply a layer
| | 02:10 | mask that will hide the area
surrounding the costumed character, but not
| | 02:14 | actually delete it.
| | 02:15 | That will give me more flexibility if
I want to change my mind about what the
| | 02:19 | composite looks like.
| | 02:20 | So I'm going to undo by pressing Control+Z
on the PC, or Command+Z on the Mac, and I
| | 02:25 | am going to Invert this selection, so
that rather than having the surrounding
| | 02:29 | area selected, I'll have just
the costumed character selected.
| | 02:33 | I'll go up to the Select
menu, and I'll choose Inverse.
| | 02:36 | Now I'll go back to the Layers panel,
I'll make sure that I'm on the costume
| | 02:39 | layer, and down at the bottom of the
Layers panel I am going to click this icon
| | 02:43 | that looks something like a washing
machine, and this will add a layer mask to
| | 02:47 | the costume layer, like this.
| | 02:49 | The layer mask, which you can see over
here in the thumbnail on the costume
| | 02:52 | layer, is filled with white in the
selected area, the area that corresponds to
| | 02:57 | the costumed character, and it's filled with
black everywhere else in the nonselected area.
| | 03:02 | And that black paint is hiding
the content of the costume layer.
| | 03:05 | So we can see down through to the
background layer below, but I haven't actually
| | 03:09 | deleted that content, and
that gives me a lot of options.
| | 03:13 | If I decide that I want to bring back
some of that surrounding area, I can do
| | 03:16 | that by adding more
white paint to his thumbnail.
| | 03:19 | I'll go over to the toolbar, and I'll
check that my foreground color is white.
| | 03:23 | If it isn't, I can use this double
pointed arrow to switch the background
| | 03:26 | and foreground colors.
| | 03:28 | And the only colors I am going to see
here are white and black, because I'm
| | 03:31 | working on a layer mask.
| | 03:32 | If you see any color here, then go
back over to the costume layer, and make
| | 03:36 | sure that you've clicked on this layer mask
thumbnail and not on the regular thumbnail.
| | 03:41 | So with the layer mask thumbnail
highlighted, I'll come back over to the toolbar
| | 03:45 | again, and I'm going to get my Brush tool.
| | 03:47 | I'll move into the image, I'll make the
brush relatively large by pressing the
| | 03:51 | right bracket key on my keyboard.
| | 03:53 | As I've said before, the left and right
bracket keys are up near the P key on your keyboard.
| | 03:58 | I'll make that brush soft by holding
the Shift key, and pressing the left bracket key
| | 04:02 | on my keyboard, and when I'm ready,
I'll paint with white on the layer mask. And
| | 04:07 | where I paint with white on the layer
mask, I'm bringing back into view the
| | 04:12 | content of the costume layer.
| | 04:15 | So I might bring all of that back.
| | 04:16 | If I go too far, like this, and I really
didn't want to bring this part back, I
| | 04:21 | can just switch to black paint.
| | 04:23 | Coming back over to the toolbar,
clicking that double pointed arrow so that
| | 04:26 | black is the foreground color, and
painting with black on the costume layer
| | 04:31 | mask, which again, hides the
surrounding area around the costumed character.
| | 04:36 | So I think you can see that the layer
mask route is the more flexible of the two
| | 04:40 | methods for creating a composite.
| | 04:42 | But if you're in a hurry, you may
prefer to just select an area, and delete it.
| | Collapse this transcript |
| Adding text to images| 00:00 | You can add editable text on top of a
photo in the Full Photo Edit workspace
| | 00:04 | using the Type tools, and in Photoshop
Elements 10, there are some exciting
| | 00:08 | new Type tools that let you add text around a
selection, around a shape, or on a custom path.
| | 00:14 | In this movie, I'll introduce some of
the basic Type features, and I'll show you
| | 00:18 | one of the new Type tools:
the Text on Selection tool.
| | 00:21 | I am going to start with the Horizontal
Type tool to add some type to this photo.
| | 00:25 | I'll move into the image, and
I'll click, and I'll type something.
| | 00:30 | When I'm done adding text, I have to go
up to the options bar for the Type tool
| | 00:34 | and click the green check mark to
commit that change, or if I don't want that
| | 00:38 | change, I'd click the red cancel
symbol. I'll click the green check mark.
| | 00:42 | Notice over in the Layers panel
that there's now a new layer that was
| | 00:44 | made automatically.
| | 00:46 | This is a special type layer
identified by the T on the thumbnail.
| | 00:50 | In some ways a type layer is like other layers.
| | 00:52 | So, for example, I can move the
content of this layer without disturbing the
| | 00:56 | rest of the image by making sure the
type layer is selected, and then going over
| | 01:00 | to the toolbar and getting the Move
tool, and clicking on the type and
| | 01:04 | dragging elsewhere in the photo.
| | 01:05 | But in another important
way, a type layer is different.
| | 01:08 | A type layer remains editable.
| | 01:10 | So even if I'm working on a different
layer, like this one, I can always come
| | 01:13 | back to this type layer to
change the way the type looks.
| | 01:16 | To edit a type layer, I'll select it
here in the Layers panel, I'll go to the
| | 01:20 | toolbar, I'll get one of the Type tools,
and then I'll move into the image, and
| | 01:24 | I'll put my cursor right next to the type.
| | 01:26 | I don't want to be this far away from
the type, because notice when I am there's
| | 01:30 | a dotted line around the cursor, and
that means that Elements is going to create
| | 01:34 | a new type layer. But I want to edit
the type on the existing layer, so I'll
| | 01:37 | move right next to it until
that dotted line disappears.
| | 01:41 | Then I'll click and drag over all
or part of the text on this layer.
| | 01:45 | With the text highlighted, I can come
up to the options bar and change the
| | 01:48 | way the text looks.
| | 01:50 | I might change the size of the type by
clicking the arrow to the right of this
| | 01:53 | menu, and choosing a different point
size, and right away you can see that change
| | 01:58 | in the Document window.
| | 01:59 | I can choose a different font by
clicking the arrow next to the Font field.
| | 02:02 | Here is a list of all the fonts
available to me on my computer;
| | 02:06 | you may have different fonts on your computer.
| | 02:08 | To the right of each font, you can see
a sample of what the font looks like,
| | 02:11 | which is very helpful.
| | 02:12 | I'll choose this one, and that
changes the font of this type.
| | 02:16 | I can also change the color of the
type by going to this menu, clicking the
| | 02:19 | arrow to the right of it, and
clicking on one of these other color chips.
| | 02:23 | When I'm done making changes to the type,
I have to click the green check mark
| | 02:27 | to commit those changes.
| | 02:29 | So those are the basics of creating and
editing type in the Full Photo Edit workspace.
| | 02:33 | Now let's take a look at one of those
new tools; the Text on Selection tool.
| | 02:37 | To use that I'll go over to the toolbar,
I'll click on the Type tool slot, and
| | 02:42 | from this menu I'm going to
choose Text on Selection tool.
| | 02:45 | With this tool, I can select part of a
photo based on color and tone, and then I
| | 02:50 | can type along the edge of that selection.
| | 02:52 | This tool works similar to the Quick Selection
tool, which I showed you in an earlier movie.
| | 02:57 | The first important thing to do is to go
back to the Layers panel and click on a
| | 03:01 | layer that has a photo,
like this Background layer.
| | 03:03 | Then I'll move into the image, and I'm
going to click and drag over this yellow
| | 03:07 | basket with the tool, and the tool
selects the basket based on its color and tone
| | 03:12 | and it's even able to recognize the
edge of the basket, so it can make a quick,
| | 03:16 | accurate selection like that.
| | 03:18 | If I go too far, and I select something
I don't want to include, like this gray
| | 03:22 | area, I can go up to the options bar for
the Text on Selection tool, and click on
| | 03:26 | the Subtract from selection icon.
| | 03:28 | Then I'll come into the image, and I'll
drag over the area that I don't want to
| | 03:32 | include in my selection.
| | 03:33 | I can also expand or contract the
selection by using this Offset slider.
| | 03:38 | So if I pull that way over to the
right, that expands the selection out.
| | 03:42 | I am going to put that back to about the middle.
| | 03:45 | Now there is another important step.
| | 03:46 | When I'm happy with my selection, I
have to come back down into the image and
| | 03:50 | click the green check mark to accept it.
| | 03:53 | Notice that that changed the
marching ants of the selection to a solid
| | 03:56 | line that's a path.
| | 03:58 | I can type right along this path
with the Text on Selection tool still
| | 04:01 | selected in the toolbar.
| | 04:03 | By moving over that path, my cursor
changes to an I-beam, and I'll click there,
| | 04:07 | and I'll start typing.
| | 04:11 | When I'm done, I'll go up to the options
bar, and I'll click the green check mark,
| | 04:15 | and that commits that text.
| | 04:16 | To make that path disappear, I'll go
back to the Layers panel and I'll click
| | 04:20 | on a different layer.
| | 04:21 | So there's my Text on a Selection.
| | 04:23 | Even after I've committed Text on a Selection,
I can go back in and change the way it looks.
| | 04:28 | Here's my new text on selection
layer that was made automatically.
| | 04:32 | I'll select that, and with any of the
Type tools selected, I can go in and click
| | 04:37 | and drag over part of the text, and
make a change to it up in the options bar.
| | 04:41 | So I'll change the color of this
text, and click the green check mark.
| | 04:45 | I can also change the shape of the text
by going to the Image menu, and choosing
| | 04:50 | Transform Shape, and
choosing Free Transform Shape.
| | 04:55 | Then I can click on any of the anchor
points on the bounding box that appears in
| | 04:58 | the image, and drag those to change
the shape of the path on which I typed.
| | 05:03 | When I click the green check mark,
the shape of the text changes too.
| | 05:07 | Then I'll click off of
that layer to hide that path.
| | 05:10 | As you've seen, the great thing about
type in the Full Photo Edit workspace is
| | 05:14 | that it remains editable.
| | 05:15 | So as long as I save this file in a
format that retains layers, like the PSD
| | 05:20 | format, I can always come back in,
select a type layer, and change the way the
| | 05:24 | type on that layer looks.
| | Collapse this transcript |
| Improving a photo with adjustment layers| 00:00 | When you want to make corrections to
color or lighting in a photo here in the
| | 00:03 | Full Photo Edit workspace, you can do
that either with a direct adjustment or
| | 00:08 | with an adjustment layer.
| | 00:09 | I prefer to use adjustment layers,
because they're nondestructive of the original
| | 00:13 | photo, they remain editable, and you can
target your adjustment to just part of a
| | 00:17 | photo when you apply an adjustment layer.
| | 00:19 | But if you're in a hurry, you might want
use a direct adjustment, so let me show
| | 00:23 | you where those are located.
| | 00:24 | Those are up here under the Enhance menu.
| | 00:26 | There are some Auto adjustments here,
and then in this section, there are some
| | 00:31 | adjustments over which you get some controls.
| | 00:34 | But I like to use adjustment layers,
for the reasons that I mentioned before.
| | 00:38 | So let me show you how to
add an adjustment layer.
| | 00:41 | Over in the column on the right, I've
closed some of the panels to make more
| | 00:44 | room for my Layers panel
and my Adjustments panel.
| | 00:47 | If your Layers and Adjustment panels
aren't showing, go up to the Window menu at
| | 00:51 | the top of the screen, and choose them from here.
| | 00:54 | To add a new adjustment layer, I'll go
to the bottom of the Layers panel, and
| | 00:57 | I'll click this icon that looks
like a black and white circle.
| | 01:00 | The adjustment layers are in
the second and third sections.
| | 01:03 | Those I use most are the Hue/
Saturation adjustment layer to intensify or
| | 01:08 | deintensify color in an image, the
simple Brightness/Contrast adjustment layer,
| | 01:13 | or the Levels adjustment layer, which
gives me the most control over brightness
| | 01:17 | and contrast adjustments.
| | 01:18 | I am going to choose Levels
here, and that does two things:
| | 01:21 | it changes the Adjustments panel to
show the Levels controls, and up here in the
| | 01:26 | Edit menu, it creates a brand
new layer; an adjustment layer.
| | 01:30 | An adjustment layer affects the
content of all the layers below.
| | 01:33 | In this case, there is just
the one background layer.
| | 01:36 | An adjustment layer comes with its
own layer mask, which is represented by
| | 01:39 | this white rectangle.
| | 01:40 | We'll get to that in a minute, but first
let's see how to make a levels adjustment.
| | 01:45 | I'll move down to the Adjustment panel.
| | 01:47 | Here is a histogram, or a bar chart,
that shows the tonal values in this image.
| | 01:52 | The darkest possible tonal values are over on
the left, and the brightest over on the right.
| | 01:56 | As you can see from the shape of this
mound, the tonal values in this image are
| | 02:00 | all in the dark area, and
in some of the gray areas.
| | 02:04 | There are no tonal values in the
brightest areas, and that's why the image
| | 02:08 | looks kind of dull.
| | 02:09 | To increase the contrast in this image,
I want to set a white point, and I also
| | 02:13 | want to expand the tones in this image
across the full tonal range, from dark to light.
| | 02:18 | To do that, I'll use the Levels
controls right under this bar chart.
| | 02:22 | I'll take the White slider, and I'll
drag it just underneath the first of the
| | 02:26 | pixels in this image, and that pushes
those particular pixels to pure white,
| | 02:30 | and it also takes all the other pixels in the
image, and expands them across the tonal range.
| | 02:35 | I'll take the Black slider, and I'll
move that over slightly too, to push the
| | 02:39 | darkest pixels in the image to pure black.
| | 02:41 | Now there is a lot more contrast in the image.
| | 02:43 | To show you a before and after view,
I'll go down to the eye icon here at the
| | 02:47 | bottom of the Adjustments panel, and
I'll click to show you how I started, and
| | 02:50 | click again to show you where I am now.
| | 02:52 | I mentioned that one of the advantages
to an adjustment layer is that it doesn't
| | 02:57 | directly impact the photo.
| | 02:59 | So if you got up to the Layers panel, you
can see that that adjustment is located
| | 03:03 | on this adjustment layer only.
| | 03:05 | If I make the adjustment layer invisible,
the original photo on the background
| | 03:09 | layer remains as it always was.
| | 03:12 | And because this adjustment layer is a
separate layer, I could do something like
| | 03:16 | lower its opacity, using the Opacity
slider, or if I didn't want the adjustment
| | 03:22 | anymore, I could even drag it down to
the trashcan at the bottom of the Layers
| | 03:26 | panel to delete it all together.
| | 03:29 | Another advantage of this adjustment
layer is that it remains editable, as long
| | 03:32 | as I save the photo in a format that
retains layers, like the PSD format.
| | 03:37 | So let's say I were doing something
else to the photo, like working on the
| | 03:40 | background, I could always come back
and click on that Levels adjustment layer.
| | 03:44 | That brings back the controls for
levels here in the Adjustments panel, and I
| | 03:47 | could make a change.
| | 03:48 | So I might take this Gray slider and
drag it more to the left, which will
| | 03:53 | brighten up the photo overall.
| | 03:54 | The third advantage of an adjustment layer
is that it comes with its own layer mask.
| | 03:59 | When a layer mask like this is white,
it's really not impacting the photo at
| | 04:02 | all, but if I paint with black on part
of this layer mask, that will hide the
| | 04:06 | adjustment from those parts of the photo.
| | 04:08 | I am going to go back over the
toolbar, and there I'll make sure that the
| | 04:12 | foreground color is set to black.
| | 04:14 | I'll only see gray, white or black,
because I'm working on a layer mask.
| | 04:17 | If your foreground color is white,
just click the double pointed arrow here
| | 04:21 | to switch it to black.
| | 04:22 | Then I'll go up and get the Brush
tool, I'll make sure that my brush is
| | 04:25 | relatively large and soft using the
left and right bracket keys that are to the
| | 04:30 | right of the P key on my keyboard.
| | 04:32 | Pressing the left bracket key makes
the brush tip small, pressing the right
| | 04:36 | bracket key makes it larger, and
holding the Shift key as I press the left
| | 04:40 | bracket key makes it soft.
| | 04:42 | Now, with this soft brush, I am going to
paint over some parts of the photo from
| | 04:46 | which I want to hide this adjustment.
| | 04:49 | So these parts of the photo are
going back to the original photo.
| | 04:53 | They're no longer lightened, and more
contrasty, which I had accomplished with
| | 04:58 | that levels adjustment.
| | 05:00 | And that focuses attention here on the
center of the image, where I still have
| | 05:04 | my adjustment showing.
| | 05:06 | If you look at the layer mask
thumbnail, you can see where I painted with
| | 05:09 | black to hide the adjustment, and where the
thumbnail is still white showing the adjustment.
| | 05:14 | So that's how to correct a
photo using an adjustment layer.
| | 05:17 | I do suggest that wherever you can
you use an adjustment layer over a direct
| | 05:21 | adjustment, because you get so much more
flexibility with an adjustment layer, and
| | 05:25 | the adjustment layer is not
destructive of your original photo.
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|
|
6. Making Photo CreationsCreating a greeting card| 00:00 | One of the most fun parts of Elements
is the ability to make photo creations
| | 00:04 | like books, calendars, greeting cards, and more.
| | 00:08 | You can do that from either the
Organizer, where I am now, or from the Editor.
| | 00:11 | I am going to start in the Organizer
where I am going to select a couple of
| | 00:14 | photos here, and here, and then I'll go
to the Create tab, and there I have a
| | 00:19 | list of the various kinds of photo
creations I can make from the Organizer.
| | 00:24 | As an example, I am going to show
you how to make a greeting card.
| | 00:27 | So I'll click on Greeting Card, and
Elements loads the Editor Workspace.
| | 00:32 | The Editor Workspace opens
to this Greeting Card window.
| | 00:35 | The first thing to do here is
to choose a size for the card.
| | 00:39 | There are flat cards, which are like
postcards, and there are folded cards.
| | 00:43 | Some of these I can have
professionally printed by Kodak, some by Shutterfly,
| | 00:47 | but all of them can be
printed on my desktop printer.
| | 00:50 | I am going to choose this Flat, Landscape
size, and then I'll move over to the Themes.
| | 00:55 | Themes are combinations of layouts,
backgrounds, frames, and graphics.
| | 01:01 | Choosing a theme here is just a starting place.
| | 01:03 | Because the holidays are coming, I am
going to choose the Christmas theme, and
| | 01:07 | then I can see a preview over on the
right of the default layout of the size
| | 01:12 | card I chose with this theme.
| | 01:13 | I will click OK, and Elements goes
about generating the card, and filling the
| | 01:20 | individual frames on the card with my photos.
| | 01:23 | Down in the Project Bin, if I click
Show Open Files, and change that to Show
| | 01:28 | Files Selected in Organizer, I can see
the two photos that I had selected in the
| | 01:33 | Organizer for this card.
| | 01:35 | If I don't like where the photos are
placed automatically, I can switch them out.
| | 01:39 | So I might take this thumbnail, and
just drag it up into this frame to switch
| | 01:44 | that, and I'll do the same with this thumbnail.
| | 01:46 | Before I do too much more to the card,
I am going to go right to the Create
| | 01:50 | column over on the right, and I am
going to click on the Layouts tab.
| | 01:55 | Here, I see alternative layouts that I
could use for this card, and it shows up
| | 01:59 | in the Document window with my photos.
| | 02:01 | Here is another one.
| | 02:02 | I think I am going to go with this one.
| | 02:04 | I can customize this layout even further.
| | 02:07 | For example, with the Move tool
selected over here in this abbreviated toolbar,
| | 02:11 | I can move over any one of the
photos, and adjust its position.
| | 02:15 | And inside of each photo frame, I
can change the size of the photo;
| | 02:18 | so if I double-click on this
frame, that brings up this toolbar.
| | 02:22 | By dragging this slider to the left, I
can zoom out on the photo, so more of it
| | 02:27 | shows in the photo frame. And then if I
click inside of that bounding box, I can
| | 02:32 | move the photo around in the frame.
| | 02:33 | When I am satisfied, I'll click the check mark.
| | 02:35 | I'll do the same to this photo;
| | 02:37 | double-clicking it, I'll back up a
little bit, so we can see more of it, and
| | 02:40 | I'll get it positioned just the way I
want it here in this frame, and then I'll
| | 02:46 | click the check mark to commit that change.
| | 02:49 | To customize this further, I'd like to add a
colorful background, and maybe some graphics.
| | 02:54 | So I'll go to the Artwork tab here.
| | 02:56 | First, I can choose a background.
| | 02:57 | I'll double-click one of these
thumbnails to apply the background to the card.
| | 03:02 | I think that one is a little busy, so
I am going to go down and choose this
| | 03:04 | more solid red, double-
clicking it to apply it to the card.
| | 03:09 | If I scroll down, I have a
choice of frames that I can apply.
| | 03:13 | I'll select one of the photos, and
then I'll scroll down further to find the
| | 03:17 | frame that I want to use, this one, and
I'll double-click that frame thumbnail,
| | 03:21 | and it applies the frame to that photo.
| | 03:23 | I'll do the same with the other photo,
selecting it, and double-clicking the frame.
| | 03:27 | If I scroll down further, I have a choice
of some graphics that I can add to this card.
| | 03:32 | To apply one of these graphics,
I'll double-click it, and it appears in
| | 03:35 | the middle of the card.
| | 03:36 | I can click inside of its bounding
box and move it wherever I want it on the
| | 03:40 | card, and if I move outside one of the
corners of the bounding box, I can rotate
| | 03:44 | it to have it positioned just the way
I want it, and then click the green check
| | 03:48 | mark to accept that change.
| | 03:50 | This layout has some
placeholder text up here, and down here.
| | 03:54 | I am going to work with this text first.
| | 03:56 | I'll select it to see this bounding
box around it, and then I'll double-click
| | 04:00 | right on the text, and that switches me over
to the Text Tab in the column on the right.
| | 04:06 | I'll click just to the right of the text,
and drag over it to highlight it, and
| | 04:10 | now I can change its font, its
style, its size, and so forth.
| | 04:13 | For example, if I go to the Size menu,
and I click the arrow there, I can scroll
| | 04:18 | down to increase the size of the text.
| | 04:22 | While I have the text
highlighted, I can change what it says.
| | 04:25 | So I am going to type Happy Holidays,
and because this text is inside of a
| | 04:29 | bounding box, it will
automatically wrap around inside the box.
| | 04:33 | I don't even have to press Return.
| | 04:35 | Now, it's hard to see that
text against the red background.
| | 04:38 | So I might want to change its color,
or apply one of these prebuilt styles.
| | 04:42 | I am going to scroll down here
to find a gold embossed style.
| | 04:48 | I'll select the type again, and I'll
double-click on that gold embossed style to
| | 04:52 | apply it to the type.
| | 04:53 | Now, I'll go up to the options bar at
the top of the screen, and I'll click
| | 04:56 | the green check mark to commit all
those edits. And finally, I'll get the Move
| | 05:00 | tool, and I'll click inside the type
bounding box, and move the type wherever I want it.
| | 05:06 | I could style this other bit of type
the same way, or I can just select it, and
| | 05:10 | press Delete or Backspace on my keyboard,
and delete that entire bit of text. And
| | 05:15 | then I might click on the
gingerbread man, and move him over.
| | 05:19 | So now I'm finished customizing my card,
and I have several options for outputting it.
| | 05:24 | In the next movie, I'm going to address
all the different things that you can do
| | 05:28 | to output your card.
| | 05:29 | For now, I'm just going to click Done,
and that will save the card in a special
| | 05:33 | format, the PSE format, that will allow
me to reopen it into this Photo Creation
| | 05:38 | Workspace to edit it further if I want to.
| | 05:41 | So I'll click Done.
| | 05:42 | Yes, I do want to save these
changes, so I'll click Yes.
| | 05:45 | I'll go to my Desktop,
| | 05:46 | I'll give the file a name, mycard,
and I'll save it in the Photo Project
| | 05:52 | Format, .pse, so I can reopen it into Elements
Photo Creation Workspace, and I'll click Save.
| | 05:59 | Stay tuned for the next movie where I'll
show you other ways that you can output
| | 06:03 | your photo creations.
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| Outputting a photo creation| 00:00 | When you finish making a photo
creation like a greeting card, or a book, or a
| | 00:04 | calendar, you have a number of options
for outputting your creation, and that's
| | 00:07 | what I am going to cover in this movie.
| | 00:09 | In the last movie, I showed you how to
save a creation when you were done making
| | 00:13 | it in the special Photoshop
Elements project format: the .pse format.
| | 00:18 | You can reopen a creation in this format
back into Element's editor, so that you
| | 00:22 | can work on it further, or output it.
| | 00:24 | To open this card, I am going to
select it here in the Organizer.
| | 00:27 | Notice that I'm in the 06_02 folder, not
in this subfolder, and then I'm going to
| | 00:32 | go over to the Fix Tab, click the
arrow there, and choose Full Photo Edit, and
| | 00:37 | that opens the card in the
Create tab of Elements Editor.
| | 00:41 | I could work on it further here,
or when I'm done, I can output it.
| | 00:44 | There is a new command in Photoshop
Elements 10 for outputting creations.
| | 00:48 | That's located under the File menu.
| | 00:51 | In this case, it says Export Card,
because I'm working on a greeting card.
| | 00:55 | I'll click there, and in this window I can
choose one of several formats in which to output.
| | 01:00 | This particular card has three pages;
| | 01:02 | a front, and two inside pages.
| | 01:05 | I can output those multiple pages as
separate JPEGs, separate TIFFs, or as pages
| | 01:11 | in a multi-page PDF.
| | 01:13 | This could be useful if I want to
share the pages of this card with another
| | 01:16 | designer who doesn't have Elements,
but wants to edit them anyway; maybe in
| | 01:20 | another program like Adobe Photoshop,
or if I want to print these on a desktop
| | 01:24 | printer other than the one that
I have attached to this computer.
| | 01:27 | In this case, I'll choose JPEG, I will
browse to the destination where I want
| | 01:31 | these JPEGs to be saved.
| | 01:32 | I'll just put them on my Desktop, and click OK.
| | 01:35 | Then I'll click OK.
| | 01:37 | Now, out on my Desktop, you can see that
Elements has saved three separate JPEGs
| | 01:40 | for me: one for each of
the three pages of this card.
| | 01:44 | I'll close that, and go back to Elements editor.
| | 01:47 | From here, I have a couple of other options.
| | 01:49 | I can either print this card myself, or
I can order it for commercial printing.
| | 01:54 | If I click the Print button here, that
opens the Print dialog box, and I'll just
| | 01:59 | walk through the steps over here on the
right to print each of the three pages
| | 02:03 | of this card as an individual print.
| | 02:05 | By the way, if you are printing on your
home printer, it's a lot easier to print
| | 02:09 | a single page card than to
print these folded multi-page cards.
| | 02:13 | So I'm going to click Cancel here,
because I want to show you another way that
| | 02:16 | you can get prints of your card, and
that's to order them commercially.
| | 02:20 | When I made this card, I chose
a template from the commercial
| | 02:23 | printer, Shutterfly.
| | 02:24 | So when I click the Order button here,
and then click OK, Elements will prepare
| | 02:29 | the card for printing by Shutterfly.
| | 02:31 | Some of the other templates will be
printed by Kodak, and that opens this
| | 02:34 | order form that I can use to order commercially
printed copies of this card, of course for a fee.
| | 02:40 | I am not going to do that right now. I
am just going to close this dialog box,
| | 02:44 | and I'll click Yes to stop using the service.
| | 02:46 | That returns me to the Organizer
where I can see that my card is still open
| | 02:50 | over in the Editor.
| | 02:51 | I am just going to minimize the Organizer,
so I can get to the Editor behind it,
| | 02:55 | and to close the card, I'll
click Done. I'll click No;
| | 03:00 | I haven't made any changes I want to save.
| | 03:02 | So those are some options for
outputting your photo creations, either as prints
| | 03:06 | you make yourself, as commercially
printed photos, or as JPEGs, TIFFs, or
| | 03:11 | multi-page PDFs that can
be opened by someone else.
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|
|
7. Sharing Your PhotosSending photos by email| 00:00 | You can send photos by
e-mail directly from Elements.
| | 00:03 | This will save you several steps over
exporting photos from Elements, and then
| | 00:07 | attaching them to your e-mail clients.
| | 00:10 | The easiest way to send photos by e-mail
in Elements is to go to the Share tab in
| | 00:14 | the column on the right, and use
the Email Attachments feature here.
| | 00:18 | Before you do that, you have to set
up the Preferences in Elements to
| | 00:22 | recognize your e-mail client.
| | 00:24 | To do that, I'll go to the Edit menu,
and down to Preferences, and over to the
| | 00:28 | Sharing Preferences.
| | 00:30 | If you're on a Mac, you'll find your
Preferences under Adobe Elements 10
| | 00:33 | Organizer on the left side of the menu
bar at the top of the screen, and your
| | 00:37 | Sharing Preferences may look
a little different than this.
| | 00:40 | Go to the Email Client menu, and choose
your favorite e-mail client from here.
| | 00:45 | If you don't see your e-mail client, you
can use this Adobe Email Service, which is
| | 00:49 | what I'm going to do now.
| | 00:50 | Here you'll type in a Username, and
an e-mail address, and then click OK.
| | 00:56 | Now you can select one or more photos
in the media browser in the Organizer to
| | 01:00 | send as an attachment to an e-mail.
| | 01:02 | I'll go over to the Email Attachments
feature in the Share tab, I'll click there,
| | 01:06 | and here I see a thumbnail of all the
photos that I would like to attach to this
| | 01:11 | e-mail that I'm creating.
| | 01:12 | I can add more by dragging other
photos into this area from the media browser,
| | 01:17 | and I can delete photos from here by
selecting them, and clicking this minus sign.
| | 01:20 | I am going to stick with this single photo.
| | 01:23 | Notice over here that the format of
this photo is PSD, or Photoshop Document.
| | 01:28 | When I send photos by e-mail, I like to
send them as JPEGs, because JPEG is a
| | 01:34 | format that will compress photos to
make them smaller, and keep them looking
| | 01:38 | good at the same time.
| | 01:39 | So I like to keep this command
checked, Convert Photos to JPEG, and that
| | 01:44 | tells Elements to automatically
convert a copy of this photo to the JPEG
| | 01:48 | format to attach to my e-mail.
| | 01:50 | This will also make that copy
smaller, which is a good idea so that the size
| | 01:55 | of the photo is
manageable at the recipient's end.
| | 01:58 | So I'll go to the Maximum Photo Size
menu, and I'm what you choose Very Small.
| | 02:03 | I can also set to JPEG compression Quality here.
| | 02:07 | The smaller the quality, the
smaller the file size will be.
| | 02:10 | But I don't want to set this too small,
or the appearance of the photo may suffer.
| | 02:14 | So I am going to drag that to
Medium, and then I'll click Next.
| | 02:20 | Here, I can type a message for the
body of e-mail; I'll just leave the default
| | 02:24 | text there, and down here I can
select the recipients of the e-mail.
| | 02:28 | If you've already set up a contact book;
that's an address book here in Elements,
| | 02:32 | or in Adobe's online service, photoshop.com,
you'll see all that people that
| | 02:37 | you've entered into that
contact book here in the list.
| | 02:41 | If you haven't set that up, click this
icon, and you maybe prompted to register
| | 02:45 | for, and sign into, Adobe's online services.
| | 02:49 | I've already done that, and I've set up
my contact book with this one contact.
| | 02:54 | I can add more contacts by clicking
here, and there are other commands here for
| | 02:59 | managing my contacts.
| | 03:01 | I am going to click OK, and then I'll
select Patty M. as the recipient of this
| | 03:06 | e-mail, and then I'll click Next.
| | 03:09 | If your media browser is showing a
different image than the one you see here,
| | 03:12 | don't worry; Elements will
still attach the correct image.
| | 03:16 | Here I can see my e-mail message.
| | 03:18 | I can change anything here, like the
body of the message, or the Subject line;
| | 03:22 | maybe I'll just select that, and instead
I'll type, Check out this photo, and I
| | 03:30 | can add more recipients here.
| | 03:32 | When I'm happy with it, I'll click
Send, and that will send that e-mail with a
| | 03:36 | copy of this photo.
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| Printing photos| 00:00 | If you have a desktop printer, you can
print photos directly from Elements yourself.
| | 00:04 | You can print in either the
Organizer, or from the Editor.
| | 00:07 | The Print dialog box looks
slightly different in each case.
| | 00:10 | I'm going to be turning here from the Editor.
| | 00:12 | First I'll open the files that I want to print.
| | 00:14 | I have only one file open as you can see.
| | 00:16 | Then I'll go up to the File
menu, and I'll choose Print,
| | 00:20 | and that opens this Print dialog box.
| | 00:22 | If I had more than one photo open, you
would see a thumbnail of it over here in
| | 00:26 | the list of files to be printed.
| | 00:28 | If I decide that I want to print some
more photos that I didn't have open, I can
| | 00:31 | come down to the Add icon here, and add
more photos from my Organizer catalog.
| | 00:36 | To set up the photo for print, I'll just
go through the steps that are numbered
| | 00:39 | over here on the right.
| | 00:40 | If you're on a Mac, you won't see exactly
the same steps that I see here on Windows,
| | 00:45 | but the general principles are the same.
| | 00:46 | First, I'll select my printer from this list.
| | 00:49 | If you don't see your printer here,
remember to turn it on, and if it still
| | 00:53 | doesn't appear here, then exit out of
this dialog box, and in your Web browser go
| | 00:57 | back to the Web site of your printer
manufacturer, and download the latest driver
| | 01:01 | for your printer, and try to print again.
| | 01:04 | Here are the settings that were
installed by my printer driver;
| | 01:07 | yours may be different.
| | 01:08 | I can change those by clicking this
button, or I can just leave them as they are.
| | 01:11 | In the next section, I'll select my paper size.
| | 01:14 | The paper size is represented by
this large, white rectangle here in the
| | 01:19 | center of the screen.
| | 01:20 | As I change the paper size,
that preview will change too.
| | 01:24 | I am going to leave this
set to 8 by 10 inches for now.
| | 01:28 | I can also change the orientation of
the paper from vertical, or Portrait, to
| | 01:32 | horizontal, or Landscape.
| | 01:34 | In the next step, I'll select the type of print.
| | 01:37 | When I want to print individual photos,
I leave this set to Individual Prints.
| | 01:41 | And here I can select the print size.
| | 01:43 | I like to have this set to Actual Size,
because I prefer to do any resizing or
| | 01:48 | cropping of the photo outside of
the print dialog box where I have more
| | 01:51 | control over the process.
| | 01:53 | But there are some other options here.
| | 01:54 | I can choose from one of these preset
sizes, and I also have the option to crop
| | 02:00 | the photo to fit inside the frame, like this.
| | 02:03 | But as I said, I prefer to do that
elsewhere, so I am going to leave this
| | 02:05 | unchecked, and I'll put the
Print Size back to Actual Size.
| | 02:09 | Here, I can use the arrows to select
the number of copies that I want of each
| | 02:14 | page, with one photo being printed on each page.
| | 02:17 | Here in the center of this dialog box, I see
the paper and the photo inside this blue frame.
| | 02:23 | I can reposition the photo and the frame
by using the Rotate buttons here, and by
| | 02:28 | unchecking Center Image, and then if I
move my mouse over one of the borders of
| | 02:33 | the frame until I get this
cross icon, I can click and drag.
| | 02:37 | If I do want the photo in the center
of the page, I'll check Center Image.
| | 02:41 | I can also change the size and position
of the photo inside the frame, although
| | 02:45 | as I said, I prefer to do
that outside of this dialog box.
| | 02:48 | But just you see you can see that, I can
zoom in on the photo, and I can move the
| | 02:53 | zoomed in photo around there.
| | 02:54 | I am going to put that back
where it was at the beginning.
| | 02:58 | And now I'm ready to print the image.
| | 03:00 | To do that, I'll just click Print.
| | 03:02 | So that's how to print photos
yourself on your desktop printer.
| | 03:05 | I am going to cancel out of this dialog
box a moment so that I can show you that
| | 03:09 | you have another way to get prints of
your photos, and that is to order them from
| | 03:13 | one of the printing
services available from Elements.
| | 03:16 | To do that here in the Editor, I'll
click the Create tab, click on Photo Prints,
| | 03:20 | and from here I can choose to order
prints from either Shutterfly, or from Kodak,
| | 03:25 | of course for a fee.
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| Sharing photos on Facebook| 00:00 | You can upload photos directly from
Elements Organizer to online sharing
| | 00:04 | services like Facebook,
Flickr, and SmugMug gallery.
| | 00:07 | Let's take a look at how to upload
photos from Elements to the popular Facebook.
| | 00:11 | In the Organizer, I'll select one or more
photos that I want to upload to Facebook.
| | 00:16 | Then I'll click on the Share tab in the
column on the right of the Organizer, and
| | 00:19 | from there I'll click on Share to Facebook.
| | 00:22 | First I'm asked to authorize
Elements to access my Facebook account.
| | 00:25 | I am going to uncheck Download
Facebook friend list, which is a feature that
| | 00:30 | integrates Facebook tagging
with tagging of photos in elements.
| | 00:33 | I don't want to do that for
now; I'll just click Authorize.
| | 00:37 | That launches my Web browser to
Facebook where I'll log in using my Facebook
| | 00:41 | username and password.
| | 00:47 | After I log in, I get this instruction to
close this window and return to Elements.
| | 00:52 | And back in Elements, I'll complete the
authorization handshake by clicking the
| | 00:56 | Complete Authorization button.
| | 00:59 | Elements then preps my files for
Facebook, and opens this window.
| | 01:02 | Here on the left I can see both photos
that I selected to upload to Facebook.
| | 01:06 | I can add to those using the plus
button down here, choosing other photos from
| | 01:11 | my Organizer, or I can delete one of these by
selecting it here, and clicking the minus symbol.
| | 01:16 | There aren't any people tags that I
want to include so I am going to uncheck
| | 01:19 | this, and then I'll come up and decide
whether I want to upload photos to an
| | 01:23 | existing album, or make a brand new album.
| | 01:26 | I don't have a Facebook album for
photos like this, so I am going to make a
| | 01:29 | new album in Facebook.
| | 01:31 | I'll make sure Upload Photos to a new album
is selected, and I'll give the new album a name.
| | 01:36 | I'll call this Photoshop Elements pix.
| | 01:40 | I'll leave these other fields
blank for now, and I'll come down to the
| | 01:43 | Permissions menu to choose who will be
able to see these photos in Facebook.
| | 01:47 | I am going to leave this set
to the default of Friends Only.
| | 01:50 | I like my photos to upload fast, and I'm
not that concerned about their quality
| | 01:54 | on Facebook, so I'll leave Standard
selected here in the photo upload quality
| | 01:59 | section, and I'll click Upload.
| | 02:02 | When the upload finishes I can just
close this window, or I can have my Web
| | 02:06 | browser open to Facebook
automatically for me, so I can see the photos.
| | 02:10 | I'll do that by clicking Visit Facebook.
| | 02:13 | Now, here in my News Feed, I can see the
two photos that I just uploaded to Facebook.
| | 02:18 | And this is the name of
the album that I created.
| | 02:20 | If I want to look at that album, I'll go
up to Profile, I'll click on Photos, and
| | 02:26 | there's my Photoshop Elements Pix album.
| | 02:29 | Clicking that opens the album,
where I can see the two photos.
| | 02:32 | Uploading photos to Facebook like this,
or to Flickr, or the other photo sharing
| | 02:36 | services that have partnered with
Adobe, is a great way to get your photos out
| | 02:40 | there so that people in your social
networks can enjoy and comment on them.
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ConclusionNext steps| 00:00 | The purpose of this course was to
give you the basics that you need to
| | 00:04 | get started using Photoshop Elements 10 to
edit and organize your own digital photos.
| | 00:09 | So what's next?
| | 00:10 | Well first, I urge you to practice
the techniques that I've shown you here.
| | 00:14 | If you need a refresher on any of
these techniques, you can always go back and
| | 00:17 | listen to a particular
movie in the course again.
| | 00:20 | Once you're comfortable with the
basics, take a look at some of the other
| | 00:23 | features available in the Elements 10.
| | 00:24 | For example, in the Editor you might go
to the Guided tab, and check out some of
| | 00:29 | the other step-by-step
guided edits that there are there.
| | 00:33 | Or jump over to the Organizer, click on
the Create tab, and look at some of the
| | 00:37 | other photo creations that you can make in
Elements, like photo books, and photo calendars.
| | 00:41 | I do hope that you've enjoyed exploring
the basics of Elements 10 with me here,
| | 00:46 | and that this has gotten you to a point
where you are really comfortable working
| | 00:49 | in Photoshop Elements 10.
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