 Welcome everyone to PS103, Adobe Photoshop Tools and Filters for Non-profits and Libraries. Thank you so much today for joining us for our TechSoup webinar. Before I get started with today's content I want to make sure everyone is comfortable using ReadyTalk, the webinar platform we are on. You can chat in to ask us questions or let us know if you have any technical issues by using the box on the lower left side of your screen. You don't need to raise your hand so just let us know anytime you need help or if you have a question or comment for us to read. Most of you are hearing the audio play through your computer speakers so if you are hearing an echo you may be logged in more than once. If that happens you will want to close any additional instances of ReadyTalk. If you have any issue with the streaming audio we also recommend just close out, rejoin, that often corrects the issue. If the audio and video stream don't stay in sync it's also a good idea to close out, rejoin, or to dial in using the toll-free number that Susan just chatted out in the chat window. We will keep all lines muted today to ensure a nice clear recording for you to refer to later and to share with your friends and colleagues. If you lose your Internet connection you can just rejoin by clicking that green Join Meeting button in your reminder or confirmation email. For those of you who were registered before this morning you should have received an email an hour ago that included a reminder and on the far right side has a link under Downloadable Files to today's PowerPoint presentation in case you would like to follow along. That email also included links to three images that we will be editing today in real time on screen. So if you would like to download those same images you are welcome to do so and have them open in Adobe Photoshop so that you can play along with us. Those of you who just registered this morning the confirmation email that you would have received should have those same resources, the same three links to images that you can download, and the same downloadable slide deck. You will receive those in an email after the webinar within a few days of this presentation. So if you don't have those resources at your fingertips now don't worry you will be getting them from us later. You will be able to find this full archived webinar on TechSoup's website at techsoup.org slash community slash event slash webinars. That's also where you will be able to find our upcoming list of webinars that you can register for too. And we will post it on our TechSoup video channel on YouTube. If you would like to tweet with us you can do so at TechSoup or using the hashtag TSwebinars. Today I am joined by two Wesses. That's why we like to internally call this our webinar instead of a webinar. And my name is Becky Wiegand. I am the Webinar Program Manager here at TechSoup and I am happy to be your host for today's event. We are joined primarily today. You will hear from Wes H or Wes 1 as we like to call him. He is our Senior Web Content Developer at TechSoup where he writes about Adobe for TechSoup and contributes to our design team. He writes about a lot of our different content including right now writing by the Cup newsletter and tons of other resources. He is a jack of many trades and he calls himself a hack with experience when it comes to graphic design. He learned a lot of his design skills through trial and error and being self-taught and watching lots of video clips on YouTube and other places to learn how to really be an amazing designer. He does a lot of design work for us in-house as well. So I am really glad to have him joining us. You will also hear from Wes White who is a Program Manager here at TechSoup who helps manage our relationship with Adobe and helps oversee our program for their discounts and their donations and helps work across the sector to ensure that nonprofits and libraries are able to access the technology resources they need. You will see on the back end assisting with chat Terry McGrath and Catherine Rockwell both from Adobe working in their corporate responsibility side of the organization. And you will also see Susan Hope Bard, TechSoup's Training and Education Manager who will be on hand to help you with your technical issues and to just field your questions and flag them for follow-up. Looking at the objectives for today we hope that by the time you leave you will have a good sense of when retouching a photo is recommended and when it is not. And in particular that you feel more confident knowing when it is not okay to start retouching photos particularly of people. We want you to come away having some basics of how to use the pen tool in particular because that is one of the tools we will be featuring today. We hope that you will learn which tools are best for different levels of retouching knowing that there are some tools that really make huge dramatic changes and you may want to be careful using them because you might not be able to undo those as easily. And some tools that are more delicate and more nuanced in using. And we will hope that you will understand the value of what they call non-destructive editing. And Wes will describe what that is later on. And we will also, you will watch Wes replace his brother-in-law's head with an ostrich's which is super fun as you can see right there. We just had to include that because it is too fun. So before we get started with the content a little bit about TechSoup for those of you who may not already be familiar with us. We are a nonprofit serving all the countries on this map that are blue which is almost all of them. And we would love it if you would chat in to let us know from where you are joining us from around the world. And go ahead and let us know we are in San Francisco's office where it is quite drizzly and gray today. I couldn't actually see the city on my commute over the bridge today. We've got folks joining in from Oregon, Wisconsin, Minnesota all over the place. I can't even keep up. We've got about 330 people in the room right now. We do have some folks joining us from outside the United States. And I recommend that if you are not joining us from TechSoup in the United States that you visit TechSoup.global and choose your country from the drop down to learn about which discounts and donations are available to you in the country where you live. Before we start with Wes' overview of the different tools and filters, I want to just highlight quickly, and we will do this again at the end, that you can access Adobe Photoshop and much more by visiting TechSoup.org slash Adobe where you can find Premiere Elements including Photoshop Elements. You can find the full, or sorry, this is the Adobe Creative Cloud Photography Plan, the Creative Cloud All Apps Plan where you can get access to these different programs for nonprofits, public libraries, faith-based organizations across the board. This is where you can go to access these. And you can also do this quick quiz that was created by Wes' one that I think is super helpful if you are not sure which tool you need to be using to create your newsletter, your flyer, if you are updating something on your website, if you are trying to edit an image. There is this really quick little quiz on how to choose the right Adobe app where you just answer some questions, like are you trying to do something to an image? Are you trying to sort those photos? Are you trying to put them on a website? You answer a quick quiz and it will tell you which of the tools you really should be using. So if you are not sure whether you need Illustrator or InDesign or Photoshop for a given task, this is a great resource. And the link is here at the bottom. I know it is long but we will include it and I know that Susan just chatted it out as well. But we will include that in the follow-up resources too because it is sometimes really challenging to figure out just what do you need to start with to get to the result that you need with the wide array of tools that are available to you. So with that I'm going to go ahead and have us get started with Wes and he is going to talk to us a little bit at the front end just about retouching photos and what to do and when so that it is clear when you have got the rights and the permission to do things. So take it away Wes. We are glad to have you on the program. Great. Thanks so much Becky. And welcome to everyone who is joining us. I am going to touch on a few things here at the start that we actually covered in some previous Photoshop webinars. So for anyone who has joined us before, my apologies if you have heard this before but I think it is some pretty important information if you are new to Photoshop or if you are something of an expert just to refresh your understanding of when it is okay to modify a photo and when maybe it is not. And this is of course my opinion but I think it is sort of a general principle to work off of okay to retouch photos when you are fixing flaws in photographs. So if there was dust on the lens when you took the photograph if the lighting was bad someone does not naturally look orange. That is I think permissible correcting an image for accuracy. Again sort of the same thing not so much as a technical issue but if they don't normally have something on their face in the photo they did you don't want to send out that photo in your flyer, your brochure, your annual report with a glaring issue that people would be otherwise distracted from your message. And of course when modifications are permitted by the licensing of the image. So if you get an image from a stock photo warehouse like iStock or Shutterstock you can generally make modifications to that but if you are getting free images from Flickr for example or anything else that is most likely Creative Commons licensed check those permissions because sometimes they are licensed only for use by non-commercial entities only for use that won't be modified for example. So definitely keep an eye out for licensing issues that may not allow you to make modifications. There is plenty of information on the Creative Commons website that explains what a modification is. For example is cropping okay, things like that. Not okay right off the top of course altering an image to meet a perceived social standard with a little PC way to put it but I guess the most obvious example of that is the Cosmo magazine cover of making someone look thinner or lighter skin or something like that in addition to just being inaccurate it's also offensive. So just keep that in mind when you decide that a photo may need to be retouched misrepresenting the subject of course making someone beyond just some kind of social message making someone appear to be in a certain place maybe they weren't there just consider if that may be detrimental to your mission your message something like that if someone later discovers that you've manipulated this image to look different than it originally was taken then maybe your message isn't it may lose that impact and of course if you don't hold the copy right this is something I mentioned a moment ago with the licensing for images that are Creative Commons for example and of course any image that you grab on the Internet may not be one you have the rights to make modifications to. I concluded some resources down at the bottom of the slide if you download the slide deck of course they'll be available for you to check out. We've got a couple of articles on TechSoup's website for sourcing free and legal images and media online as well as the top 10 sources for free images. I've also included a link to an article with that's on the MIT website that's about fair use standards. I won't go into the legal issues of fair use but as nonprofits we tend to have a little more leeway with that when it comes to what we are legally permitted to do with copyrighted images for example if I wanted to use an image from a cartoon or video game or something that's otherwise licensed by a company then I may have rights to use it even if I don't hold the copyright just because I may be using it for an educational purpose or something. So definitely worth checking that out but always play safe if you're unsure about what's okay to use and what's not. I'd also like to just have a quick refresh on the Photoshop interface because I'll be using some terminology that I want to make sure everyone knows what I'm talking about when I point out certain things. Three quick things right off the top on the left side of your Photoshop interface you'll find the tools. On the right side you'll find panels and at the top are options. When you click on a tool on the left it will change the options that are available to you at the top. If I choose the marquee tool for selecting a part of an image then I can specify if I want it to be feathered, if I want it to be a certain size or ratio. And then on the right side are also options that may apply depending on the tool I've chosen. If I click the text tool I want to add some text to the image then I can choose the typeface, the spacing, the paragraph, things like that on the panels on the right. I won't be going over all of these of course. There's not nearly enough time to cover that in about my 40 minutes here but I will be covering a few of these tools today including the spot healing brush. There's two healing brush tools I'll be mentioning those as well as the red-eye tool and the content aware move tool. I've touched on these in previous webinars so if I don't get into enough detail here today feel free to check those out because I definitely cover those a lot more and I believe our previous Photoshop webinar. And I'll be using of course the pen tool which is my personal favorite. They are located in the F section of the toolbar and I'll be covering that first off. So I'd say the tool that people tend to avoid learning until it's absolutely necessary because of the learning curve that it comes with. And of course on the right side I mentioned are the panels. As I said these are, this is the spot of the Photoshop interface where you can specify certain characteristics, certain properties of the tools and objects that you're using. So as I mentioned we've covered a few of these things in previous Photoshop webinars and three of which I'll be covering in the beginning and then I'll be adding some new tools and filters that we haven't covered before. Not new to Photoshop, but new to our webinar series. The first of course is the pen tool. This is useful for selecting objects in your photographs that's people, that's devices, that's whatever it is in your graphic that you want to isolate for whatever reason. It is the most precise method of selecting anything. Of course you may have used the Magic Wand tool or the Quick Selection tool and these are great if you have very simple elements to your image that you want to isolate. You want to select an all-white background, no problem it can handle that. If you want to select somebody's head with hair that definitely becomes a lot more detailed and the other tools are more quick and dirty whereas this one is the precise scalpel. I'll also be mentioning some of the Healing Brush tools for making minor adjustments to photos. Again this is one that we've covered before but also very handy if you need to just make quick corrections. The Camera Raw filter is sort of a powerhouse filter. It includes a lot of filters and tools that are present elsewhere in Photoshop. It allows you to make all these changes comprehensively and giving you some filters that aren't present elsewhere in Photoshop. You may have to use other tools and filters in order to get the same effect. You can do it more easily with just the same level of detail in the Camera Raw filter. So the first up as I mentioned is the Pen tool. And like I said it is the most precise because as you can see in the sample image I've got here on the left there's in the background of this image it's blurry, it's detailed because there's a section of grass and there's concrete or some kind of ground beneath it. It's not something that you can very easily select around with some of the other selection tools. It's very useful for selecting and refining so you don't have to get it right the first time. You can make your way as you go and refine your selection. Maybe you've got too much of the background or you cut out too much of the foreground and you can make those changes as you go. Of course you may want to select part of the object in order to place it within another image or just to modify a certain section of your image and not have it affect the rest of the image. So if you want part of it to be blurred or part of it to be more saturated or whatever then this gives you the option to do that. The reason people tend to avoid the Pen tool when they want to select something is because it's based on what are called Beguet curves and I'll be covering how that works in just a moment. But it's functionally based on creating anchor points and then making curves between them or with them. And that might sound a little weird but I'll explain that a little bit. That's that learning curve and again no pun intended with that that tends to make people shy away from it. I actually personally think it's the most complex of all the tools in that section. The brush is fairly obvious for what it does. The eraser is obvious. Gradients make sense, text and all that. But the Pen tool is a little elusive. So without any further delay let's hop over to Photoshop and I'll show you how we use the Pen tool. It's of course located here on the left. It looks like a fountain pen. If you don't see it immediately visible you can click and hold on that icon and you'll see there are other options. We want the very top one, just the Pen tool, the standard Pen tool. And it's also available by pressing the P key on your keyboard. Sorry if I'm getting some notifications. I don't think I'll get rid of those. So as I mentioned it's based on creating anchor points and then curves. So if I begin to click in the image, and I apologize if these are small to see, there's not much I can do. Even if I zoom in the anchor points are still small. But if I click there's a black dot here. I can click elsewhere. There's now a line that connects the two. If I click a third time there's a third one. And then if I click to the original you can't see this through ReadyTalk but my cursor becomes the fountain pen with a circle around it and it's going to close this path. I've now created a triangle path. It's very rudimentary but if I click elsewhere within the path I can create another anchor point on the path. And I've got two connectors at the end. And this is true for anywhere along the path that I want to create. Now that I've created anchor points on it I can, if I hold down Control or Command on the Mac, my cursor turns to a direct selection tool which means I can choose the anchor points on that path. I can click it. And if I move it we can see that there's a curve. It's geometrically, it's based on the geometry of the object itself. It's location on that path, the anchor points location on the path, and then those connectors at the side will also determine the arc of that section. So if I again hold down Control or Command on the Mac and then click and drag then that path begins to move as I drag it along. And I can move those side to side up and down. And you can see that as I'm creating more points and adjusting those curves then it allows me to create a more custom shape. So I'm going to back up from all of those points and begin to select the hand and the phone. And the best way to do this, the first thing you should be doing when you're using the pen tool is clicking anywhere that the object is at an angle. Nothing curved just points. So for example the first thing that jumps out at me is where this individual's finger meets the phone. If I zoom in with Control plus on the windows or Command plus on the Mac, I can zoom in. And I'll give you a moment to, for ready talk to sort of catch up. I know there's sometimes a lag when we're doing these live demos. You can see where the finger right here meets the phone here. That's a perfect place to begin clicking. So if I click there, I've created the first anchor point. If I scroll up, it's up to you how specific you want to get with it. I tend to go to error on the side of being very specific. So clicking where the buttons begin, there's another one, another one, and so on and so on. Anywhere there is an angle. If you think about back to geometry at a 45 degree angle, 90 degree angle, something like that where two things collide, it's not just a smooth curve. Backing up, rather than make you watch me click a million times, I've actually created a path already. If you look on the right side in your panels, along with the layers panel, which you normally see by default, there's also one called paths. And as you begin to create anchor points along the path that you want to create, you'll see a work path italicized. It's temporarily storing the path that you're creating. I don't want to save this one. I can right click it and delete it, and then switch over to a path that I've created previously. So this is the first path I'm going to show you. This is where I've clicked on all those angle points along the way. I've clicked where the buttons are, where the hand meets the phone at any point. None of the curves, just those angles. And then once I've done that, I'll zoom back in and move over to the hand. Because of course, if you think about somebody's hand, your hand, anyone's hand, something that's not technical, there tends to be a lot more variation in the curvature of the thing that you're selecting. If it's a device, a mobile device like this, lines are very straight. It's easier to select. If you're selecting something like, for example, the ostrich head that you might have seen earlier, there's a lot more variation. You need to be a little more precise with it, which is exactly what the pen tool is for. And so in this case, the hand is a perfect example of it. I'm going to scroll down. Right here at the person's knuckle is a great place to add more curvature. So if I add another anchor point to this path, it'll look at the exact same place as it was. But again, if I hold down control or command the Mac, and click and drag this anchor point, and touch it right to where the edge of the hand is. I accidentally had everyone where I didn't want it. Now you can see that it begins to bow out from its original location. And if I continue to do this, I click and drag to account for more curvature in the hand, it's starting to resemble the shape of the hand. And you may need to add many anchor points if it's a very complex shape. You may need to add just a few if it's something very simple like a ball. But the fewer anchor points, the better I'd say is a good rule of thumb. And that's not a pun because there's a thumb in the photo. It just tends to be an easier path to adjust as you go. So if I continue to move down, you can see there's still a gap between the path and the hand. So if I create another anchor point, click and drag, and then just start manipulating this path to match up with the hand, it begins to, and I'll zoom out. Hopefully you can see this on your screen. There are anchor points right along the curvature of the hand between the first knuckle, the hand knuckle, and then so on down the rest of it, almost to the wrist. And the rest of the image would also need to have these added as well. I won't again spend all the time doing that, but I'll click over to my second path to show you how that looks in the end. Now you can see here I've added a path just by doing all the steps that I just showed to align that path to the curvature of the hand, to the fingers, to the phone itself. And now that I've gotten my path done following those steps, and again I apologize if this is going fast, but it is rather tedious if you have to watch somebody click that many anchor points. But if you follow those steps and trace the object that you're looking for, once you have gotten a path in this path panel, you can hold down Control in Windows or Command in the Mac and click that thumbnail. It will convert that path into a marquee, into a selection. And now I can do whatever I need to do with that part of the image. If I wanted to again bring up the saturation or bring down the contrast or change the color, or even just copy and paste it into something else, now I have a precise selection of the thing I need to manipulate. And the best thing about this too that some of the other selection tools can't boast about is that the Pen Tool will, what's called Feather, the edges of your selection. So rather than having a sharp, jagged, pixelated edge, the Pen Tool will allow you to have more of a smooth, more natural edge that if you need to place it against something else, if you have an individual that you want to place against a colored background in your annual report, having sort of a hail effect around them, or some jagged pixels that you can't control for is only going to be distracting from the actual presentation. In this case, you would have a clean image that you can then place into any situation. So if I copy this and let's say I want to place it in another image, let's open up a new one. I apologize if this is a little laggy, but this isn't as important until I get the image in place. If I have a photo here of a man backpacking, and if I want to paste it in, drag it down to the bottom. You can see if I zoom in to that placement, there isn't really any, you can't really tell based on the edge of the selection that it came from another image. It seems like it belongs there because it didn't select any of the background. It didn't select any of the lighting that may have been reflected off of the hand or the phone. They are on the edges of that selection. It's pretty clean, and it almost looks like somebody is using their phone instead of paying attention to the beautiful nature of scene. But that's the beauty of the Pen Tool is that it allows you to have a lot of control over your selection before you make it, even after you make it. You can go back and refine it through the Paths panel and then make those changes as you go, paste it into something else, make adjustments as you need to. I've mentioned healing brushes in a previous webinar as well, but I'd like to mention them here too just because they are pretty powerful. Their healing brushes are something that have become more sophisticated as versions of Photoshop have increased. They existed, and I'm not a Photoshop historian, so I'm going to guess here, but I believe they've existed since about CF3 or 4. So if you're using an older version of Photoshop, you should still be able to use Healing Brush or Spot Healing Brush, Red Eye Tool. But of course, if you have Adobe Creative Cloud, then you always have the latest version of Photoshop and all the other applications in the collection. So you won't have to worry about whether your version of Adobe Photoshop CC has the latest tools that I'm going to be covering here. It always will. But if you have an older one, if you have a creative sweet version, you should still be covered with this too. So in case you're not familiar, Healing Brushes are useful for removing small blemishes from photos. This is an example from the Adobe website, but this is I guess some kind of coal miner or somebody with smudges on his face. The Healing Brush is great for just removing those kinds of blemishes if somebody has acne or there's a distracting mole. And again, this is where it begins to get into questions of whether you should be doing, you should be modifying them for some kind of perceived standard and all that. But I'll let you decide when it's appropriate. But this is what it's good for. The best version I can think of is whether the thing you're removing is distracting from the person looking at the image. If it's going to take away from the message, then maybe you can consider removing blemishes. But the beauty of them is that they sample the surrounding context of the image and then fill in that space. So in the case of this person's face with the blemishes, the smudges on his face, what it's doing when it's applied is it's sampling what's around it and then filling it in as best it can. It's fairly intelligent. It's really useful. So in addition to the Healing Brushes, there's the Spot Healing Brush, which is great for little tiny changes. There's the Content Aware Move Tool, which I won't be covering today, but I have covered in a previous webinar, so if you want to check that out, that's great for selecting a piece of your photo without having to use something complex like the Pen Tool and then moving it elsewhere and making it look seamless. And of course, the Red Eye Tool is fairly obvious what that does. If somebody, a person, or pets especially, pets tend to have a lot of red eye whereas cameras are able to better account for human red eye. Pets are still kind of elusive depending on your camera, so it's a great tool for using it on other people or pets in case that's your mission. So let's hop back over to Photoshop and I'll show you an example of the Healing Brushes. I'm going to close these out now just because they're not necessary here. And let's open up. I have to apologize to this gentleman. I found this photo for free. It is free and legal to use, but I keep picking on him because there's a lot to change in this photo that we may need to. Of course, the lighting is terrible. We definitely need to fix that. But there's also a few blemishes on his face that tend to demonstrate these tools fairly well. So if he's ever watching this, my apologies. But now that I've opened the image, on the left side there's a little Band-Aid icon. That is your Spot Healing Brush Tool. If you don't see the Band-Aid icon, if you click and hold in this location on your toolbar, you'll see that there are other options. There's the Healing Brush, Patch Tool, Content Aware Move Tool, and the Red Eye Tool. We want the top one in this case. Of course, it is also visible by just pressing the letter J on your keyboard. If I click that, you can't see this through ReadyTalk because the cursor doesn't change for a presentation like this, but my cursor turns into just a simple circle. And that circle is based on the brush size that I've chosen. If you have a large photo, you may need a large brush. It's all pixel-sized, so if there's a lot of pixels in it, you'll need something equally large to cover the area that you're working on. That is available by choosing this option up here. Right now it's at 60 pixels. If I want it a little bigger, I can click the drop-down or the down-carat next to it. You can see I've got options for Size, Hardness, and Spacing. Size is of course the size of the brush itself, smaller brushes for smaller work, larger brushes for larger work. I think I want that at about 80. Hardness right beneath it is whether you want the edges feathered. So as I mentioned a moment ago with the Pen Tool, if you want those nice blended, smooth edges to something, then this is what you want all the way up to 100. If you need it to be a very hard edge when you're making changes for whatever reason, you can scale that down all the way to zero if you need to. I won't be covering the other ones because they're not as important right now, but you have a lot of options when it comes to this brush tool. So if I click that again, the options go away. And now I've got a slightly larger spot-healing brush tool. I can click, for example, on the birthmark on his forehead. One click, and it's gone. It's that simple. This is a great tool for making very minor changes like this where the heavy lifting isn't relying solely on this tool. But he's got another one here. I can click, and you can see the same thing is done. It also works for something a little bit larger. For example, if I wanted to take in the space between his eyebrows, then there's that. I can click, and if I don't let go, you can see that there's sort of a big smudge on his forehead between the eyebrows. If I let go, then that's the affected area. So before you let go of the mask, you can continue to draw a certain area and not leave anything out within it if you need to. You can also, for example, he's got a few gray hairs on the side of his head. If I click and drag over those, then it's filling in based on the context around the selected area of the rest of his hair. It's filling in the rest of that color, the strands, and doing a pretty good job of it, too. This is a very quick and easy way to make changes. Now he's got no gray hair on the side. He's got no birthmarks on his forehead. Again, these aren't things we would need to change, but they are things that we can change, and I'll let you decide when it's appropriate. Let's hop back over to our presentation. In fact, I'm going to probably do a quick quiz. Does that sound good, Becky? Okay, so let me stop sharing, and then we'll go back to ReadyTalk for that. Great. Thank you. Let me get that open. And yeah, we just want to see how much people are paying attention to what they're learning. And let me get to the right spot with the healing brushes. Which of the tools that we just reviewed is, in quotes, the most precise tool for selecting objects? Go ahead and click on your screen to see which of these that Wes covered, how many of you have been paying attention, and we'll also take a question while you guys are responding to the live poll. Wes, we had a question asking, what's the benefit of using the pen tool to select as opposed to using the magnetic lasso? That's a good question. So magnetic lasso, in fact, once I hop back over to Photoshop, I may just show you that one real quick in case you're not familiar. Lasso tools are great for selecting, I would say, an object that has less detail. If you need to click and drag around at the regular lasso, it's great for just doing a quick circle around something and copy and paste it off. Magnetic lasso is a little more intuitive than that, but for me the pen tool is still the best option for, for example, if you've got somebody with spiky hair and you need to, you know, select part of the hair but not the part that's a little see-through, you can see the light streaming behind it. When you get really detailed like that, that's when the pen tool is also very handy. And I'll throw in one other thing, once you've created a path, like I did with the hand on the phone, if there is any part of the path that you don't want selected that's within it, if there's, you can see the background between fingers, for example, you can draw within the path too, and it won't include that in the selection. So you can create some pretty complex paths that aren't quite as easy to do with the other lasso tools. That's great. I'm going to go ahead and show the results of how many of you are just geniuses today and paying really close attention. 94% of you got that right. So well done. The 5.5% of you who guessed Spot Healing Brush, I have to say, I totally love that brush because I love when you can remove gray hairs from a picture like that. I think it's so genius. And I wonder if it can get rid of double chins because that's more my area of need. So that said, we had one other quick question related to the pen tool where a couple of people said that they're not able to see the path highlighted the way that yours was. So they were putting their anchors but the path wasn't actually tracing the way that they thought and it wasn't moving the way that they thought. And we responded a little bit in chat thinking it might help. But is this only available in Adobe Creative Cloud which is what we're using today, Creative Cloud Photoshop? Or is it available in other creative suite versions? That's a good question. So I'll take that second question first. The pen tool is actually one of the oldest tools in Photoshop. It's one again that people tend to avoid using. But it does go back, at least as long as I've been using Photoshop, which I think dates back to Photoshop 4. So the pen tool is one that you should have if you have Photoshop. Any recent, within the last 10 years version of Photoshop, you should have no problem locating that. As far as why your selections weren't showing, I could venture a guess. Of course everyone's attempt may be different. But the first thing I would say is when you're drawing those anchor points make sure you close by clicking the original one. It's an easy one to miss if you've been tracing around. You want to click all those points. You've got to click that original point to close that path because otherwise it won't know what it needs to be selected, the bounding area. If you've done that, it's still not selecting. Make sure when you click the thumbnail in the Paths panel that you're holding down control or Command on the Mac in order to convert from the path to a selection. So those are the two things I could guess without seeing your example. I can only guess, but hopefully that will answer your question. Feel free to let me know if that's not the case. We can maybe tackle it later on. Great. I think we're good to move forward with our next section. So keep paying attention because you will be quizzed again. Thank you. I'm sorry. I was muted and I thought I was just talking away. So let me try that again. The Camera Raw filter is one that we've used in our previous webinar, but it's sort of an all-in-one tool and filter in one. It's great for adjusting tone, color, brightness, clarity, and blemishes. It's something that I believe exists in previous versions of Photoshop prior to Creative Cloud, but I think earlier versions you may need to install it separately. I would just suggest we will search on that whether that's the case for your version if you don't have Creative Cloud. It also allows you to compare the changes you made before and after, which is really handy. You don't always get that with the regular form of editing. You can refine your adjustments after you've made them. It's a really powerful all-in-one tool. So let me hop back over to Photoshop and I can show you a little bit about this. I mentioned at the beginning when I first opened up this image that the lighting was bad on this. In fact, let me revert back to the beginning awards and all for this gentleman and I'll start up under here the Camera Raw Filter under the Filter menu. So if I go up to Filter, Camera Raw Filter is right there. Click on that, and I'll give this a moment to load up and for it to load on your screen. ReadyTalk has a slight lag when it comes to these live demos as I mentioned. So I've got a lot of tools up here at the top, some of which may be familiar to you already. There's the red eye tool in the sort of off to the right. There's a spot removal which is very similar to the human brush that we've just covered, an adjustment brush for changing things like saturation. On the right though are the filters that I always start with in this case. White Balance, of course the White Balance for this photo is off. It's got this weird kind of orangey tinge to it. As shot is the default, if I click that and bring it down, Auto is a great place to start. It will automatically change the White Balance based on the contents of the image. If I click that, it's a little washed out, but I can adjust it begin to. The temperature going from cold to warm, you can see the slider, it's at negative 42, it's slightly in the cold area. If I bring that up a little, let's say 25, that's a little more human. I could do it even a little more, somewhere in 20 I'd say, in that neighborhood, negative 20 is pretty good. I can change the tint as well, change all sorts of other options here. And again, I won't be going into as much detail in this webinar. I've covered it previously, but I encourage you to either check out the webinar before or play with these options. Most importantly, clarity here down here at the bottom. This is one that can remove wrinkles, things like that, blemishes, not specific ones, but more general. If someone has complex skin, then you can sort of take down the detail on that as well. So definitely worth checking that one out. Let's go ahead and back out of this one and hop back over to our slideshow. I was going to touch on the Liquify filter. It is a lot of fun, but we're kind of running a little low on time. So I'm going to skip through it. This is the one, of course, if you need to make someone's eyes bulge, if you need their mouth to be small. It can get really silly really quickly, but it is also a pretty powerful tool for bringing in the edges of somebody's body, or the body of an object, if you need to, and freeze part of the image so that the rest of it is unaffected. So again, I'm sorry I don't have time for it today. I've filled my plate a little too much, but let's go ahead and keep moving on. And I believe we have another quiz question that Becky's lined up for us. I'm going to stop sharing our presentation and hop back over to that. All right, thank you. And we went through some of that quickly, but we really just wanted to show some of that off. And right now we have – which of the filters that we covered is – go ahead and answer the question the way you're reading it. So which one is the one that you'd want to use if you're trying to make somebody look really totally different very quickly if you're wanting to make your Cosmo cover and give somebody really long stretched out arms like Elastigirl or a Kim Kardashian rear end, or a super skinny waist. The one that really can mutantize, I guess I'm making up that word, somebody very quickly that Les mentioned. And that I would recommend being very cautious of using in your own editing, particularly of people. I'm going to go ahead and show the results here in just a second. And then he's going to take us into our next section. And as we mentioned before, you'll be able to review all of this again on your own and watch this again in your own convenience and pause and try it on your own to really make sure that you're understanding how it all works. So I'm going to go ahead and show the results. And it looks like the great majority of you got the liquify filter. And if you think about my comment about making super long arms like Elastigirl, think about liquify, making her arms liquidy. And that's a good way to remember what that one does is to try and connect it to an image like that. So go ahead, Wes, let's get back into the rest of your presentation. Great, thanks. And this time I am no longer muted, so we should be able to move along a little more quickly. I'd like to mention smart filters in this case. Of course, that was one of the options in that quiz. Smart filters are for use with smart objects. Of course, that sounds obvious. But what it is, a smart object is an element in your Photoshop file that has more options for non-destructive editing. And of course, this is something that I mentioned at the beginning. But to explain what it is, if you make changes to your image that you later don't want to be there, sometimes you're stuck, sometimes you're not. And if you use smart objects, smart filters, chances are you'll be better off. Basically they allow you to modify or move changes later without affecting changes to the rest of the image. If you think about editing documents in Word, if you track changes, you can always undo those changes. The original is still there, plus the changes on top of it. Rather than permanently making those changes, this allows you to customize them as you go. You're not stuck with the one way you did it originally. So let me go ahead and show you how to use smart filters over in Photoshop here. First thing, in the Layers panel on the bottom right, we've got one layer in this case. It's just the only part of the image. If I convert it to a smart object by right-clicking that, that's right there on the menu, on the context menu, convert to smart object. It doesn't look any different, but it can behave differently. So that now if I choose any filter from the filter menu, for example, let's just go with something very simple like a Gaussian blur. If I just want to blur it, if I don't use smart filters, then this change is permanent unless I undo it. But if I do other things later, then I have to undo all of those in order to get back to it. The smart filter allows me to make a change now, make other changes, and then come back and change this change after that. So if I choose a 2-pixel blur, a pretty light blur on the face, and then click OK. On the bottom right here you can see now there are sub-items to the layer itself. There's a smart filters element, and then there's a Gaussian blur beneath that. You don't see much of a change to the photo because 2 pixels is very subtle. So if I can go and I can make other changes, I can add things, I can adjust layers and all that, but when I decide that this blur is not strong enough, this is still here for me to change. By double-clicking it, I can bring it – the value is preset to 2 pixels, which I had used before. If I bring that up to say 20 and click OK, now the image is a lot blurrier and I can change it again as many times as I need or just delete it entirely. This again won't affect anything else that I've done. Whereas opposed to not using smart filters means that I have to undo everything else just to undo that one thing. Or worse yet, if I've saved my Photoshop file, there is no undo because if you've saved it, you've closed it, you've moved on, the next day you come back to it, it's not there. This way you can retain all those changes and make them later. So very great for workflows if you begin to make a lot of changes to images. I'll close that one out to the relief of that guy I'm sure. Blending options is the last thing I'd like to touch on here. It's something that is easy to overuse but still very handy if you're adding elements to it that aren't part of the original photo. Like text, other shapes, if you're adding circles to next to somebody and then putting text within it, you can add blending options to it in order to make it maybe pop more or fade in a little better or just make other sorts of adjustments like adding a bevel, stroke, glow, etc. So I'll be covering a couple of those here. And again, use them sparingly just like sugar in a recipe, a little is nice and a lot can ruin your meal. So blending options have that ability. So let me go ahead and open up, let's say, I picked on other people, I might as well pick on myself. Here's a photo of me. Let me zoom in a little bit and scroll up to the top. So if I create some text here by clicking on the text tool and click on the image and then just type my name, it's very tiny so let me also change the font size. There we go. Okay. So I went through that a little quick but the text and moving isn't quite what we're focusing on here. So for right now I've got some text on my image. On the right side of course you can see the layer. There's the background which is the photo and then there's left holding which is the text layer. If I right click on this, at the top here is blending options. There's a lot of options in this context menu. If you have an older version of Photoshop you may not see as many options. This one will likely be in there depending on the age of your version but it's been present for quite a long time so you should have that as well. If I click on that then I get this menu. I'll move this off to the side so you can see as I make my changes. If I want a color overlay for example, if I want to change the color of it that's also non-destructive, I can check that box. You can see it turns to red. If I click it I can change the color. I can change the blend mode which I'm not going to get into today but it changes the way that that color interacts with the objects behind it in the layer. Change the opacity if I want it to be a little opaque so I transparent. I can do that. We uncheck that and we'll go back to normal. There are other options including bevel and emboss. It might be a little subtle to see but there is some light reflecting off of the edges of the W here, the H where the stem meets the outside. I can adjust those things as well to make it from an inner bevel to an outer bevel. You can see now also that the background is beveled as opposed to the contents of it. You can change it from smooth to hard. These effects as defaults are beginning to look a little like 90s Photoshop so again be careful with it but you can really play with them and make your changes as you go again in a non-destructive way and hopefully they won't look so 90s. Stroke is very handy as well. If you've ever seen memes online where there is the impact font on an image with solid edge around it, this is where that comes from. Stroke is the terminology in Adobe product. I can choose that. I can bring down the size of it. You can see as I've brought it down to 10 it's a little more modest than it was at 42. Change the color, the position if I want it outside or inside. Now it's on the edge of it which is nice for very bold black images. You can bring the stroke on the inside if you need to. So once I've made my changes, let me bring it back to outside because I think that's a little subtle. I kind of like that. Just like before with the Smart Filters you can see that there is now an effect submenu and then a stroke beneath that. Any other blending options you choose are also going to appear in populated in that menu as well. So your gradients or your color overlays or anything else, I encourage you to play with that one because it's kind of a lot of fun to see what you can make with your photos. So as I'm coming up to the end of the time here I'm going to cut it here just so that Becky and our other, my associate Wes has some time to talk to you a little bit more about the Adobe program here at TechSoup but I just want to say thanks. And I hope you've learned something and feel free to ask questions because I love to talk about Photoshop all day long. So thanks so much. Thank you for that. Gosh, we went through a lot and we know we did it quickly but we hope that you've gotten a good amount out of it. We're going to show really quickly just a couple of resource slides and then we are going to have another quiz in just a moment and take some of your questions. You'll receive links to all of these in the PowerPoint deck afterwards. Lots of different places to go check out and learn more about Photoshop, learn some of the basics, and attend some of our other webinars that Wes has presented with us and see some of the other resources. We also will be coming out with a couple of short video courses or video curricula that you can look forward to we think sometime in January. But before we do that I want to go ahead and let the other Wes, Wes too, talk to us, Wes White, I should actually use formal names here, talk to us about where to find Adobe and if you are needing to upgrade or if you are on Elements and you'd like to be using Photoshop or if you're on Creative Suite and you'd rather be on the Creative Cloud, where can you find that stuff? Great. Thanks, Becky. So there are two main ways to get Adobe products through TechSoup. The first one is to go to TechSoup.org and go up to the top left-hand corner up there where it says Get Products and Services. Click on that. Scroll down to Buy Donor or Provider and then on the right-hand side you will see Adobe. Click on that and it will take you right to the program page where you can see all of the different products that are available. Another way to do this is to go to TechSoup.org slash Adobe-software-non-profits which will bring up a page like this where you'll see all the available apps inside of Creative Cloud All Apps Package which includes things like Photoshop, InDesign, Lightroom, Premiere Pro, all that kind of stuff as well as this really cool video where our two TechSoup staff members, Allie and Carlos, will explain to you a little bit about the Adobe program in a really fun and exciting way. And we'll kind of guide you through the page too. Then you can see again Adobe FurtherShop CC and InDesign CC both included in the Creative Cloud All Apps Package. A few of the other products that we're really excited to offer from Adobe at this time are Photoshop Elements 14 and Premiere Elements 14 bundle. These will very shortly turn into Photoshop Elements 15 and Premiere Elements 15 and you'll see those available on the site probably within the next few weeks. And that's the most up-to-date version of Premiere Elements and Photoshop Elements which are kind of the simplified versions of the Creative Cloud Photoshop version. And then there's Adobe, if you only need Photoshop and Lightroom, there's Adobe Creative Cloud Photography Plan which offers just those two apps for $7.99 a month which is a 20% discount for the first year. And you should pay a $5 admin fee which will get you access to those discounted rates. We also offer Creative Cloud All Apps which I mentioned before which is a 60% discount for the first year. Fantastic offer from Adobe and then 40% every year after that. So you can keep getting those discounts for that product. We also offer, I want to point out Acrobat Pro DC which is a relatively new product that we're really happy to offer which comes with $24 off for the first year. So if you need to edit PDFs or create documents and edit text in the original font and format then that program is really good for that. It also includes a really handy e-signature feature. So if you need to send and receive documents for signatures, that's a great tool for that. I think that's all for me. Thanks Becky. Great. So if you are looking for those products go and check out the TechSoup.org slash Adobe or the longer link that we chatted out as well where you can learn about all of the program offerings. Before you leave us we have a couple of other things you want to do. We'd love to do this one last quiz because we do think this is an important point for people to really understand when it's okay to retouch a photo of a person. Tell us which of these you think is correct and for those of you who pick ostrich heads you're correct. That's just for fun. But we all know the real answer should be which one? Go ahead and select it and then we will go ahead and get started with your questions while you answer that. And we know that you have a bunch of questions in the chat so I'll get to those now. And if you have to leave us in the next couple of minutes we also ask that you complete that post event survey to let us know how we did today. So Wes, Kathy asks us, for white background removal, is the Magic Wand better or is the pen tool preferred? I always start with the easiest thing because it might save me the most time so I always use the Magic Wand first and see how it's doing with the edge around the object that's against the white background. If it's looking jagged, you can change the sensitivity at the top and the options. Play with that. If it's still not coming out then you might have to use the pen tool. Just take a little more time so you get a lot better results. Great. We also have a question from Nicole saying, if you have a different version of Photoshop or maybe you're using Photoshop Premiere Elements, is the pencil tool the same as the pen tool or are those two different things? That's a really good question. Pencil tool is more akin to the paintbrush than it is to the pen. So I know those all sound like in real world terms something you draw with, but the brush is for painting more broadly. The pen is for drawing more specifically like, excuse me, a pencil is for drawing more specifically like actual pencil. You have a very fine point that's going to have imperfections in it like a charcoal pen for example. The pen tool though is just for making tabs and then using those to select or manipulate something. Great. Thank you for that. I've gone ahead and shown the results of our photo or of our quiz on retouching. And for those of you who answered to make someone skinny that's really only okay if you're doing it for yourself, your mother, or your mother-in-law. And ostrich heads all around you guys are correct, but really none of the above. We don't want to be doing things with our photos that are not legal or that are mischaracterizing things or that are misrepresenting in ways that are kind of unethical. So we want to be careful with that. We will take a couple of other questions as we wrap up here. We had a question just asking, is there a filter to repair an image that is out of focus from the get-go? Like if you have a picture that's just blurry, is there a way to really sharpen that? Yeah, that's a really tough one just because what you're basically doing is taking a photo with less information and then trying to have it have more information. And information in that case is the clarity of it. Under the filters menu there's a section called Sharpen that has a lot of sharpening options. I usually start with the Unsharp Mask. There's also Smart Sharpen. Those are kind of the two that I tend to start with. I don't have a lot of time here to go into all the detail of which one is which, but those would be the two I'd start with and then see where you can go from there. What it's basically doing is trying to determine the edge of anything in your photo and then strengthening that as opposed to actually coming back into focus. So those would be the two that I'd start with. Terrific. And I realize we are at the top of the hour and I know many of you have other meetings to rush off to so I want to be respectful of your time. But thank you everyone for all of your questions. We would love it if you'd chat in one thing that you learned in today's webinar that you will try to implement in your own photo editing whether that's using one of the tools or filters that was covered, whether that's just a good reminder about what not to do or checking those copyrights. Let us know what those things are because that helps us understand what you most learned today and what you got out of it. We also ask that you would complete that post-event survey and that you'd share this information with any of your friends or colleagues, patrons or clients who might benefit from it. We license our webinars creative commons so you are welcome to share them around as much as you'd like. We also as I mentioned earlier will be coming out with some course curriculum on Adobe coming soon and you can find it as well as other courses that are already released in our new learning management system platform at techsoup.course.tc. You can see the full catalog at that backslash catalog and see which courses you might want to take. And these are 24-7-8 synchronous so you don't have to show up at a given time and place to access the resources there. And I'd also like to invite you to join us for our upcoming webinars. We have a couple more coming up before the end of this calendar year that we hope you'll join us for. We are going to be talking about libraries and social good, how libraries and nonprofits can be connecting in their communities. We'll also have a webinar right before the end of the year on use it, don't lose it. We're going to highlight some technologies that you might want to access before the calendar year ends particularly for those of you who have a fiscal year that coincides with the calendar year. We know that many grantors will not renew grants if you don't spend them. So we want to make sure that you've got the hardware, software, and services you need to start the next calendar year off right. So thank you all for joining us today. Thank you to both of our WESEs for the wonderful webinar that they gave us today. And thank you to Terry and Catherine and Susan on the back end. Lastly, thank you to ReadyTalk, our webinar sponsor who provided the use of the platform today for us to present this webinar. If you're looking to present your own webinars you can check them out at TechSoup.org slash ReadyTalk to learn about their donation program. And again, take a moment and let us know how we did in that post-event survey that pops up once you close out. Thank you everyone. Have a terrific day. Bye-bye.