 Welcome to Favorite Photoshop Tips for Nonprofits and Libraries. My name is Becky Wiegand, and I'm the Webinar Program Manager here at TechSoup. I've been with the organization for 7 years, and I'm happy to be your host today because I was once upon a time the accidental techie at 3 small nonprofits in Washington, D.C. and in Oakland, California, where I often had to just figure out how to design stuff and make tech decisions without any tech training or expertise. And I imagine many of you may be in that same position. Our primary presenter today is Wes Holing, who is a Senior Web Content Developer here at TechSoup. He writes about Adobe for us and contributes to our design team. So he is a hacker-come-pro with experience, and he creates graphic design content and how-tos like our recent Intro to Photoshop for Nonprofits blog series that took us through designing from start to finish every step to create your own poster. We'll be linking to that resource in the webinar as well. So we're glad to have him. You'll also see on the back end, Sun Park and Allie Bezdikian, who will be helping answer your chat questions and flagging them throughout the webinar. We're here in TechSoup's headquarters office in San Francisco. Feel free to chat in to let us know where you're joining from today. And while you do that, I'll do a quick overview of our agenda. I'll do an introduction to TechSoup. We'll have a couple of poll questions asking about your experience with Photoshop. And then we'll do a brief introduction to the new Adobe Creative Cloud offer and the Adobe Donation Program through TechSoup. Then Wes will take us through 10 Photoshop tips and he'll demo each of those live. So thanks for joining us for that, and we'll have time for Q&A at the end and maybe a bit throughout as well. So TechSoup Global is a global network of 63 partner NGOs working in 120-plus countries around the world. We are working to serve you with your technology needs. And we are a nonprofit as well. We have served more than 615,000 NGOs around the world. So if you're near any of those dots, we may have a local meetup like NetSquared for you to join or other resources like a donation program in your area. We've served nonprofits with technology donations, grants, and products to the tune of nearly $5 billion. So I'm proud to be not only a TechSoup employee but having been a beneficiary of the programs of those small nonprofits I worked for before. You can learn more about our products and donations at our website at TechSoup.org. But before we launch into more about the new Adobe Creative Cloud offer, I'd like to get a little bit of an understanding of what your use is. Have you used Photoshop before, whether it be the installed Creative Suite or individual product on your desktop or as Creative Cloud? Go ahead and let us know where you fit on this spectrum of experience. And if there's something on here that I haven't represented, feel free to chat it in to us. Maybe you're a pro and should be leading this webinar. If so, maybe we'll recruit you to guest blog for us to write some content so we can pull your expertise in to share with other nonprofits and libraries. We'll give just a moment for everybody to respond. We have 120 some people on the line right now, and that number is sure to climb in the next few minutes. So feel free to click on those radio buttons on your screen and I'll show the results in just a second. It looks like a handful of times is the majority with 44% of our users. So most of you are familiar with some of the basics. That's good. Some of you are brand new to it. So hopefully you'll have something to learn about this. And for those of you that use it all the time, we'll have some more advanced topics and tips that Wes will share that hopefully will show you some new ways to get to what you need done. And then one other question, which Photoshop have you used? Go ahead and let us know for those of you who have used it, check on the ones that you have used and you can select more than one option on this. And again, this just helps us get an understanding of where you're at with your Photoshop experience. And to get an idea of those of you who are already maybe using the Creative Cloud or those of you who have used primarily the Creative Suites, or maybe you're using Photoshop Elements, which is a lighter weight consumer product, not quite as robust as the major Photoshop programs are. And maybe you're not sure and that's okay too. So thanks for chiming in. Give just a couple more seconds for everybody to vote on that. And this will help us tailor a little bit of how much we spend on some of the basics versus the advanced. Either way, you'll get all of the slides that show the 10 tips that Wes will be covering today. And you'll be able to reference them at a later time to hone your own skills. So looking at the results, lots of people have used older Creative Suite versions and quite a number of you are already on the Creative Cloud, which is great to know. And quite a few people are using Photoshop Elements. So it seems like a pretty wide spread between the old Creative Suites. So that's good. There isn't one huge sand out there. So before we dive into Wes' tips, for those of you who aren't familiar, we just recently launched a new Adobe Creative Cloud offer. And I'd like to highlight quickly both that offer and the regular Adobe donation program that's available through TechSoup. And just highlight kind of the differences quickly and what to expect if you're interested in getting the newest, greatest offer that's out there right now for Adobe Creative Cloud. You can see I've just pointed to it on our site. And you can find this page at TechSoup.org slash Adobe, this exact page. And you'll see Adobe Creative Cloud Complete Plan, one-year individual membership, access to discounted rates to $5 admin fee that gets you 60% off for the first year of an individual membership subscription. So that's a pretty huge discount. We're happy to be able to provide that to both nonprofits and libraries if you're familiar with our other products in our Adobe donation program. We had quite a few limitations and restrictions around what types of organizations and their budget size that could access these had to be budget of less than $10 million, had to be certain types of 501c3 nonprofits. Well, Adobe Creative Cloud, nonprofits libraries, if you're a C3, if you're a public library, you can likely access this one. So it's a great benefit that it's now widely available to most all of our organization types. So we're really thrilled to be able to make it available to everybody. And we're happy that Adobe has made it so open so that anybody can access it. And what you do is you do your admin fee. You can view the details by clicking on that. You can view pay the $5 admin fee which goes to TechSoup to help support programs like this. And then you pay your subscription fee 60% for the first year. It goes down to 40% discount years after, and that's based on the current rate. That goes directly paid through to Adobe. So that happens all through them. So we don't have to be a middle man in that process any longer. And you can access it and get their updates when they're released and not have to wait for annual releases of products and things like that. So it's a pretty great opportunity to get this, especially if you were excluded from the availability of our existing program. Now one thing to mention about the traditional Adobe donation program is that we do still have some products on our site that are available that are the downloadable but installed programs like Acrobat, Pro for Mac, and Windows. And we also have Photoshop Elements and Premiere Elements which I said are those lighter weight consumer grade tools for you to use for photo editing and video editing. Those are available through our regular program that resets as of June 30th. So between now and June 30th, if you're eligible for these donations which again have higher restrictions on which types of orgs are eligible, but if you're eligible you can request up to four different products between now and June 30th. And then as of July 1st you can request another four. So this is your opportunity to double dip if you haven't been able to do that this year. Or you haven't taken advantage of that program. So I'm going to move forward and just highlight quickly what is included with Adobe Creative Cloud. So you can see quickly the different products. This is a full slated platform of all of these things that are available for Windows and Mac. So it's not just getting access to one program or another program. You're getting all of these plus the number of additional ones that I haven't listed out here on this sheet. So I'm not going to read through all of these but it is all the programs that you're probably already familiar with like Photoshop, Illustrator, InDesign, Premier, all of your video editing, photo editing, web building, all of these types of things are included in here. And again just to repeat the plan offers, individual memberships for one year, discounted rates at 60% off the market rate which right now is $239.88 or $19.99 a month. So you can pay it monthly or as a full annual fee. And then it goes to 40% off the current market rate after that. And that's renewed automatically through Adobe. And then it's a one-time $5 admin fee through TechSoup. I'm not going to highlight all of these myths but we have a number of resources like this that highlight and answer questions for you about the Adobe Creative Cloud program and about how it operates. For example, apps run in the cloud, not in my browser, not entirely true. Pretty much all of it is still installed on your desktop and you're just syncing it with the cloud and getting updates from the cloud more regularly so you don't have to wait for an annual release of a product. So there's some great resources in here and we'll link to some additional ones for you afterwards. And again restrictions, all budget sizes are eligible, all 501Cs and public libraries are eligible, and orgs can request unlimited number of individual memberships. So they're no longer limited to four. So with that I'm going to go ahead and move us along to the meat of today's presentation and have Wes take us through Photoshop and some of his favorite tips on how to do amazing Photoshop work and beautiful images and designs that you can use on your brochures, your website, on your Save the Date cards, on your brochures, on your newsletters, all kinds of things. So we love this tool and we'd love to learn how to use it better. So Wes, take it away and tell us about it. Thanks a lot Becky. Hello everybody. As Becky mentioned, my name is Wes Holing. I am a senior content developer here at TechSoup. Like a lot of you, I have no formal training with Photoshop. I sort of learned as I went. I think I started with about CS4 and I've just learned more as I've needed to learn. So hopefully I share that experience with some of you. I'm going to switch over and start sharing my screen here. Let's see, over to my slides one moment. Okay, so as Becky mentioned we'll be covering Photoshop today, some tips and tricks. These are sort of things that I tend to use on a more regular basis. We're going to go from some of the more basic things to the more advanced. It looks like we've got folks that have used Photoshop a lot folks that are still fairly new to it. So I'll try and get everyone covered there. Now let's see, first thing I'd like to start with is just explaining when you should use Photoshop and when maybe another tool might be more advantageous for you. Along with all the other great programs that come in the Creative Cloud is Photoshop Lightroom. It's similar to Photoshop, but it's very helpful for managing and editing entire collections of photos from one place. You can think of it sort of as your home base for photography on your computer. Lightroom lets you sort and tag entire sets of photos to help you stay organized. You can also do some basic photo editing like cropping, fixing distortions or color correcting in images. Every edit you make in Lightroom is non-destructive which means that you can keep the original intact and then save a new modified version and still revert to the original if you want. So we won't be covering Lightroom in this webinar, but if all you're looking for is to crop multiple photos or tune them up, you might consider the simplicity of Lightroom versus sort of the complexity of Photoshop. Of course, there's Photoshop, the kitchen sink of photo editing. You can use Photoshop and you have specific projects that require more than just a simple crop or basic retouch. For example, the layers panel which we'll cover later lets you combine images and lay an image, text, graphic over another one. So you can quickly create panoramas, remove objects, retouch flaws, create unique images from photos, text, video, all of that. And that's all in one application. So the nice thing is too that they really work well together. You can start your photography workflow in Lightroom, bring your photo into Photoshop for more sophisticated edits and then switch back to Lightroom to organize, print, and share your work. So just a quick word on Lightroom there. It was sort of a new experience for me once I switched over to Creative Cloud, once it was an option. I decided to start using it and I'm quite a fan. So I wanted to make a quick note of that. And moving on to some assumptions. This is where I'm approaching it for the audience and so you know where I'm coming from with these tips. On the Photoshop experience scale I'm assuming that folks are around a 3 on average who are attending this webinar and feel free to tell us if that's not the case but based on the experience that Becky asked about earlier. It sounds like there's folks who use it every day or folks that use it on a fairly regular basis. But I'm assuming that you've used it before, that you've used it for the basics like cropping, resizing, combining photos, saving for the web, adjusting certain properties like saturation, etc. But you want to not be more fluent. Simply put, you want to do more with Photoshop. You might even know exactly what you want to do but you don't necessarily know how to get there. So hopefully some of these tips will cover a little bit of what you're looking to do. So let's get into it. So the first tip, of course, know your shortcuts. The best way to get to know Photoshop and what it's capable of is to be familiar with its interface, like very familiar. And a great way to do that is through keyboard shortcuts. These are some of the handiest shortcuts that I use on a regular basis. The ones that aren't as obvious as like Control-S for save, for example. So I'll demonstrate some of these as we go, just not all of them. But let's switch over to Photoshop. I saw that one of our participants is from my home city of Seattle, Washington. So I decided to use a great photo of my favorite city to demonstrate that. So Control-T is a great way to switch to the Quick Transform. Of course, if you've resized images, if you've moved things around, layers within your Photoshop file, Quick Transform brings, and if you can see it in your webinar, there are little boxes in the upper left, excuse me, in all the four corners. You can resize that way, move it around. By holding other modifier keys like Control-Shift, Alt, you can also distort and warp things as needed, continue to resize, etc., all from one keyboard shortcut basically, rather than having to say, okay, well I need to resize it, then I need to move it, then I need to distort it. It's all available from one keystroke. Going back from that, if you're really zoomed way in on a photo, you want to make some adjustments that you don't want to zoom back out, zoom back in. One way you can do that, which I just did right there, was if you hold space and then click and drag within your photo, you don't have to zoom back out and zoom back in. You can just move along to the parts that you want, if there's little details you want to change along the way. Another handy one that's on the same, that's similar is holding down H and dragging. So I'm zoomed way in right now. If I click, it'll zoom me out. I can move over to the other part. I let go of the button. It zooms me right back in. Again, if you're moving across the entire image, the space is a great way to do that. If you're exactly where you want to go, you don't want to keep zooming in, zooming out. H is a great way to do that too. You can also zoom back out here. If you're moving an object, let me resize this so you can see what I'm talking about. So if we have a layer in our Photoshop file and I want to move it, but I want it to stay on the same horizontal, vertical, or diagonal axis, I can do that just by holding Shift when I click and drag it. So if I click and hold down on that while I'm pressing Shift, move it along. If you can see, there is a horizontal rule on the screen right now. That's my horizontal axis and it's moving along. If I do vertically, I get the same thing. I can move my mouse left and right and it will still stay on that vertical axis. It's really nice if you know exactly where you want it to be. You just want to nudge it up a little bit, but not left or right or vice versa. This also works diagonally too at a 45 degree angle. So very handy for being very precise, which the more you use Photoshop or any of the applications in the Creative Cloud, the more precise you want to be with your designs. As some of you know with other popular applications like Word, you can do Ctrl-Z to undo any of your mistakes. With Photoshop, it's a little different. With Photoshop, undo goes back one step. If you press it again, it will go forward one step. It's a back and forth thing. But there is step backward and step forward, which is slightly different than Ctrl-Z. So Ctrl-Z, as I mentioned, will go undo and redo. Ctrl-Alt-Z will step backwards as many times as you need. Ctrl-Shift-Z will step forward as many times as you need. So as you've seen, I've made changes to the image here. If I do Ctrl-Alt-Z, it moves it back. It brings it back to the original size, etc. And if I do Ctrl-Shift-Z, it steps forward all the steps that I've made unlike redo and undo, which just go back and forth. It can be aggravating if you've made a bunch of steps, you need to go back. This is the way to do it. It's Ctrl-Z, Ctrl-Shift-Z. Another handy one too, if you are making things for the web, for your website, for emails, for social media, you want to save it for the web. Ctrl-Alt-Shift, yes, it's kind of a handful, but brings right up to the Save for Web option where you can change the output size, change the quality, change the format. If it's a JPEG, if it's a PNG file, any of that, that's Ctrl-Alt-Shift-S. Getting out of that, moving along to Fill, which is great. If you've selected part of your image that you want to have filled with a color or something, a pattern, even a content awareness image, you can just do Shift-F5. That will bring up your Fill option and I can choose which color I want or a content aware Fill, which is handy and I can get to some of that later. But if I choose the foreground color, I can fill it in, I can enter text there for example, whatever I need. I don't have multiple layers on this, so let me add one and I'll show you the other two shortcuts that I've got listed here. In fact, let me just add this rectangle. Now it's over on the right side here. You can see I've got two layers. I've got the photo itself, that layer. I've got the rectangle layer. If I want to move one in front of the other, Ctrl-Bracket, either one will go forward or backward. And if I have multiple layers, like say I have 10 layers going, and I want to bring something all the way to the front or all the way to the back, I can use Ctrl-Shift and a bracket. That will bring it all the way, arrange my layer to the front or arranged all the way to the back. So Ctrl-Left Bracket will bring it backwards. Ctrl-Right Bracket will bring it forward. Very handy if you don't want to just rearrange your layers panel, drag it all the way down, way past the bottom, and then scoot it all the way down. It can be a hassle. So that's a great way to do that. And the last one, which is I think one of my favorites, if you've got multiple layers in an image and you want to select just one, but there's several that are around it, if you have the Move tool selected, which is handy by just pressing letter V, you can hold Ctrl and move around. Photoshop will begin to detect the thing that you're hovering over and bring up those little guides. You can select the layer that you want rather than having to choose it from the layers palette, like I said, if you have many, many layers over there. So if you click it, right now I'm on the rectangle. You can see on the right side there are layers. If I continue to hold Ctrl and click the image, it switches over to Layer 0, which is my photo, and back and forth. So you can always tell which one you're on. It'll bring up those little guides for you to select. So going back to my slides here, I've included a link here under so many more. That will link you over to Adobe's list of all the keyboard shortcuts that Photoshop has to offer. So we need you guys to get the slides later if you want to go ahead and click on that. You can see all the things that I didn't have time to cover today. On the same token of shortcuts, you can also edit your own. I, for example, I always want a keyboard shortcut to crop to a selection. There's of course a crop tool, but if you have a certain size, a certain shape, or just the thing that you want, I like to have a keyboard shortcut just for that. There isn't one by default in Photoshop, but through the Edit Keyboard Shortcuts menu, you can add one. You can see here on the slide, just scroll down the menu item that you're looking to add a shortcut to, click the shortcut, enter it in there, and then it will tell you if there's a conflict you can accept or reject that as you want and assign any shortcut that fits your taste. So moving on to tip number two, and I have to warn you most of these tips have puns in the title, so be warned. Now you've heard of course that you should save early and save often when you're working with files of any kind. It's good advice, but it's easy to overlook when you're working hard. When you're working with layers in Photoshop, it's also easy to add them and rearrange them as needed, but they can quickly turn into a disorganized mess. When you've got more than five layers in a single file for example, it's a good idea to group them as much as you can and name them. Photoshop even lets you color code them for easy categorization. So if these are all of one type of layer or group, you can say these are all the blue ones. So you should also resist the urge to make changes directly to a layer, and instead duplicate them first. This is a lot easier to do than delete a layer that didn't turn out right, or step backward multiple times, or worse yet, have to revert your entire project because you changed the hue early on and now you're the end of your project and things don't look right at all. And lastly, one quick shortcut that makes it easy to check a layer or group is to hold Alt and click the Visibility icon in the Layers Pad. And I'll show you this too. This will hide or show everything but that layer. So let's pop back over to Photoshop and I'll minimize Seattle and bring up this. So if any of you have taken a look at the blog post series that I wrote, the Intro to Photoshop for Nonprofit Series, you might recognize this poster. And if you haven't, I'm going to promote myself here and say, feel free to go take a look. It will guide you through how to create a poster just like this and change out everything to suit your needs. And I think Becky's got something to add to that too. Becky, Wes, before we jump into showing the layers, we've got a request to just explain what they are and why and how you use them just for folks who are a little bit more basic on the line or beginners to Photoshop. Can you give us a description of what layers are and why we would use them? Wes Absolutely. That's a great question. So if you think about editing a photo, just the photo itself, think of that as one layer. If you imagine in a physical space if you have a photograph on the table, then you add an acetate layer on top that's transparent, it's got text over it. You can begin to add different layers on top of that. Those will stack on top of one another and create a visible image. So in this case, we've got a photo in the background, the far background, and that's the girl herself. On top of that, we've got several other objects. We have the lorem ipsum header. We have this box. We have the text that's in the box. We have the logo and the URL down below. Those are all different layers. So they all stack on top of one another and we can rearrange them as needed to show or hide the elements that we want to be more or less visible. Hopefully that answers that question. There is a handy link in the Photoshop blog series that I mentioned that goes to an Adobe page that probably gives a much better explanation than I can on what layers are and how they work. So I recommend checking that out as well. So as far as working with layers, you can see as I pointed out over here in our layers palette on the bottom right, we have six layers. We have the photo, the logo, which is the fake nonprofit organization logo that I made here, the URL that's underneath it, the header at the top, and one that says Rounded Rectangle, and one that says Body Copy. So the Rounded Rectangle is that white box here, and the body copy is the fake Latin. It's real Latin, but fake copy. So this is only six. It's not that much to manage, but in a project in Photoshop you can begin to add a lot of things to an image, especially if you're making something like this which is a poster that has a photograph in the back and then different elements over it. And basically it can get out of hand. So one way to avoid that is to name your layers. So if you click on a layer like the photo, double click the text of it. It will turn into an editable text field. You can rename that as you need. You can also group similar layers. So for example the logo and the URL underneath it conceptually are the same thing. It's one element. I would want to move them together. I would want to show or hide them together. They serve as one thing, although this is an image, the nonprofit organization is one image, and the URL underneath it is text. So they are two separate objects, but they serve the same purpose. I may want to group those. So if I click Logo, I can hold Control and click URL. Now I've selected both of those layers, and you can go up to the Layers menu, or what I prefer, you can just do Control G and that will group them. So there's Group 1. And again just like any layer, I can double click that and change the name. I'll change that to Logo. If I use the arrow that's next to it and collapse that, excuse me, expand that, I can see that they're both grouped as the name Logo. Now I can drag these around together as opposed to just separately. And the same goes for this body copy here, the lower set, etc., and the box that's beneath it. As you can see, those are two different layers. If I select them both, again Control G will group them. I can rename that. And now I've got everything grouped up that's similar. Everything that stands on its own doesn't need a group, and everything is nice and organized and neat. So this will serve two purposes. One, of course, it keeps your sanity. And two, if you have to send this to somebody else, if you send this to a printer for example, or somebody, maybe you've drawn up a mock-up of something, how you want it to look, you send it to somebody else for them to do some more work on. You don't want to hand them a mess. That's something that just makes sense to you basically. So this is a good way to make it clear and presentable. I also mentioned that you can change the colors. Of course, you can color code them. This is really easy to do. There's a little icon next to each layer, the little folder for groups, and then the P for text, the photograph thumbnail for photographs. For any layer or any group, you can right-click that icon, and then choose a color, red, orange, yellow. They don't affect the outcome of the image in any way. This is just for your own reference. So these two elements here are both copy related. I can say that they're red. Now I've assigned red to both of these. Just a handy reference in case you need it, in case you start to really have 30, 40 layers going on, a big project. This is a good way to just keep everything organized. As I also mentioned, one tip that I don't always follow myself, but I should, and just in the same way as always should get my taxes done early this year, and I never do, is to always duplicate your layers. So if I think, okay, well the photograph here needs to be brighter, darker, the saturation is off, the hue is off, anything like that. I want to make a change. Always best to duplicate your layer before you make the changes because if you get it wrong, you want to see how it looks, you want to come back later, you want to just try it out and test it out. That's always a good practice. So if I select the layer, I can right-click it. There's a lot of options. Duplicate Layer is up near the top and belongs there. So Duplicate Layer, I click that. I get this option to give it a name, photograph copy of as good as any, so I'll just say okay to that. Now I have two. So if I make a change to the image, and the things I'm going to change here, I'll be showing later too. But I'll just make the change now so you get the idea. If I want to adjust the hue of it, bring it up a little bit. Now I've got two versions of it, and well, that doesn't look great. I don't like how that looks. Let's delete it. If you go back to the original, I like that much better. And I haven't ruined anything. I don't need to step back. I don't need to undo any changes that I wanted to keep along the way, any of that. So always good to duplicate along the way. And then the last tip for layers that I have, as I mentioned, you can hold Alt or Option for you Mac users, and click the icon to see only that layer or group, and then vice versa. So we've got four items here in the Layers palette. If I hold Alt and click the Visibility icon, this is Eyeball, I only see the text. I continue to hold Alt. I click it again. Everything comes back. Same thing for any groups. That's hard to see. That's a little easier. Holding Alt while I click the eye will only show that group. Click it again, bring it right back. And of course this works for without holding Alt, just clicking the eye will show or hide that particular layer or group. So a lot of options with layers. You can always play with them. There's plenty more in this palette that you can see. I won't be covering any of those, but always good to stay organized. So that's tip number 2. Let's switch back over to my presentation. There we go. So let's talk about fixing up photos. So title of some, maybe she's born with it, maybe it's Photoshop. Three really handy tools that are pretty basic. I mean you can really dive into a lot of the nitty gritty of Photoshop when it comes to fixing photographs that have just something slightly off, but these are some of the more common ones that I've run into. So first of all, the red eye tool, obviously is what it sounds like. You can clear out red eye from any photograph that was taken perhaps in low light or just bad lighting. Still get that red eye effect. I know I take a lot of photos of my dogs. I see a lot of red eye with the dogs for some reason. So Photoshop or Adobe have thought ahead and added a tool just for that. And I'll demonstrate that later along with the rest of these. So I'll just cover the other two before I hop back over to Photoshop, including the human brush tool which is useful for fixing up spots against a neutral surrounding. So if it's on a sort of flat or similar color in the background, Photoshop can automatically detect that there's something a miss in the section that you've selected and then remove that and fill it in automatically or automatically as we tend to say around here. And then a similar tool is the clone stamp tool which predates the other two but is really handy for cleaning up some of the same spots against a more complex or patterned surrounding. So if you're thinking of like a pattern on fabric or against like in a field where there's a lot of grass, a lot of neutral blades of grass, it's not quite as clear as a clear blue sky for example. So I'll switch back over to Photoshop and demonstrate some of these. Oh, that's coming later. So let me get ahead of myself. Let me bring up the red eye example. So this is a clear example of red eye in photography, not pleasant. But if we select over here on the left, there is the red eye tool. And that's a little scary looking. If you look at it too long, so I'll fix it as fast as I can because I'm having a reaction to it. From this fly out, the red eye tool is at the bottom. Also accessible by pressing the letter J but you select the red eye tool. And my inclination is always to just select only the red but Photoshop is more intuitive than that if you select the entire eye. And I'm not sure if you can see the dotted line around it but I've started from the upper left of her eye and I'm going to the bottom right of her eye. Select it, let go. It'll process finding the red eyes. And then you can see she has one normal looking eye. A lot better. She looks human again. Same story with the other one, selecting from the upper left corner to the bottom right. Let go. It'll process. There we go. Now she's human again. So very handy for obviously if you have a great photo of someone from your organization you want to use it in your promotional tools. But there's one glitch. This is a great way to fix that glitch. The second tool that I mentioned was the Healing Brush tool. So let me bring that one up. And this is a photo of me and my friend Joe looking, well we're trying to look cool but obviously not. And I chose a photo of myself because as much as I'd like to find a photo of someone else with a blemish that's not fair to them. So better to pick on myself. So from the same fly out as the red eye tool there's the Spot Healing Brush tool right here. So let's select that. Upper left here there is an option for the brush size. I'm looking to fix this part on my forehead. If you can see in the webinar the brush size is pretty large for that. So I'm going to want to scale that down. So that's where this comes in handy. I choose the brush size. I'm going to go down to maybe about 60 from 100. And there's no right answer to that. It's just trial and error experience and all that. So that looks like it will cover it up pretty well. So if I just do so much as click it, magically gone. I look like a little better at least. So that's a very handy one if someone in your photos has a blemish that day or something that you don't necessarily want to be dishonest with our photographs. But if you're concerned that the photo of the person you want to use, perhaps your CEO has something that is distracting to the eye. And it's not the purpose of the image that you want to send out. This is a great way to keep the distraction away, keep the focus on your message. And the last one that I wanted to show is the Clone Stamp tool. So I'm going to bring up an example of that. Now in this case we've got a hand with several grains of salt in it. Not that you would need to fix an image like this, but it's a good example of small detail against a complex surrounding. So if I zoom in, weigh in, this is a high resolution photo, you can see individual grains of salt against his palm print. So there's a sort of pattern here where the spot healing tool might just sort of make this smooth which would look weird. You wouldn't have a smooth patch in your hand. You would have fingerprints, hand prints, things like that. So that's where the Clone Stamp tool is handy. So just down from the flyout that we had earlier, we have the Clone Stamp tool right here. What Clone Stamp does is you can sample part of the image from elsewhere and then we basically paint that over another part of the image. It's kind of a weird concept so I'm going to go kind of slow through this one. So apologies to anybody who's used this many, many times. But same concept as before with the spot healing tool which used the brush size that we want. So 65 pixels for this particular grain of salt looks about good. It'll cover that area. You don't want it too big because you'll cover more than you need it too small. You'll be at it all day. So that looks about good. If you hold Alt or Option from Accusers and select an area that looks similar in color, in pattern, any of that, something that will be good to replicate over that particular grain of salt right here, we can paint over it with another part of the image. So I'll hold Alt. You can see the cursor changes to this crosshair. I click where I want to paint from, the source, let go, turns back to the brush. And you can see as I move around, there's sort of a hover going on of that other part of the image. And so just like with any paint brush, I just paint over it, let go. And now it's gone. It looks like part of his hand. It actually looks like a very specific part of his hand. But you can fix little details like this in any image. Say for example if you have historic photos that you want to share, but they've got creases or nicks in their corners. They're great photos, but you're worried that people perhaps will be distracted by those. You want to bring back the vibrance of that particular photo. This is a great tool to use that for too. So you can sample perhaps the border where there's no crack, paint over it. And it looks like, well not new of course, but it looks a lot cleaner. So we can continue to use this elsewhere too, finding things that we want to remove. So for example this next grain of salt here, I can hold Alt, click in this area, bring it back over, paint. It's not perfect. I might need to redo that as I go. But it's sort of trial and error finding the part of the image that will serve as a good source for the part that you're painting over. Becky, you've got something to add? Becky Sure. Well I just wanted to mention to be careful with this one. As Wes was saying it's an art form to be able to get this right. This seems to be the tool that people overuse, and then you can see weird distorted swooshes in their images if they don't pick a new spot to clone from. As they clone something if it's big. So I would definitely err on the side of minimal use so that you don't have distorted things in your images. We had a couple of questions come in that I just thought I'd field right now since it's related to this. And we have some folks who are on slower internet and it will hopefully let them catch up with what's rendering on their screens. But Virginia asked what zoom percentage is best to work with if you're keeping photos small. But sometimes do you have to zoom to something like 400% or do you have any recommendations around zoom? Wes Yeah, that's a really good question. A lot of times when you don't have access to the highest resolution photos, you kind of have to work with what you've got. And working at TechSoup just like any nonprofit, it's an old story of working just with what you have. So for images that are lower resolution, what I recommend as far as zoom, there's no right number on the amount of zoom I tend to just like to have whatever I'm working with, perhaps those grains of salt on the man's hand, right in the center takes up maybe half the screen of the area that I'm working on and then leaving the rest of it outside just for context basically. Again, no magic number on the percentage but just whatever is comfortable for you. If it's a low resolution image, the more you zoom in, the more it's going to get obviously. So sometimes what I've found is handy is if someone has provided you with an image, ask them if they have a higher resolution version. Sometimes they just grab something from Facebook for example. Well, Facebook will shrink something down. You can get the source sometimes from the person that uploaded in the first place. There's no magic bullet on that one unfortunately. So hopefully that provides you with some answer. But were there other questions to field, Becky? We do have a couple of others in the queue but it's like to keep us moving forward since we're only a few tips in and I want to make sure we've got time to get another couple before we go to Q&A. Perfect. Well, I do appreciate the questions. So feel free to keep those coming. That about does it for the image tune up tips. Of course, there's a whole industry around cleaning up photos for fashion magazines and all that kind of stuff, removing shiny foreheads and all that. So there's a lot of great tutorials online. In fact, those are probably the most common tutorials you'll find. So if you're looking for great ways to clean up images of people, you can find a lot of those online for very specific needs too. So I encourage you to search for those too. But those are just some of the basic ones that I tend to use on a more regular basis. So switching back to our slides, next up is Alignment and Distribution. Of course, this pun isn't available to you and you may not have played Dungeons and Dragons. If I'm not already nerdy for giving a Photoshop webinar then mentioning Dungeons and Dragons and it certainly won't make that apparent. So first up, Alignment. There's a difference in Photoshop. Well, let me back up a little bit. When you're working with multiple layers, sometimes you want to align them all the same way, always to the left or all to the right, top, bottom, any of that, or even horizontally and vertically align them with one another. And I'll demonstrate this in Photoshop, but it basically lets you align layers among one another and distribute the space among them. And the difference is that too, align layers, you need at least two and it will move all but the one that's in the farthest direction that you want to move the others. Now that might seem a little vague, so again, I'll demonstrate that, but I'll at least give you the explanation now and then show you what I'm talking about. As far as Distribution goes, you need at least three layers and then it will distribute evenly among the two that are on the most extreme. So if you want to center something, it will grab the farthest left, the farthest right, and align the third one in the center. And this applies to the top, bottom, left, right. You can also align or distribute to vertical and horizontal centers. So enough talking, let's show it. Let me bring up this alignment example. And this is really basic. This is just three, let me get this out of the way. This is just three squares. Let me move this unnecessary layer out of the way so it's clear what I'm talking about. We've got three rectangles and you can see over in the layers palette there's rectangle one, two, and three. It's the blue, red, and yellow respectively. And if I want to align any of these to one another or distribute the space, you can do that by dragging them along. But it's kind of imprecise if you're in a hurry too. This is a great way to get them all lined up to one another. So if I select for example rectangle one and rectangle two, up at the top there are six options here for aligning. They're aligning to the top edge, the vertical center, or the bottom edge, and then same thing with left, center, and right. So if I want to align these two objects to the top, just this one button here, Align Top Edges, will bring the red rectangle up to the top of the blue triangle, excuse me, blue square, align the same rectangle. It will bring the red to the top of the blue because the blue was the topmost of the two. Now back up, I can do the same thing with left, for example. I can align them to the center. Now of course there was no extreme in that case. There was two objects that's going to bring them both to the same center. It's going to find the average of the two and bring them together. Right of course, bottom, and the same thing with the vertical center. It's going to find the average of the two, bring them down to the same place. I can also distribute them. If I want to keep, for example, the blue and the yellow in the same place, but move this, the center red one, I can select all three. And now I've got these other options that weren't available previously. This is the distribution. I can distribute along the top edges. So it finds the top edge of the blue, top edge of the yellow, and then aligns the red top edge to that as well. I go back. I can now distribute horizontally. It's a subtle change, but it's finding the average horizontal position between the two. So the center of the blue, the center of the yellow, and then aligning the center of the red along there. So this becomes pretty handy for making things look symmetrical in an image. You can always tell if something is a skew, it's distracting. If you have logos, for example, or text in your image, you want to line everything up all together on the left side, the right side. This is a good way to do it. It's actually precise, not just sort of eyeballed because what might look good to you while you're working, you're busy, you're trying to get something done fast, you send it out, it comes back printed. Well, this isn't lined up because maybe you did it by eyeballs. This is a great way to keep it all perfectly lined up. So let's move on to adjustment layers. So instead of insurance adjustment, this one's adjustment insurance. When you're making adjustments to a photograph, you may want to change something like the hue, the saturation, changing the color, maybe make it black and white, or just slightly desaturated, things like that. It's very tempting to just make the changes directly. And this is where the tip that I mentioned in tip number one about duplicating your layers is a similar concept here. You want to make your changes as non-permanent as possible, something that's non-destructive is the proper term for that. So you can make adjustments directly to a photograph if you're convinced that's what needs to be done and you're done. But if you want to play around, if you want to adjust things, see how they look, tweak them, you're not entirely sure how it's going to end up. Adjustment layers are a great way to do that. You can, let's see, hop over to Photoshop and I'll bring up an example of that. So this is my dog, Charlie, as I mentioned, I take a lot of photos of my pets. I think if anyone has a pet, it probably does. Now if I want to make a change to this, let's say, let's find one. Let's change the hue on this. So we can go up to the image menu, choose adjustments, fly out, and then choose the hue and saturation and that will bring up this windmill. There's a preview checkbox here which is always good to have on so you can see your changes in real time as you make them. But if I decide to change the hue, that's adding a little more blue, purplish, and then bring down the saturation, you can see how it is now versus how it was before. So I've brought down the amount of color and I've changed the colors that are present and say, okay, well, now that I've accepted this change, if I do anything on top of it, I have to either revert back to the original if I change my mind later, which of course this isn't nearly as good as it was. And I lose those changes that I made along the way. So what I recommend instead doing, I'll undo that, Photoshop includes adjustment layers which just like we have layers for adding a photo, for adding text on top of something, you can add a separate layer on top of an element that will make those adjustments for you and they're not permanent, which is great. So those are accessible from the window menu and then there's adjustments that's already checked and that pops up over here. So we have all the same options that we did on the adjustments fly out. We have brightness and contrast, levels, curves, exposure, etc. The one that I just used is hue and saturation. So if I just click that, you can see it adds a new layer right here, right above the photograph, hue and saturation 1, and everything except is zero. So nothing looks any different yet. I can adjust these sliders. So I brought up the saturation. I've increased the brightness of the image and none of this is permanent, which is great because again, if I make other changes to the image, I add more text. I do something else and I decide that, okay, the changes I made now don't work well later with the other changes that I made. I can come back and adjust these without any damage to the original photograph. And you can see by turning off a visibility of this particular layer by clicking the eye which I covered earlier, there's the original just as it was. I turn it back on. Now I can see that it's brighter. The saturation is a little higher. And if I decide that perhaps I want to desaturate it a little bit, a lot, I can still do that. Again, no harm on that. The original is still there, still present just as it was. So just now there's always a good way to go if you want to make sure that your changes are nondestructive. So let me switch back over to tip number 6, matching your colors. If you have a photo that doesn't have the right color palette that you want, there's a great and easy way to do that if you already have something that looks how you want the original to look as far as color goes. And these are the four steps here. I'm not going to go over them right now. Instead I'll show you. But these are handy reference if you grab the slide deck later. So let me minimize that and I'll bring up two images. Here's a photo of a man helping some children at an event. Let me talk about this for a moment. So it's a great photo for something like a brochure for the web if you want to demonstrate. We're having an annual event. Here's a photo from last year's event. Come down, bring the kids, etc. But the problem with the image is it's kind of washed out. There's not a lot of vibrant color to it. You can adjust the hue and all that as needed, but it's a lot of trial and error. So what I like to do is grab an image that already has the colors that I like and then match it to this one. So in that case I'll also bring up this picture which has great color to it. Let me get this out of the way. So while I'm playing in the dirt there's a lot of warm colors to it which I like. So if I want to take the color palette from this and apply it to this more grab one, it's very easy. Just have them both open at the same time. Go up to Image, and then Adjustments, and Match Color. From here you've got a lot of options and I'll go over those in a moment. But the first thing to do is to select as the source the image that you want to match it to. And I can see as soon as I chose that the image looked a lot better. It brought in those colors from the original and matched it to the image that I've got here. And in case you missed that I'll toggle back and forth. So this is the preview with it on, without, with, without. So already like a lot better. And you can adjust the amount of this color that you're bringing it to. The luminance, it's really bright. I brought the brightness up a lot of the brightness from the original or lay down if it's too much. I kind of liked it where it was. So I'm going to bring that back. You can also change the color intensity. So this is sort of like a saturation if you really want those colors like vibrant. In this case though I think the colors like the skin tones are almost a little neon. So I might bring that up just a little bit to about 120. But there's no right answer on this. This is always just like a lot of things in Photoshop trial and error. And if the image itself is a little too much you can also adjust the fade which is sort of the overall amount of the settings that you've chosen. So I can bring that way up and you can see it begins to become more pale again. So I'm going to bring that all the way back down. I like this image. I like how it looks now. Again that's without and that's with. So you can do this with, it doesn't have to be photograph to photograph. If you have a piece of art for example, like a painting or something then you can use that to bring in the colors too. So let's switch back over to Becky. Becky I hate to have to cut us off but we are at almost the top of the hour and we have managed to answer a lot of questions in the back. So I'm actually going to stop screen sharing. I know I hate to do it but I don't want to keep people on past what we promised. Just know that in Wes's slides he has some other items that he has listed out as tips and he has steps on how to do them for things like smart objects and enhancing images that are blurry and using curves and things like that. So definitely look to those slides and I'm going to go ahead and show a couple of final resource slides just so you know we have a lot of additional resources, a whole bunch of tutorials that you can access. Adobe has Adobe.tv which has lots of great videos to show you how to do short things but short videos to show you how to do things like removing the background from an image, lots of things like if you need to get rid of the shine on something, lots of great topics there. We've also linked to some of Wes's favorite resources and as well as his series, the five-part series that shows a full introduction step-by-step of designing your own poster for your nonprofit or library. And then we also have a comparison for those of you who aren't sure if you want full-fledged Photoshop or if maybe you can get by with using Photoshop Elements. We have a comparison article that lists out some of the features that you gain with full-fledged Photoshop versus things that maybe you don't need. So it really depends on your own needs. We want to make sure you're picking the products that are best suited to your organization's needs. I'd like to invite you to join us in our Adobe Creative Cloud forum thread and we'll chat this link out as well where you can ask more questions and keep the conversation going. Additionally, we have some resources about Adobe Creative Cloud so we mentioned it at the beginning as well as the Adobe Donation Program, some articles comparing what's new, what's different, answering technical questions, Adobe's Learn and Support. Lots of resources here. Go ahead and if you can, chat in one thing that you learned today that you're going to try to go ahead and implement at your own Adobe Creativity. Let us know what elements or items that he mentioned you're going to try and work on a little bit more to improve your own scaling capacity. And I'd also like to invite you to join us for upcoming events including another Adobe event coming up in July. So we have next week what's new with Office 365. So if you're interested in that tool feel free to come and join us to learn more about that. And then we'll have a global tweet chat on Big Data and Social Change on Twitter. So there's not a link for that so you can follow the NP Tech Chat hashtag to learn more about that. And then we'll have a webinar on July 9th on using Google AdWords to drive impact so if you're looking for Google Ads and hoping to use them for your organization, join us. And then we'll have a crash course in Adobe Creative Cloud with Adobe's Paul Trani who is a renowned expert in presenting and making all kinds of great videos and content to train people on using Adobe. And so we'll be looking through the whole Creative Cloud platform or at least many pieces of it. So we hope you'll join us for that. Thank you so much Wes. We really appreciate it. I'm sorry we didn't have time to get through all of his tips today but they are in the slides. Please look to those because they do have some step-by-step instructions for things like enhancing what's step one, what's step two. So a lot of resources in there. Join us at TechSoup Global, TechSoup.org, and on our Facebook and Twitter. And please join us again for upcoming webinars. Lastly I'd like to thank ReadyTalk for the use of their platform. They've provided it for us to present these webinars to you on a weekly basis. You can learn more about their donation program with TechSoup and the ReadyTalk 3000 tool that we're using today at TechSoup.org slash ReadyTalk. When you close out, please take a moment to complete the post-event survey so that we can continue to improve our webinar programming. Thank you all so much and have a terrific day. Bye-bye.