Scott Kelby’s Top AI Secrets for Lightroom & Photoshop | Bild Expo 2025

Quick show of hands. How many of you came to this session because you thought there was going to be free food?

Anybody? All right. Good. I have bad news for you. Welcome. So glad to have you guys here. Uh I want to tell you a little bit about what this is about so you'll know if you're in the right

place. So this AI thing, it's got me

place. So this AI thing, it's got me freaked out as a photographer. So but I have found ways to use it that I think that help me to sleep at night. There

are things that as a photographer that I just don't want to do, but I want to make the use of AI when it helps me productivity wise. Um, but you're going

productivity wise. Um, but you're going to see not only, you know, where that boundary I think it I think that boundary lies, but I'm going to teach you all the stuff. So, we're going to go through I'm going to show you how it all

works and how I want to show you how I'm using it in my own workflow. And you can see where I'm like, I'll do this, but I ain't doing that. So, that's what we're going to do. We're going to go through all of that stuff. So, um, let's go

ahead and get started. So, and a lot of people that say, "I'm not going to use AI." They'll say, "Oh, I'm I'm not using

AI." They'll say, "Oh, I'm I'm not using AI. I'm not going to do it." And I'm

AI. I'm not going to do it." And I'm like, "Look, Photoshop already has a very very robust set of AI features before.

All of these features are AI based.

So, are all of these features. We've

been using AI and Photoshop for years, but it's actually is it's these aren't the ones that make us lose sleep. These

are the ones that we've been using. We

just think of them as production tools.

It's the ones that I want to teach you that that are the newer ones that that we struggle with a little bit. And

that's what I want to talk about. So, a

lot of it is how you look at it, how you look at the tool, right? And then it's really how you use it. It's those two things. So, we'll start with Photoshop

things. So, we'll start with Photoshop because most of the stuff we're going to talk about is is Photoshop based where I'm going to do some Lightroom at the end if we have time. Uh, but uh I'm going to basically talk about seven

major areas that we're going to discuss.

Um, there are two basic things that we do in Photoshop all day long and they are generative fill and I'm sure you've heard of that one and the lesserk known one which is really really powerful is

generative expand. And so that's what

generative expand. And so that's what we're going to do. generative fill. Uh,

actually I look at it strictly as a production tool, right? Um, and I'm going to give you a perfect example. All

right. One of the things that I've I do a lot of portraiture and one of the things that I've I've really I hate like you can't believe is reflections and glasses and I've tried all the tricks.

You know that one time I I somebody was doing a head shot of me and I went to go do the head shot and the guy handed me a different set of glasses with with no glass in them. He said, 'Hey, wear this because we don't want reflections. And I

put on this set of glasses that look absolutely nothing like me. And I'm

like, this is ridiculous. And he's like, but you don't understand how hard it is to get rid of refle. Yes, I do. It is

very hard. So, in my studio, one of the things we used to do is we would take the light and try to get it so high that you couldn't see the the reflection and you try to tip it. It was a mess. Now,

it's fixed in 12 seconds. And I've tried over the years, I've done different things. is I've done this thing where I

things. is I've done this thing where I would I would take the portrait and I would tell my subject, "All right, I'm going to shoot this shot and my assistant's going to come. Don't move

your head. I'm going to take a second shot and then I'm going to mask the two together in Photoshop." But now, it's so easy using generative fill. And this is a typical thing that I would use generative fill for. So, here's how it

works. You just get the lasso tool and

works. You just get the lasso tool and make a very loose selection around the reflection. Just very, very loose. Uh,

reflection. Just very, very loose. Uh,

hold the shift key so you can make a second one. All right. Just make a very

second one. All right. Just make a very loose selection like this. And then

you're just going to go down here to this little uh generative field. Just

click it and just hit generate. That's

all. That's it. Two clicks.

And uh it waits. Takes about 12 seconds or more and it's I know it's crazy. It's gone.

Now, it also gives you three different variations. So, you can look at and

variations. So, you can look at and choose if you want. And you'll notice that the expression in the eyes change a little. So you have to make a very

little. So you have to make a very careful decision about which one you want, but it's 12 seconds. And when I think about how much time I spent either

dealing with it in person or dealing with it later in Photoshop, I'm like it it's kind of kind of groundbreaking. I I

want to give you some tips that'll help you to understand like what just happened and and how to make it work for you. The first one is this is a big

you. The first one is this is a big question I get.

Do I leave this blank? When do I leave it blank? Or when do I type something

it blank? Or when do I type something in? Like, what am I supposed to do? So,

in? Like, what am I supposed to do? So,

basically, I leave it blank almost all the time, but it's when you want to remove something. There's something in

remove something. There's something in the photo you want to remove. Now, we've

been removing stuff in Photoshop since Photoshop 1.0, 30 something years ago.

The clone stamp tool was born to help us get rid of stuff. So, I'm thinking this is it. This is what I want. This is the

is it. This is what I want. This is the main tool that I wanted to do. I wanted

to remove stuff. All right. So, about

99% of the time, I actually leave this blank and I just hit the word generate.

I don't touch anything else. I make a selection and I hit generate and boom, it's done in 12 seconds. All right. So,

that's the process. You make a selection using any tool that you want. You can

use the rectangular tool or whatever. It

doesn't matter what tool you use. Then,

I click generative fill because you got to tell Photoshop, what do you want to do? You made a selection. What do you

do? You made a selection. What do you want to do? I want to use generative fill. And then you're going to click the

fill. And then you're going to click the button called generate. That's it. All

right. Then you wait 12 seconds. Why do

you wait 12 seconds? Because your image has to go to Adobe's cloud where I imagine like Taylor Swift does something to it and sends it back and then it happens. The whole round trip takes

happens. The whole round trip takes about 12 seconds depending on, you know, your internet connection. All right. And

when you're done, I mentioned you get these variations. It gives you three

these variations. It gives you three different looks and you get to decide which one you want. I will tell you this, in my experience, it's rarely the first one that it gives you. It's

usually number two or number three. And

if you don't like it, you can just ask it to see the word generate. You can

just ask it to generate again and it'll make another three and another three and another. It'll make as many as you want

another. It'll make as many as you want until you come to the one that you want.

Uh but every time you do it, it generates a brand new set of eyes and the whole nine yards. So that's why I say like you can look at the variations here and the first one looks pretty good

in this case. The second one it kind of replaced the reflection with a worse reflection. The third one the

reflection. The third one the reflection's not so good but the first one nailed it. It's not normally that way. It normally is. Number two or

way. It normally is. Number two or number three is what makes the difference. All right. So when would you

difference. All right. So when would you type in a prompt? When you want to add something to your photo that wasn't there or you want to change something in

the photo. So, someone's wearing a blue

the photo. So, someone's wearing a blue shirt and you wish they were wearing a blazer instead. You can do that. This

blazer instead. You can do that. This

This is the stuff that makes me lose sleep.

I I feel dirty when I change stuff there. Like, if I take a picture of like

there. Like, if I take a picture of like four buildings, if I went here in Manhattan, I shot four buildings and and you see an airplane or a bird right in between the buildings. I can I have always been able to do that in

Photoshop. I could go find a picture of

Photoshop. I could go find a picture of a plane I took two years ago, select it, and stick it in there. But I never did that stuff because I felt dirty. Every

time I looked at that photo, I knew I cheated. So it felt weird to me. I

cheated. So it felt weird to me. I

always felt like, well, I know that that Photoshop does all this stuff, but I would just, this is how stupid I am. I

would have to wait for a plane to fly over.

>> I would just do it. I don't know why.

It's just something. But that is the stuff that makes me lose sleep when I'm adding things. Like if there's this nice

adding things. Like if there's this nice shoreline and I say, you know what would look good there? Lighthouse.

Photoshop will add. You just type in the word lighthouse and make a selection.

It'll put a lighthouse right in there and it'll give you three different lighouses to choose from. And every time I would look at that shot, I would always know I cheated. I know that there's people that go, I have no

problem with that. And that's cool. I'm

just telling you how I feel that I feel weird when I do that. And I I years ago I did and we'll talk about this later, but years ago I had a picture from Maine and everyone's seen that lighthouse in

Maine, the famous one. Well, the day I was there, there was just no good sky.

And this is before sky replacement was built into Photoshop and I put my own sky in there. And I'm telling you what, every time I looked at that photo, I always knew that wasn't the sky that was there. Don't worry, I got over it. But

there. Don't worry, I got over it. But

at but but at that point I used to look at that and go uh so that's why when I see that prompt I generally leave it blank because I know if I'm typing something in there I'm about to change

something dramatically in the photo or I'm going to put something there that wasn't supposed to be there. So why

don't I why don't I type in stuff? Why

do I not put that? Because I want to sleep I want to sleep at night. I don't

want to be like I shouldn't have done that. All right. So here's the main

that. All right. So here's the main thing that I use generative fill for. I

use it to do things that I could already do in Photoshop, but it's so much faster. So much faster, as you'll see as

faster. So much faster, as you'll see as we're going to go into this. All right.

All right. My number one thing I probably use it for is removing distractions, just distracting things on my image. And let me give you an example

my image. And let me give you an example why this is so better than things like content aware fill or the healing brush or any of that stuff. So, for example, this is not No, this is an awful shot, but whatever. There's a garbage can

but whatever. There's a garbage can right in the shot, which is making an awful shot even worse. So, let's go ahead and just I'm going to put a selection around this garbage can. And

then I'm going to use contentaware fill because that was the best thing that we had. So, I choose fill. I hit content

had. So, I choose fill. I hit content aare. And let's see what kind of job it

aare. And let's see what kind of job it does. Oh, it looked like it chopped the

does. Oh, it looked like it chopped the tree right up here. Let's zoom in.

That's nice. Perfect. Oh, and it added a little extra tree. All right. So, let's

let's try the healing brush instead.

Right. The healing brush is a very famous tool. Let's go get the healing

famous tool. Let's go get the healing brush. Let me make the brush a little

brush. Let me make the brush a little smaller. And then we're just going to

smaller. And then we're just going to paint right over this thing.

Hang tight for a second. And that'll

probably do a pretty good job. Oo. Ouch.

All right. So, I'm going instead get the lasso tool. I'm going to lasso around it

lasso tool. I'm going to lasso around it just like I did with the first one, just like I did with contentaware fill, but instead I'm going to hit generative fill. I'm not going to type anything in.

fill. I'm not going to type anything in.

I'm going to hit generate. And we'll

wait our 12 seconds.

and let's see how it does. Now, every

time it does it, it does a different thing. So, you never know exactly what

thing. So, you never know exactly what you're going to get, but that's a whole lot better. Here's version two. That's

lot better. Here's version two. That's

better. Version three is that's not bad either. Any one of two or three, I

either. Any one of two or three, I think, would be fine. They would either one. But

one. But there's another little tip that you want to do. You want to, if you look right

to do. You want to, if you look right here, there's a little up arrow. This

ups the resolution of what you just did.

Now, if you click on it and you see it's too small to enhance, you don't have to worry about it. That means that the size of your fix was under 1024 by u excuse

me uh 102 1024 x 1024. So, as long as you it's 1024 on the on the the side. If

you do something small, don't worry about it. If you do something big, you

about it. If you do something big, you got to hit that button. and it runs another AI on top of the AI you just ran to make it look better and it makes a big big difference. But if don't be

surprised if you click it and you get that little warning that I just got that says this is too small. If it's too small, it's too small. Don't do it. But

if it doesn't do anything, you'll see it say the word enhance. All right, here I'm going to give you another example uh with this image. Look at that wall. How

it's dirty here. This is in Santorini and look how dirty that wall is. And I

was like, I could clone it down. I could

do it. It would take me an hour, but it, you know, it's probably worth it because I kind of like the just the emptiness of this shot. And let's go here. And I'm

this shot. And let's go here. And I'm

just going to hit generative fill and hit generate. And it's going to save me

hit generate. And it's going to save me however a half an hour it would have taken to make it look realistic. And

let's take a look at at what it does.

We're going to get again three samples.

And we'll see how it goes. The most fun part of all this is the waiting.

Look at that. Let's Let's look Let's look at one of the other variations, though, because that we might can do better. Oh, yes. Oh, that's the one.

better. Oh, yes. Oh, that's the one.

Number two. Number three is kind of um number two's pretty good. All right. And

that's probably big enough that I would upres and do the up resolution, but that's that's quite a bit better. Here's

an interesting thing. What if you do this and you want to remove a garbage can or whatever you want to remove and it doesn't? It just doesn't do it. I've

it doesn't? It just doesn't do it. I've

had people email me and say, "Scott, I wanted to remove this uh thing from a a swing and uh it put another thing there.

It just puts another one there." So,

instead of removing the thing I wanted, right, like there was a squirrel on this chair and I tried to get rid of it. It

put a bigger squirrel. Instead, it

replaces it. All right. I'm going to give you two ways to deal with this because you're absolutely positively going to run into this. Number one is to type in the word remove. I know it

sounds stupid, but it tells it no, no, no, don't put another squirrel there.

Just remove whatever was there. Just

type the word remove, and it actually works. All right, that's number one.

works. All right, that's number one.

Number two is you can just go back and make your selection larger because here's what's probably happened. when

you made your selection, if you touch the edge of anything, it thinks you want more of that. So, you've got to get the whole thing. And let me give you an

whole thing. And let me give you an example. So, let's uh let's take a look

example. So, let's uh let's take a look at this church. And if you look closely, you see how my selection kind of got a little bit of the roof on the left and a

little bit of the like entryway at the front. Like, you can't touch any of it,

front. Like, you can't touch any of it, right? Because here's what happens. If

right? Because here's what happens. If

you're touching any of that church and you go and so you can see my my selection here and go and we uh just let me move this out of the way. Hit

generate.

It's probably not going to remove the church because I've got part of the church, a little tiny bit of it, a tiny corner and a little bit of the roof. And

so it thinks, "Oh, you want a different church?" Well, how's this one? No, it's

church?" Well, how's this one? No, it's

bad. How about this church? No, it's

worse. So, just go back, get the tool, and just make sure you're not touching any of that, church. It's got to you got to be a nice clean selection. And then

just do the same thing. Hit generate

fill, hit generate. Give it a second.

And give it the 12 seconds.

Come on, you can do it.

Now, there's no church. So, those are your two tricks. Type remove. If that

doesn't work, just make your selection bigger. Just go well outside it so it

bigger. Just go well outside it so it doesn't touch anything. All right, so that's the key. Make a larger selection.

Now, there is another tool that you can use that also is great for removing distracting stuff. Um, it is uh you can

distracting stuff. Um, it is uh you can choose the remove tool. Now, the remove tool will let you go and trace, you know, all the way down there, right? But

you don't have to do that because you can trace every line. But if you choose that, look up there at the top. There's

a new thing called find distractions.

And there's one called wires and cables.

You just choose it. Wait for it. Wait

for it.

Keep waiting for it. And keep waiting.

Look. I know. I know. I'm a travel photographer. Let me tell you. The day

photographer. Let me tell you. The day

that this came out, I was on the floor in the fetal position. This is

but as a travel photographer that pales in comparison to the bane of travel photography which is tourists.

They have no right to be there. I'm

trying to make serious images. These

people are walking into my shops and they're taking selfies and the whole nine yards. So I'm in France. I'm in the

nine yards. So I'm in France. I'm in the mart area and I see this couple in the window of this little cafe and you can tell they're in love. And I thought, I

love this picture of people in love, but I hate the tourists that are around them. So, here's what we're going to do.

them. So, here's what we're going to do.

Look at them. Look, you can see the love.

You're going to select these lo these tourists.

Just make a loose selection around the tourists that have every right to be there. And then these hold the shift key

there. And then these hold the shift key so you can add more tourists because there are more tourists. And and let's just get them. And I like the way I left that guy's head. We'll just leave that.

This is not great selections. Let's move

over here. Look at this. This guy. Come

on.

This guy. He's looking at that couple in 11 saying, "I wish it was me." All

right. Then you got these people over.

What is it? Half a person. That's the

worst. All right. You get all this and make sure you get their shadows and everything. All right. Once you've done

everything. All right. Once you've done that, we'll kind of move over here and uh let's hit generative fill and just generate and let's see what we get. another 12

seconds. And that was not the greatest selections I've ever made as you as you well saw. But um the important thing is

well saw. But um the important thing is I hate people.

I don't want them Whoa, look at that.

Look at that. And look at the love in their eyes. It grew stronger. I think

their eyes. It grew stronger. I think

their love grew stronger. Look over

here. All right. Now there they've got you've got other options that are weird.

And actually I either the third or the first one is I'm going to go with the first one. They're actually pretty good.

first one. They're actually pretty good.

And uh there's the there's those uh guys. Um and uh yeah, look at this. It's

guys. Um and uh yeah, look at this. It's

the brings the romance of Paris is ruined in every other way. All right, so there's a couple of things. This next

one is a surprising thing. If you're a portrait photographer, this one really surprised me and I thought one day I would try it and I did and I was like pleasantly surprised. And what it is is

pleasantly surprised. And what it is is smoothing skin. Now, it's it's not

smoothing skin. Now, it's it's not really you're not going to run this on someone that's 80 and they're going to look 14. But what it is for is

look 14. But what it is for is gradations in their face. So, when you take a picture of someone, if the gradations your lighting is really smooth, that it's a smooth gradation of tones. So, I will run this on on anybody

tones. So, I will run this on on anybody that has like hot spots or gradations that don't move smoothly. And what's

amazing about it is I'll just do it while I'll tell you what's amazing while we're doing it. Uh let's get the lasso tool again and just select the uh these little hotspot areas here right around

here. Let's get this. Let's get all of

here. Let's get this. Let's get all of this.

And I I've been teaching tricks to get rid of all these hot spots and stuff for years. And in 20 25 minutes, you could

years. And in 20 25 minutes, you could have all these gone. But it's your choice. 25 minutes or 12 seconds. It's

choice. 25 minutes or 12 seconds. It's

up to you. And what's amazing about this is let's hit generative fill and then just generate is that the skin that it replaces it with is like better than what we've been doing with frequency

separation and all these complicated techniques that we've done. It puts

pretty good skin in there. It's it's

it's pretty amazing and it fixes a lot of the hot spots. Let me zoom in so you can get a little better look here. And

uh you can see the difference in the gradations of skin, but there's pores.

There's all the pores and stuff and it and while it did remove the like kind of oily looking areas, it left the highlights. And let's uh I did the upres

highlights. And let's uh I did the upres here to enhance the details a little bit. But that's quite a big difference.

bit. But that's quite a big difference.

And you do it in seconds. When I think of what we do with painting all this stuff in with frequency separation, all the stuff we've been teaching for years, I'm like, "This looks great." And it's and just don't forget to upres it. Don't

forget to hit that button. I hit the button all the time because the worst thing that can happen is it says we don't need to do it. It'll just pop up little things says you don't need to.

The best thing that can happen is it does it. All right. Um I do have a few

does it. All right. Um I do have a few exceptions where I actually do type something in but they're very specific.

So for example, reflections. See the

reflection there? I did that in Photoshop without using generative fill.

The thing is if the subject that you want to make a reflection on is straight in front of you, right? It's like it's like horizontal to you doing reflections. It's a 10-second trick

reflections. It's a 10-second trick here. I'll just show you one. Um here's

here. I'll just show you one. Um here's

a car. I guess you figured that. Um and

then I want to select uh that much of it right there.

You put it up on its own layer. You

press command J on Mac or control J on Windows and you get just that. You go to free transform.

You hit flip vertical. Drag it straight down. And what?

down. And what?

No, no, no. Yes, yes, you get. But

that's easy. We've been doing that in Photoshop for years. It's like the easiest thing in the world. You know

what's not the easiest thing in the world? If the car is not straight flat

world? If the car is not straight flat in front of you. If you do it to a car like this one that's parked on this, oh, you're trashed. It'll it will not make a

you're trashed. It'll it will not make a a good selection and you have to tweak it and it's just a mess. But with with generative fill, not only does it do it perfectly, it does the reflection just

like it would really do it in real life, but it gives you all kinds of options.

So, I'm going to actually type in the word here. I'm going to go down here and

word here. I'm going to go down here and and I'm going to type in reflection.

Now, I could already do this, and I I've done it many times on cars at an angle, but it's a pain in the butt.

Uh, look at that. I know it's crazy. And

you get different versions. And if you don't like any of these versions, if you're like, "They're okay." Just hit the generate button again. You don't

have to make another selection. It'll

use the selection you used before and say, "How about this one?" No. How about

this one? Oh, I like that one. Oh,

that's good. That's That's okay. I like

that one. I like that. Oh, yeah. That's

That's the one right there. By the way, uh I'm going to just zoom in on the back window here. Let me just show you. So,

window here. Let me just show you. So,

look at this mess. It's picking up the roof. This was shot in an air hanger.

roof. This was shot in an air hanger.

It's picking up the the roof, right? So,

um, I'm just going to select the area of the roof you can see reflected in here.

All right. Now, if you want to remove something, remember, if you want to remove it, you don't have to type anything in there. Just make the selection, hit generative fill, and hit generate. Give it a few seconds, and

generate. Give it a few seconds, and we'll see what happens. But I kind of already know what's going to happen.

It's going to take it away. And that

I've cleaned up cars before. Cars are

the worst because it's like shooting into a mirror. It reflects everything it sees. It's just the worst. But that

sees. It's just the worst. But that

makes it so much easier. But here it come. I'm going to I've been kind of

come. I'm going to I've been kind of saving this. I'm going to turn you on to

saving this. I'm going to turn you on to the thing that I use this the most for.

This is the most has has changed for me everything is fixing compositional mistakes of which I've made a million.

It's where you do that little thing and you look at the picture and you're like, "Oh, I just I cropped it too close. I

didn't do this right." Right. And this

is where the other tool, Generative Expand, is unbelievable. All right, so I'm going to just show you. This is not a great shot I'm gonna show you, but you can see where I made a compositional mistake. I'm just standing too close to

mistake. I'm just standing too close to the subject. This was taken in my

the subject. This was taken in my hometown of Tampa.

I'm going to get the crop tool. So, the

crop tool is what's activate this. And

you're going to make sure you choose generative expand from up there in the toolbar. And you're going to go, you

toolbar. And you're going to go, you know what? I was just too close to this

know what? I was just too close to this manhole cover. I was just too close. And

manhole cover. I was just too close. And

so I'm just going to hit I don't not have to hit anything. I just hit return or enter. Or you can click the check box

or enter. Or you can click the check box up there in the uh it's not there now because you've already hit the return key. But if I hit return or enter then

key. But if I hit return or enter then it just does it. And take a look. Done.

It's a compositional mistake. And I get multiple choices of how to fix my It even knew that the first letter was N. I

love that. So um that's an idea. How

about this one where I I cropped the the bride too close. Her arms cut off in a bad way. It's just there's a lot of not

bad way. It's just there's a lot of not good stuff happening here. I'm going to pull down the bottom and I'm going to basically pull the top up a little. Look how close it was to

the top of her head. All you do is hit the return or enter.

Give it its time. You know, it needs its time.

All right.

any any second now. I'm sure there's one dress. I'm not crazy about that one. But

dress. I'm not crazy about that one. But

there's three. There's like Oh, that's better.

That's better. I don't know. Two or

three. It usually is number two or number three. Um, yeah, but you have

number three. Um, yeah, but you have options. And look at all the space above

options. And look at all the space above her head, right? It was really tight when I And those are my mistakes that I made in camera. Here's one that every time I saw it, I I bothered me. And so

I' I've rarely shared this photo. Uh it

was taken over in uh in Queens. And I

cut off the bottom of the And when I look at this image, that's all I see. I

cut off the bottom right there. That is

what I see when I look at this image.

Maybe no one else is noticing, but it drives me crazy. This is where you go up here and choose generative expand. And

I'm just gonna There it is. Oh, that's

nice. Nice nice zoom there. Sorry. Um,

going to pull it down a little bit and just hit generate.

Let it marinate.

Come on.

Look. Come on. It's it's it's it this is real Photoshop magic. And I have different ones I can choose from. And

like I said, it's usually two or three.

One one sometimes works, but I mean, that's pretty good.

And uh this one was was shot in Alabama, Birmingham, I believe it was.

All right. And this one I just I'm just too close all the way around.

Tip of the hat to Stu Greenberg who uh took this shot first and I ran over immediately to steal it. Um

hang on one second. And look, you're asking for, you know, a couple of inches all the way around the photo.

I don't know if it's going to be able to do it. Wink wink. Look at that. I mean,

do it. Wink wink. Look at that. I mean,

it's just But this is so great for fixing compositional mistakes. All

right. But there's one other thing. You

can take the same idea, right, from this and there's the third version, right?

You can take the same exact idea and apply it to something you might not have thought about restoring old photos, right? So, here's one.

right? So, here's one.

And you got the mom and pop there. And

they got the Christmas tree and the whole nine yards. And let's go ahead and I'm going to go back and deselect all that stuff. Let's hit the uh crop tool

that stuff. Let's hit the uh crop tool because his legs are gone, which is unfortunate. Uh let's grab the um crop

unfortunate. Uh let's grab the um crop tool. Here we go. We're going to pull it

tool. Here we go. We're going to pull it out. And then we're going to, you know,

out. And then we're going to, you know, drop a little more in here. There we go.

Maybe a little you. Her fingers are cut off. It was just an unfortunate this I

off. It was just an unfortunate this I did not take this photo. This was this was taken in the 1960s, so 20 years before I was born.

That's not kind.

And let's see where we go. But this when you start opening up that old shoe box, it's just incredible. Now, I'm not liking the shoes. That might not be my

first choice. And that's not But it's

first choice. And that's not But it's still look, it still looks damaged. It's

still good. That's okay. Look at that.

You got mom's hand in there. You got the dad's feet in there. Let's just hit generate again and see if we can do any better. But that's the thing about it.

better. But that's the thing about it.

If you don't like it, you can just hit another generate. And that's that's

another generate. And that's that's that's a big foot, Dad. Uh,

and there's one. And I don't know. Oh,

there's baby crib. That's good. What

happened here? Uh, it's a better night than I thought. Anyway,

all right. So, there's that. Let's move

on because there's another set of filters that it does some it does one amazing thing. It does a couple of good

amazing thing. It does a couple of good things, but this next one I want you to be sitting down for this. All right.

This is a picture of my brother Jeff.

All right. So, he was in the Navy and uh we're going to go take a picture. Uh

we're going to uh use a neural filter.

So, under the filter menu, there's this big thing called the neural filters. It

brings up its own window. And the one I want to bring your attention to, it's a totally AI based is um colorize. It

basically does watch.

I know, right? I'm going to show you something even better. Right. I did one of myself in my prime.

Come on.

All right. Now, this was taken for a band picture and I had my super cool on.

How can All right. What instrument did I play in this band? Look at the tie.

That's the giveaway. Keyboard player

back in that time. This is the late 70s, early 80s. But what did the rest of the

early 80s. But what did the rest of the band look like? Oh, cool. Very cool

band. All right, everybody look to the left. Okay,

left. Okay, but it got worse as I got older.

There I am again. But it's this next one where I'm at the max. This is the 80s now in a band.

My best ready.

Let's go.

All right. True story. To this day, see the drummer on the right with all the long hair? Still play with him. I still

long hair? Still play with him. I still

play with the guy on the far left with the hat, Tony. Still plays in my band.

The woman in the middle was the uh the girl singer. I married her 35 years ago.

girl singer. I married her 35 years ago.

[Applause] I know what you're thinking. How did she land a hunt like me? And I'm like, I don't know. I felt bad for her and it

don't know. I felt bad for her and it worked out. All right.

worked out. All right.

All right. Let's move on. Let me see how I'm going to do on my time. I'm doing

surprisingly well. All right. Next. This

next one, you're going to have to come with me on a journey because people are very hesitant to do sky replacement.

It's based on AI and it does a wonderful job. But I will tell you something. I

job. But I will tell you something. I

was the last person in America to do sky placement. Here's why. So, I'm sitting

placement. Here's why. So, I'm sitting at a bar with a buddy of mine. We're at

another conference like this and we're talking and I told him, I said, and I this is like a highly highly respected landscape photographer. Everybody would

landscape photographer. Everybody would know him. And I said, "Hey man, that one

know him. And I said, "Hey man, that one shot you did out there in Utah. That was

amaz."

And he goes, "Well, that wasn't this guy." I'm like, "What?" He goes, "No, I

guy." I'm like, "What?" He goes, "No, I replaced this guy." I'm like, "What are you talking about?" He goes, "Yeah, I took that sky in like I don't know, Arizona. I popped it in the Utah shot."

Arizona. I popped it in the Utah shot."

I'm like, "No."

And he's like, "Yeah." And he goes, "We all do it." And I take, "What? What?

These are my heroes." And he's like, "Yeah, we all we all do it." And I said, And so he looks at me and he goes, "So, let me get this straight. You get up in the morning and you have all your gear with you and you hike out there and you're like, you have a headlamp on.

you're hiking out there and you're trying not to fall in a snake full of pits and you get out there, you've done everything right and if there's no clouds, you never show those photos. I'm

like, "That's right." He says, "You're stupid."

stupid." And it was at that moment that I realized, so I started talking to everybody, all these other photographers, and they're like, "Oh, yeah. They've all been using it for

yeah. They've all been using it for years." And I'm like, "Why am I the only

years." And I'm like, "Why am I the only one not using it?" And here's the moral of the story. I'm now in that group. I

now replace skies. I don't like to do it, but I get it. I understand it because we have no control. We've done

every single thing right, but when it comes to that point, you you know the sky does. I went to four days to Arizona

sky does. I went to four days to Arizona on a photo trip and we never saw a cloud the entire time. So, here's what I did to sleep at night. Ready?

I would, if I was in Arizona, I opened the photo and there was no clouds. I

would only use other photos from Arizona taken in the past until that one day I took a sky from Hawaii and I dropped it into Arizona and I'm like that's out the window. This

looks perfect. All right. Sky

replacement's built into Photoshop. It's

the easiest thing in the world. You just

go u basically and you can see this this one needs a sky in a bad way. In fact,

this is from that that stupid trip. Um,

you basically are going to go and you're gonna go um and choose sky replacement.

It's actually it's one of the few features in Photoshop that is named actually what it does. Uh because so often you're trying to figure out what

actually does this do. And u up here under the edit menu, it's just called yeah sky replacement. They something

went really wrong when they named that one. Um because there's a department in

one. Um because there's a department in Adobe where they try to name it the farthest from what it does and they could give a trophy to the engineer and all. Anyway, whatever sky you use last,

all. Anyway, whatever sky you use last, it just puts it in there. It just pops it in.

>> Done. Right. And and this has been in Photoshop now for like what, three years, four years. And you can go and click on this little icon here and you can choose any one of the sample images that they give you. And by the way,

don't do that because if you put on Instagram, people will line up to go, "That's a sample image from Photoshop and they call you names, they mention your mother, and the whole thing, it gets bad quick." Um, but you just just

upload your own. Just like everywhere I go now, I just shoot skies, right?

Because these are still sample images, but you just upload your own, right?

Just just stick that looks bad. Um, that

one was better up here. That That

doesn't look bad at all. But there's all kinds of controls over what you can do here. You can flip it. you can do all

here. You can flip it. you can do all this stuff and just I'm not going to take you through all of it, but anyway, um we still have a couple minutes left, which is unbelievable to me. So, we're

going to switch over to Lightroom's AI because lightroom has a bunch of AI stuff, too. However, Lightroom set is

stuff, too. However, Lightroom set is limited compared to Photoshop's.

Photoshops is wide open. It's the wild west. This one Lightroom's got uh it

west. This one Lightroom's got uh it only has these basically. It has these AI powered stuff, but they're pretty good. I'm going to show you five of them

good. I'm going to show you five of them in the 10 minutes and 47 seconds we have left. All right. The first one is a new

left. All right. The first one is a new one that they just kind of added. Uh it

was in Camera Raw first and they added it to to Lightroom and it's called the adaptive profiles. So you know that

adaptive profiles. So you know that there's an auto button right in Lightroom. You just hit auto and it's in

Lightroom. You just hit auto and it's in Camera Raw 2. You hit it and it does a decent job of getting you a good starting place. Now for years it didn't.

starting place. Now for years it didn't.

We used to call it the overexpose button. You'd click on it. It overexpose

button. You'd click on it. It overexpose

any photo by two stops. But now it uses AI and it's not bad. Well, Adobe decided to do something more and they they came up with this new generation of stuff and it's called an adaptive profile. They

have one for color and one for black and white and you just choose them and it looks at the sky and it looks at the everything and it tries to balance it.

And so it actually does take into account the sky and it analyzes every single photo on its own and makes its own judgment. So I'll show you here.

own judgment. So I'll show you here.

I'll I'll take a photo and we'll look at both. All right. So we'll look at auto.

both. All right. So we'll look at auto.

Here's auto. I'm just going to click the auto button here that's been there forever. And u it did not a bad job.

forever. And u it did not a bad job.

It's not kicking. Um but you can see it moved the sliders, right? It just that's what it does. It moves the sliders for you. It says, "Well, this is what I'm

you. It says, "Well, this is what I'm seeing." And it moves the sliders. All

seeing." And it moves the sliders. All

right. And let's just reset that. Now,

the adaptive profile is found under the word profile, and it's just right there.

Adaptive color. That's the one. Choose

that one. Right. And and uh here, let's actually choose it instead of saying it.

Uh, and uh, you can see it actually did a better job. All right, so let's go back and forth. Here's the default, and there's adaptive color there. That's

pretty good. But look at the sliders.

None of them have moved. So, you're

starting in a better place. Now, you can adjust everything. And look right under,

adjust everything. And look right under, by the way, while I'm tweaking this, look under the word adaptive color.

There's an amount slider that you don't get with the auto. So, that's kind of nice. Oh, that's not good. That's not

nice. Oh, that's not good. That's not

good. All right. So, you have all those sliders. So, you're basically It just

sliders. So, you're basically It just gives you a better starting place. It's

like if you're playing baseball, you're starting on second base. So, I kind of like that. All right. Unfortunately, at

like that. All right. Unfortunately, at

this point in time, um this only works on RAW photos. So, it it may one day work on JPEGs and TIFFs, but for right now, it just works on RAW. That's number

one. Number two is there's an AI powered removal. So, it's using technology from

removal. So, it's using technology from Photoshop, which uses technology from Firefly, but who cares. Um, it's pretty good for this stuff. You paint over the thing you want to go away, and it goes away. So, you're going to click on the

away. So, you're going to click on the See, it's got scaffolding there. That's

not good. That's not good. Go to the eraser tool, and you're just going to make sure that you have this little check box turned on. Use generative AI, right? That says use the advanced

right? That says use the advanced technology to get rid of the stupid scaffolding here. And just paint over

scaffolding here. And just paint over it.

And this is again in Lightroom. It's

also in Camera Raw. Just paint over it fully because if you leave any of it, you know what happens. And then you hit remove and you give it its prerequisite time.

And you can add and subtract if you made a mistake, if you painted too much or painted too little. Um, you got to give it its time and then we'll see how it

does. Not bad. Not bloody bad. And you

does. Not bad. Not bloody bad. And you

get three choices again, too, right? So,

if you don't like what it did here, you can go over here and you can click through to number. Now, you don't get a preview like you do in Photoshop. You

just click through and see what it looks like. Here's number two. Here's number

like. Here's number two. Here's number

three.

Uh, number three is not good. And then,

if you don't like it, you can just hit generate again and it'll generate three more for you like just like Photoshop would.

Give it a sec. Keep way There we go.

That's not too bad, right? And then you can tweak it as you want, you know, once you get to that point. All right, there are people masking tools. And this is really great. You probably already know

really great. You probably already know about these because they were released well over a year ago, but the people masking tools are a big big jump up from select subject. So select subject was

select subject. So select subject was figure out what what the subject of this photo is and choose it. So you had three things that you could choose right here.

You know, the uh select subject, select sky, you know, and select background. In

this case, we'll choose select subject just to select her. And then you got to edit her as one whole thing. And that

red tint shows you what it selected, right? That gives you the the AI

right? That gives you the the AI selected all this. And then to make the red tint go away, you move any slider, even a little bit, and then it it just shows that. All right. So, that was it.

shows that. All right. So, that was it.

But what they've done is they've taken this up a notch. All right. So, now what they've added is instead of just that, they have a thing called select people.

and you click on that right there.

And then it shows a little thumbnail of her face.

And if you click on it, give it a second and you can now do just facial skin, just body skin. And if you put your cursor over it, it highlights what it's

going to select. Body skin, eyebrows, eyes, scara, the iris, and pupil, lip, teeth, hair, clothes, all that stuff.

All right. And then you choose one you want uh to work on. We'll do close. And

you hit create mask. And now all the sliders are yours. And I'm just going to pull back the highlights because it was just a little bright because the light is right above her head. So it was just a little bright where she was. All

right. And uh then there you go. You

click again and you can choose another area. If you want to do her hair, for

area. If you want to do her hair, for example, we could do create mask and then go to the highlights. I'm going to pull back the highlights in her hair.

Again, just because her head is so you can see the edge of the softbox in the shot right up there. So, that's where we're at. All right. Number four. This

we're at. All right. Number four. This

is an absolute gamecher if you're a patient person. So, they built in AI

patient person. So, they built in AI based noise reduction that works phenomenally well, better than anything we've ever had before. I I am not scared of shooting at 20,000 ISO anymore

because Lightroom will wipe it out and keep amazing detail. So, we'll take a look at this image here. And this was shot at 8,000 ISO, which is a pretty

good ISO there. 8,000.

That's quite a lot. And if you zoom in tight, you'll see that it was looks like it was snowing uh on my image. Quite a

lot of noise at 8,000 ISO, especially since I I brightened it a little and all that stuff. So, let's go to the detail

that stuff. So, let's go to the detail panel, and you'll find a thing called D noiseise, right? And it gives you uh

noiseise, right? And it gives you uh when you click it, it's going to bring up this little window here. Though they

just updated all this stuff today, like bunch of new features. All right. And it

shows you the enhanced version. You can

see right there, the noise is pretty much gone, but the detail is still there. And it gives you an estimated

there. And it gives you an estimated time of 25 seconds. Uh here's what I've learned about that estimated time. It is

always wrong. It's always way, way, way, way off. It says 25 seconds. There's no

way off. It says 25 seconds. There's no

way it I've had people tell me I've had people write me and say I have kind of an older computer and it took 31 minutes to do that. So, um, so whatever time it

says there, just know it's a super big liar face. Uh, but you do get a preview

liar face. Uh, but you do get a preview of what you're going to get there. So,

so that's good. But it is, yeah, it's extremely extremely lying. And so, I'm not even going to make you wait for it because we have to end in 3 minutes and 24 seconds. Exactly. Uh, there's another

24 seconds. Exactly. Uh, there's another thing called super resolution. I only

use it when I'm printing. So, a lot of times we have a gallery at our offices and we make these 24 by 36 prints for the gallery. And so, I have to basically

the gallery. And so, I have to basically double the resolution. And that's all super resolution does, but it uses AI and it's brilliant because when you blow the image up to twice, it almost looks sharper than it did before you blew it

up. It's kind of crazy. So, we'll take a

up. It's kind of crazy. So, we'll take a picture of this shot. Again, this was shot in Tampa and uh it's my hometown.

So, look at this size. All right. So,

the image is 6,000 by 4,000, right? And

so, you're going to go over here and you're going to rightclick and you're going to choose enhance.

Though, now in the new version, you can just choose it, you know, if I haven't downloaded it yet. All right. And there

it is. Super resolution. Look at the estimated time. 4 seconds. Come on. I'm

estimated time. 4 seconds. Come on. I'm

not falling for that, but let's just try. It's going to double the size. Four

try. It's going to double the size. Four

seconds. Sure it is. All right. Okay,

here we go.

1 100 2 100 3 100 4 100 5 100 6 100 7 8

9 10 11 12 13. So, it was close. Um, but

look, the size is now 12,000 by 8,000.

It literally doubled the thing. It

doubled it. So that's those are the five things that I wanted to show you inside of Lightroom that are AI based. So by

the way, Photoshop's Camera Raw has all those features that I just showed you.

So if you use Photoshop and you use Camera Raw or you use Lightroom, they're in both of them.

Okay?

So here's the message that I want you to take from this. Right? As photographers,

we can use AI and use it very responsibly. Right? We can do it as a

responsibly. Right? We can do it as a production tool to speed our work to do things that we could have done on our our on our own. Also, I want you to consider using this thing that Adobe has created with a consortium of other

companies that are called content credentials. And basically, it embeds

credentials. And basically, it embeds into your photo what you did to the photo. So, someone can see by looking at

photo. So, someone can see by looking at the at the metadata that it embeds in there what you did. And it can see if you did generative AI or what you did, if it's a composite or everything, it'll be embedded in there. I know there's

some people that say, "I don't want anybody knowing what I did." And there's some people that said, "Hey, I think it's important for us to be transparent about this." Uh, it's in beta right now.

about this." Uh, it's in beta right now.

When you go to export the file, you'll see content credentials is right there.

And there's a lot more to it. You have

to go to a website and and sign in and all this kind of stuff. The first time you have to do it just so they know who you are. And then there's a place for

you are. And then there's a place for them to put your photos where they can go and they could find what you did to that photo. And you can go in also in

that photo. And you can go in also in Photoshop there is uh the content cred credentials beta panel that comes up and it tells you now I here's what I found.

It doesn't always do everything you did to it, which is that's what I'm hoping on. No, I'm kidding. No, it doesn't

on. No, I'm kidding. No, it doesn't always keep it in there, but it does look at that combined. You composited or reordered content or did something naughty. It says it right in there. All

naughty. It says it right in there. All

right. So, just use it to do the things that you could already do in Photoshop, right? And that way you avoid ever

right? And that way you avoid ever feeling dirty. You don't feel icky. You

feeling dirty. You don't feel icky. You

don't feel like a cheater or a faker.

You're just using the latest tools to help you to get the work done. So, the

less time you spend messing around in Photoshop, the more time that you can spend behind the camera. One last thing, I got to show you a wonderful quote from Richard Abdon. has done. He made this

Richard Abdon. has done. He made this quote, of course, well well before AI was a thing, but it it kind of sticks.

All photos are accurate. None of them is the truth. All right. Thanks, everybody.

the truth. All right. Thanks, everybody.

[Applause] >> All right.

Look at that. Right on the money.

>> You are on the money as usual.

>> On time.

>> And I really we all really appreciate you making us still now go back to editing but spend less time.

>> There you go. and and and get a good night's sleep. Folks, we've got time for

night's sleep. Folks, we've got time for questions. Who here has some questions?

questions. Who here has some questions?

Raise your hand. We got a couple.

>> Make them really easy if possible.

>> Hey, I just got a quick question. Um,

when you regenerate and get three different new ones, is it a way to go back to the old ones if they're better than the new ones that you got or is >> Yeah, I hope you guys heard his question

because his question is on the money because every time Photoshop generates something, think about that word generate. It creates a new set of eyes,

generate. It creates a new set of eyes, a new mountain, a new whatever it is every time. If you don't save a

every time. If you don't save a Photoshop document with all those, you can't go back to the old stuff. You

would have to save a Photoshop document with all those generative like if let's say you did 12 of them, you'd have to save those and it can go only to those 12. But if you've closed the document

12. But if you've closed the document and reopen it, that generation is gone forever. It's a little tricky because

forever. It's a little tricky because it's like what's on screen right now is what you get to keep. If you hit the little trash can to delete it or you close the file without saving it as a

PSD, like you flatten it and make it a JPEG, those generations will never come back. you'll get different of

back. you'll get different of everything. It generates every one of

everything. It generates every one of them from scratch, which is what makes it so wonderful and at the same time weird. So to answer your question, if

weird. So to answer your question, if you want to keep those other generations, you can go back, you have to save it as a layered file in Photoshop document.

Great question.

>> Uh, hi.

>> You have to at least beat his question.

>> Big fan. Um, my question is, I've been using AI for a while.

What's the deal with fingers?

>> I'm sorry. What's the deal with what?

>> Fingers. It

>> fakers.

>> Fingers.

>> Oh, fingers.

>> Yeah.

>> There. Another great question. I think

you did beat him. All right. So, the

deal with this is this. So, what it what if you've looked at other AIs like let's say Midjourney or any of the other ones, you'll notice their fingers and their

hands are on the money because this is what Adobe decided to do. Adobe had in their agreement with their stock photographers that they were allowed to

study their photos to to create this generative AI and they actually paid the photographers. They made a a fee and

photographers. They made a a fee and they paid them out. What MidJourney and all the other companies did is they scoured the entire web for every single photo out there. So let's say that

Photoshop's fingers and stuff were trained on five million photos. The

other companies were trained on 500 million.

The difference is Adobe thought we need we're the tool that content creators use to make their living. We better do this ethically. So they didn't do what

ethically. So they didn't do what everybody else did. I'm not calling them midjourney necessarily, but just all these other companies that their stuff looks so great because the thing that

that in in Photoshop is the most messed up are fingers. Like they'll add a six finger, a finger growing out the side.

You'll see it for sure. Like you'll have to regenerate a couple of times to get the fingers. But that's what it is is

the fingers. But that's what it is is they used a very small set of fingers to study on where some of these other ones literally studied five like every image

on the web. They scraped all of it where Adobe said we're only going to do the people that signed this agreement and we're going to have to pay all those people. you know, can you imagine how

people. you know, can you imagine how many they had to pay for the millions of images that they did, but it was only the ones that were in Adobe's ecosystem and that people had had a licensing agreement that said yes, it's it's okay

to to study off our things. So, but

you're right, there are messed up and I don't I don't know when they're getting better, but they do they just announced a new like the beta of Photoshop now has a more advanced engine, but I haven't downloaded it yet, right? Today was

release day and supposedly things are getting better, but fingers are they're a roll of the dice. There's a question right back there. Oh, he's he's got a mic though. Oh. Oh, hang on tight. We'll

mic though. Oh. Oh, hang on tight. We'll

get you the mic next. I'm sorry.

>> Can you hear me?

>> Yeah. Oh, yeah.

>> So, I uh do most of my work in Lightroom and then use Photoshop as a plugin. Um

so, uh when I return back to Lightroom, it's uh in a PSD format. Yeah.

>> Uh, can I do D noise after I return it with a PSD file?

>> I think uh, D noiseis wants to work on a raw file.

>> Okay. So, I should do it before.

>> Yeah. And honestly, I would it in the in my workflow, the very first thing I do is d noiseise. Okay.

>> Like if I notice it's a really noisy photo, dn noiseise it right. Then I'll

also give you another tip. Um, I use a plugin. Since you mentioned plugins, I

plugin. Since you mentioned plugins, I use a plugin uh from On1 software. Now,

I have to tell you, they sponsor my podcast. So, but I'm not do I'm not

podcast. So, but I'm not do I'm not telling you that this is what I use.

It's like 69 bucks and it's lightning fast. It's like 4 seconds. It's like

fast. It's like 4 seconds. It's like

zippy. It's very good. And it does about the same job or maybe even better than what Lightrooms does, but it's very, very, very fast. But I do it first. The

name of it is on one Noise AI. So, it's

from Onone Software. I think it's onone.com. But I'm telling you that that

onone.com. But I'm telling you that that they are they do sponsor my podcast. But

I would just tell you I would I'm telling you like I would tell the friend. Yeah, we use it. My Eric and my

friend. Yeah, we use it. My Eric and my my co-host, we both use it because it's just faster. It does essentially the

just faster. It does essentially the same job just really really quick. Thank

you for your patience over there.

>> Hi. Uh quick question. The um adapter profile I saw that you had to take out uh Adobe RGB. Does that mean that what happens to the color space then once you once you use this adapter profile?

>> This is completely different than the color space for output and stuff like that. So Adobe uh sRGB and Adobe RGB are

that. So Adobe uh sRGB and Adobe RGB are only when you go to export the files.

When you go to export the files, that's when you'll see Adobe RGB and Adobe sRGB. But the profiles that are there

sRGB. But the profiles that are there are the same boring ones that have always been there. Adobe color, Adobe Landscape, Adobe Portrait, and they're kind of based on the profiles that would you could have chosen in your camera if

you were shooting in JPEG. So yeah,

they're they're still there. They're

just in a different spot. Any other

questions? Oh,

>> yeah. One more. Um, when you're taking a picture of somebody with thick glasses, >> yes.

>> And they're not sp they're not looking straight into the camera, you get that weird distortion on the side of their face. Yeah, that's through the glasses.

face. Yeah, that's through the glasses.

Will the generative fill uh take care of that? And what's the right selection for

that? And what's the right selection for that?

>> Honestly, I have not tried that particular thing, but just as a general rule, I don't shoot people with thick glasses. It just

glasses. It just it's like, you know, if they have glasses that thick, they're never going to tell if I use generative fill or not.

So, I'm sorry. I just have never tried it.

I'm sorry. I just have never tried it.

So, I I my answer would just be a guess.

Sorry. Uh, another question over there.

>> Yeah, quick question. So, I noticed for now AI tools work really well with realistic image with real people and elements inside. But when I tried it

elements inside. But when I tried it with artwork or like stylized image, it has hard time to maintain the style when you generate new element or expand the

image which is stylized look. So, right,

>> any plans from Adobe to improve that part. Also,

part. Also, >> if they have that, if they have an idea to do that >> and I knew about it, I couldn't tell you. They're they're really really

you. They're they're really really closed about whatever they're working on, but it would be a great thing to go by the Adobe booth tomorrow and just ask the product managers are right there.

The Photoshop and Lightroom product managers are literally working in the booth and they will tell you as much as they can tell you without breaking their own code. But I I can tell you I don't

own code. But I I can tell you I don't know of anything that they're doing in that, but they do all kinds of secret stuff. I would go up and ask them.

stuff. I would go up and ask them.

They're actually extremely really really nice people. Uh they're they're the most

nice people. Uh they're they're the most regular people you'll ever meet, so you'll enjoy getting to talk to them because it seems like these are the wizards doing this crazy stuff, but they're just the nicest people and they would love to talk to you about it. Go

ask them and see. And I I bet you'd be surprised that they might they might let you on to something I don't know about.

>> Hi. Um, is there a difference between using the camera raw function and using the Photoshop function for like selecting one of the things that I saw the people masking tool?

>> So, in in the beta that just came out today, they now have a lot of those selections came out literally I think today. So, you used to be able to just

today. So, you used to be able to just do select subject in Photoshop and then you'd have to go to the masking tools to get hair and clothes and all that stuff.

But today they added all that up to the top menu. So you go select people and

top menu. So you go select people and it'll bring down a list of all the things and it's more things than the mask will will choose. So it's kind of the next generation of that stuff and it's straight in Photoshop. You don't

have to go to Camera Raw. It'll do you know what else it'll like? It's taken it another step further. It'll do the clothes on top your pants. It'll do your jacket. It'll do all these things

jacket. It'll do all these things separately, much more so than masking does, which I imagine it's going to make its way to masking, but right now it's just straight up in Photoshop. So, yay

you. Good question. All right. Yes,

>> Scott.

>> Yes.

>> An oldtime NAP member here.

>> Oh, yeah.

>> For those of us who have been around that long, we were taught to compose in the viewfinder for 100% and that's the way it was going to be.

>> Now, you're moving bricks, you're moving things, you're taking from here and there. Should we be leaving room around

there. Should we be leaving room around the center of the image to work Photoshop magic and throw out the old rules?

>> Yes. Here's the problem. To be honest with you, if I asked everybody in here, "Where's your image going to be seen?"

90% of us would be Instagram this big.

Looking at it at 100% size today is just not very realistic. That worked fine when our cameras were like six megapixels, but now that people are routinely using 50 megapixel cameras, I

I never look at them at 100%. You know,

I try to look at them. I probably work at 25% a lot. And I know that it's going to wind up being this big. The world's

going to see my image. And let me tell you something, you can get away with murder at this size. Instagram is the best thing that's ever happened if you're not really on your game. It's

it's just it's magic. So yeah, we we just look at a much smaller size. Um I I probably look at 25% or smaller most of the time while I'm working. And if you look in in u in Lightroom, like for

example, you never see it at 100% unless you go choose 100% and then you're like looking at somebody's elbow in a portrait. It's like so zoomed in. And

portrait. It's like so zoomed in. And

that's because the megapixels of the camera tape just gotten so big that it just doesn't make sense to look at at that that zoomed out thing that we used to do. Now I see Gabe on the stage. And

to do. Now I see Gabe on the stage. And

that usually means that question and answer time is over. Am I right, Gabe?

>> You're right. No. Well, it can continue right on outside. So, let's give Scott another big hand, folks.

>> Thank you, everybody. Thanks,

>> Thank you, everybody. Thanks,