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Learn Adobe Photoshop 2024 in Steps.  PREFERENCES

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2. photoshop: custom toolbars & workspaces

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2. photoshop: custom toolbars & workspaces

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Learn Adobe Photoshop 2024 in Steps.  CUSTOM TOOLBARS AND WORKSPACES

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3.  Selection Tools and Non-Destructive Adjustment Layers

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3.  Selection Tools and Non-Destructive Adjustment Layers

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Learn Adobe Photoshop 2024 in Steps.  Selection Tools and Non-Destructive Adjustment Layers

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Download this image & follow along.

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How to use Selection tools in Photoshop 2024

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4.Adjustment Layers using a White or Black Brush

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4.Adjustment Layers using a White or Black Brush

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Learn Adobe Photoshop 2024 in Steps.  Adjustment Layers using a White or Black Brush

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Learn Adobe Photoshop 2024 in Steps.  CROP TOOL AND ADJUSTMENTS

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6. Info Panel and Basic Layer Adjustments

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6. Info Panel and Basic Layer Adjustments

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Learn Adobe Photoshop 2024 in Steps. Info Panel and Basic Layer Adjustments

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Learn Adobe Photoshop 2024 in Steps. Brush Size and Select and Mask

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Learn Adobe Photoshop 2024 in Steps. CONTEXTUAL TASK BAR

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hair and fur edges photoshop 2024 Select and Mask

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Advanced Photoshop 2024 Techniques you should know

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Advanced Photoshop 2024 Techniques you should know

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Advanced Photoshop 2024 Techniques you should know

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Advanced Photoshop 2024 Techniques You Need to Know with Jesús Ramirez

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Photoshop 2024 Top 7 NEW Features & Updates Explained!

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Transform: scale, rotate, skew, distort, reflect, perspective - Photoshop

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Transform: scale, rotate, skew, distort, reflect, perspective - Photoshop

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Transform: scale, rotate, skew, distort, reflect, perspective - Photoshop

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Bend anything with Puppet Warp In Photoshop

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Bend anything with Puppet Warp In Photoshop

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BEND anything in Photoshop with Incredible puppet warp

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How to use Photoshop's New Adjustment Brush

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1. Introduction to Adobe Camera RAW 2024

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1. Introduction to Adobe Camera RAW 2024

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Adobe Camera RAW 16.3 New Features in Photoshop 2024

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Adobe Camera RAW 16.3 New Features in Photoshop 2024

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Adobe Camera RAW 16.3 New Features in Photoshop 2024

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PEEK at the NEW Masking in Adobe Camera Raw

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1. Click on the desktop

2. Go- Connect to server

3. Type in: 10.151.90.30

4. Username: 0579-photo

5. Pasword: Photo610

6. Click REMEMBER PASSWORD

7. Everyday at the beginning of class you need to simply click- go- connect to server to connect.

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Your google drive, flashdrive & folder on the server need to all be organized in the same way.

1. Create a folder labeled: LastName_FirstName_ClassName_Year

2. create a sub-folder for every project

3. batch rename your files in bridge (lastname_ProjectTitle_sequence#

4. Save all work into the subfolder (as a photoshop or AI file) & add the creative title to the end (example: LastName_FirstNAme_Project_Creative Title).psd (or AI). This will save all your layers. THIS IS IMPORTANT- ALWAYS SAVE AS A .PSD OR AI FILE!

5. When you are totally finished save a copy or export as a JPG with the same file name.

6. All work should be backed up to the server, your flash drive & google drive.

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Adobe Illustrator for Beginners | Envato Tuts+

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Learn how to use Adobe Illustrator in this free course for absolute beginners. By the end, you’ll know how to draw in Adobe Illustrator and so much more.

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A Studio At Your Fingertips: 5 Apps Teachers Are Using To Make Student Podcasts

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A Studio At Your Fingertips: 5 Apps Teachers Are Using To Make Student Podcasts

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Karen Keating's eighth-grade English students at Lower Dauphin Middle School in Hummelstown, Pa., fire up their laptops and gather a bundle of snowball microphones. With the click of a mouse, their laptops become studios, and they're ready to record.

Keating's class is writing, producing and editing podcasts that they'll submit to the NPR Student Podcast Challenge, and, like many teachers, Keating is using apps to help them make it happen.

As teachers and students around the country are working on their podcasts, we checked in with educators to see what digital tools they're using.

The good news? Many of these apps are free. They're also accessible. In many classrooms these days, teachers and students have their own laptops, Chromebooks or iPads. In many cases, the technology is already downloaded and, like Keating's eighth-graders, students these days are pretty tech-savvy already.

All of which means teachers can focus on the substance - ideas, writing, narrative, editing - instead of process.

"I can spend time helping students develop their stories rather than explaining the app," says Amanda Suttle, an English teacher who's using the Anchor app to help her juniors and seniors get their podcasts in shape at Licking Valley High School in Newark, Ohio.

So, with several weeks still to go before the contest deadline, here are some of the apps and programs teachers told us they're using. (Of course, we're not endorsing these, we're just sharing what we've heard from many of you).
Anchor
Developed by Spotify, think of Anchor as a mobile recording studio: With a wi-fi connection, you can record with multiple people in different locations at the same time (as long as they have the app).

And you can edit what you record right in the app, using simple tools like trimming and removing segments. Other tools let you add transitions, sound effects and background music to help make your podcast unique (NOTE: Please read our strict rules on what music you can add to your submission).

Another benefit for students doing lots of experimenting: No storage limits.

Amanda Suttle says that when she started using Anchor, she didn't know anything about editing sound. Anchor made it easy. "It's intuitive," she says. "I love how user-friendly it is, and it's easy to explain."
Audacity
Of the more advanced, laptop-focused software, Audacity is one of the most popular ones we heard about. It's an audio recording and editing package that is downloadable for both Windows and Mac users.

With Audacity, you can record directly on your computer's microphone or an external one (although, the audio doesn't need to be recorded with the software to edit it there).

Eric Applen, who teaches 21st century technology and careers at Friedell Middle School in Rochester, Minn., oversees the school's podcast club and says he taught himself how to use Audacity. "It just has some really handy features," he says. "It comes down to what's accessible for students and easy for them to use."

He says one of his favorite features is the ability to put together audio segments that were recorded at different times to create one episode.

Audacity can also export files in various formats, including the wave file format you'll need to submit for the Podcast Challenge.

Stacy Kreitzer is an instructional technology coach for Lower Dauphin Middle School and Lower Dauphin High School in Hummelstown, Pa. She helps teachers learn how to use the software on their laptops - she's an Audacity fan.

"It has all the bells and whistles for those that want to use it," she explains, "but it's also simple enough for the students that just want and need the basics."
WeVideo
Shari Jones' sixth-grade language arts students are using WeVideo to record and edit their podcast at Independence Elementary School in Liberty Township, Ohio.

WeVideo is a desktop and mobile app where users can upload, trim and arrange both audio and video clips.

This is her second time submitting to the Podcast Challenge, and Jones says she started using WeVideo this year because it doesn't have an age restriction for children like previous apps she's used.

"This is more user friendly and all sixth graders have access to this WeVideo," says Jones. "They can do it more independently. They have step-by-step directions."

Students with Google accounts, like Jones' class, can save their podcasts to their Google Drive through WeVideo. Jones says this makes it easier to export their submissions for the challenge.
Soundtrap
Timothy Belmont, an English and public speaking teacher at Lyndhurst High School in Lyndhurst, N.J., wanted to give his students the option to go more in-depth with audio recording and editing. For him, Soundtrap is an accessible way to do that.

"It's like a fully functional studio," says Belmont. "They can use it on their iPad through their web browser, but they can also use it on a laptop."

Soundtrap is an online, collaborative music workstation that can edit and record vocals and instruments.

"You can even have students who are not necessarily in the same place record together collaboratively," says Belmont. That, he adds, "can extend the assignment from just being during class time to being outside of class."

Since Soundtrap is web-based, there's no installation required and all projects also save to the cloud, allowing students to access their files from multiple devices.

Joanne Stanley's English students at Swift Creek Middle School in Midlothian, Va., are also using Soundtrap. She says she hasn't used the app very much, and she doesn't have to: Her students have taken the lead and they are working through the "kinks" together.
GarageBand
GarageBand is a music creation studio that is automatically installed in all Mac and iOS devices. As long as there's an iPhone, students can record and produce their podcasts anywhere.

In New Jersey, Timothy Belmont says his students are using GarageBand as well as Soundtrap. He likes the accessibility and says that many of his students were already familiar with it: "Some of the students had already used GarageBand for other classes, whether they were recording things or just experimenting."

These of course are just a few of the options out there, and some of the educators say it's been a trial-and-error process to find the right app for their students, and their experience level.

"My advice is to check with students first to see what their experience is with recording and listening to podcasts," says Applen. "Secondly, teachers should not be afraid to reach out to the podcast world and ask for help. There are tons of podcasters out there that are willing to share their stories and experience to help get others started."

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A Studio At Your Fingertips: 5 Apps Teachers Are Using To Make Student Podcasts

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Karen Keating's eighth-grade English students at Lower Dauphin Middle School in Hummelstown, Pa., fire up their laptops and gather a bundle of snowball microphones. With the click of a mouse, their laptops become studios, and they're ready to record.

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Step 1) Record a voiceover

Use the Podcast shortcut in the Home tab or the Narrate icon in the editor to record a voiceover.

Step 2) Add multiple audio tracks

Select the plus (+) icon in the Timeline to add additional audio tracks.

You can add as many audio tracks as you need to help organize the content in your podcast.

Step 3) Add stock media

In addition to voiceover recordings and media that you import into your account, you can use the Video, Audio, and Images tab to find licensed stock audio in our Essentials library.

When searching for audio in the Essentials library, you have the option to filter and refine your search to find background music and sound effects.

Step 4) Finish your export

When you are ready to finish your export, choose the Audio only format to export your edit as a podcast. If you initially selected the podcast shortcut from the Home tab, the Audio only format should already be selected by default.

You can convert any video into a podcast at any time by selecting the Audio only format on the export page even if your edit contains videos and images.

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Step 1) Record a voiceover Use the Podcast shortcut in the Home tab or the Narrate icon in the editor to record a voiceover. Step 2) Add multiple audio tracks Select the plus (+) icon in the T...

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I spent the first three years of my photography career avoiding the use of off-camera flash.

Why?

Because I couldn't wrap my head around the concepts and science behind it.

I tried to cover up my struggles by saying things like "I'm a natural light photographer," or "I really don't like the aesthetics of flash photography."

But I eventually - reluctantly! - invested in a flash for my first Nikon. This was the '90s, pre-digital, pre-autofocus, and pre-TTL. I had to calculate how much power to use via a chart on top of the flash.

Each photoshoot I went on that required flash was preceded by a sleepless night filled with anxious dreams about turning up to the shoot naked. And the thought of having to use flash also had a mild to moderate laxative effect on me.

Luckily, those days are long gone and shooting flash off-camera has never been easier! In this tutorial, I'll show you the quick and easy steps I take to shoot portraits using off-camera speedlights.

The gear essentials

If you're going to use off-camera flash, here's what you'll need:

1. Speedlights

I use speedlights most often when I'm traveling and need light, portable flashes, when I'm working on location without access to power, or when I'm working in small, confined locations where studio flashes would be too powerful or cramped.

I work with two Canon speedlights. A great alternative if you are looking to save a few bucks is the Yongnuo YN560 IV. It has a very similar look to Canon speedlights as well as Nikon's SB speedlight series.

2. Remote triggers

Remote triggers allow you to fire speedlights when they're not mounted to your camera. As you can imagine, this is essential when using off-camera flash.

The cheapest and most reliable way to fire your speedlights off-camera is by using a sync cord - basically, you connect your speedlight to your camera via a long cable.

The drawbacks of using a cable are that it reduces the distance you can be away from your flash, and it can create a tripping hazard. That said, I still carry a couple of spare sync cables in my kit; remote triggers do fail from time to time, and the sync cords have saved me on a few occasions.

The next option for firing off-camera flashes is cheap infrared triggers. These do the job of setting your flash off remotely, but they're sensitive to bright sunlight and affected by external factors such as alert lights on emergency vehicles and forklifts, etc., so they can go off without warning. I started out with a $30 set of triggers and used them for a couple of years before trading up to PocketWizards, which I've been using for the last eight years.

3. Light stands

Speedlights don't float in the air - which means you need something to hold them up!

Now, there are three options when it comes to mounting speedlights off-camera:

1. First, you can use a light stand. Light stands vary in price from $20 to $200+ dollars, depending on the make and construction.

2. Second, you can use a GorillaPod and mount your speedlight to a door or place it on top of something near your model.

3. Third, you can mount your speedlight to an extension pole (or monopod) and have someone hold the light above your model. I like to do this because it gives me more options when shooting, and it also means there aren't any light stands that get in the way of my shot.

4. Light shapers

Using a speedlight as a bare light source creates a very hard style of lighting similar to harsh sunlight. This looks great in certain situations, but I prefer to soften and control the light source with a small or medium softbox. This creates a much softer, more flattering, and more realistic-looking light source.

A good softbox to start with is the LumiQuest Mini Softbox. It'll attach to your speedlight with velcro and can fold flat for easy storage.

5. Camera with a hot shoe

Finally, you will need a camera that works in Manual mode. It must also have a hot shoe.

Note that the "hot shoe" is just a square bit of metal on top of the camera that an external flash or wireless trigger slides into.

Working with off-camera flash

Once I got over my fear of off-camera flash, I started to believe that great portraits needed artificial lighting regardless of the environment. I often added two or three lights to my portrait shoots because I thought that anything less was lazy or unprofessional. I actually felt guilty when I shot with natural light because I thought it was cheating.

Fortunately, I've gotten over those thoughts. Here's what I know now:

Finding great light and being able to use it are learned skills - and so is knowing when to use fill-flash in a portrait.

Nowadays, whenever I set up portrait shoots, I always look for opportunities to use great natural lighting first. It's the most beautiful and flattering light for portraits, so if it ain't broke, no need to fix it.

Having said that, there are many times when natural lighting is only just okay or even terrible - and sometimes a portrait needs more mood or drama than the available light can provide.

The following is an example of how I used off-camera flash to light a heavily backlit image. My objective was to create a shot that looked naturally lit. This technique can be used for any portrait that requires off-camera fill flash.

In the first shot (A), you can see that my model was heavily backlit, which makes a great silhouette but not such a great portrait.

For the second shot (B), I attempted to correct the lighting by increasing my ISO, which overexposed the background and brought more detail to the motorbike, but leaves the model's skin tones flat, dull, and underexposed. It also added extra noise to the shadows. At this stage, I could have used a reflector to bounce light back onto the model to help create better skin tones.

Finally, for the third shot (C), I used an on-camera flash. As you can see in my example, the Canon speedlight did an okay job of lighting my model, given that I was about five meters (sixteen feet) away using a 200mm lens.

But the thing I don't like about using flash on-camera for portraits is that it tends to make the subject look unnatural and have a flat appearance. On the other hand, by using a flash off-camera, you can control the direction and amount of light going onto your model to achieve a more natural look.

Which leads me to my off-camera flash setup:

My speedlight was positioned approximately one meter (three feet) from the model. I set it at a 45-degree angle because I wanted to make my model look like he was lit from the side.

I was working with a 70-200mm zoom lens set to a focal length of 200mm because I wanted to blur all the details in the background.

My camera was approximately six meters (20 feet) from my model.

My ISO was set at 100, and my aperture was set to f/4. I was working at f/4 rather than wide open at f/2.8 because I find it very difficult to make eyes look sharp at f/2.8 at that distance and in such extreme lighting conditions.

Setting up the gear

For this motorbike model shoot, I mounted my speedlight to a light stand via an adapter and used a small LumiQuest Softbox to soften and shape my light.

To manually adjust the flash output of your speedlight, first switch the setting from its default of TTL to M (Manual mode). I recommend you start with the following settings:

First, if you're shooting in full sunlight and you need an aperture of f/16 or higher, use a power setting of 1/1 (full).

If you are shooting at f/2.8 or f/4, start at around 1/16-1/32 power.

The diagram above is based on Canon's 580EX II speedlight. For any other flash, check your manual for instructions on how to increase and decrease power. It should be very similar.

Now take a look at how I set my flash power:

Flash set at 1/32 power is underexposed, skin tones look muddy, and there's no detail in the blacks.

Flash set at 1/16 power is starting to look better.

Flash set at 1/8 power is looking good, but I prefer slightly brighter skin tones.

Flash set at ¼ power is the correct reading for the look I was going for.

Flash set at ½ power gives slightly overexposed skin tones, which is perfect for many portraits, as it creates a very flattering light (no model will ever tell you they love seeing all the detail in their pores and skin tones!).

Flash set at full power is overexposed; there's very little detail in the skin tones and the blacks are too light (gray).

A step-by-step guide to how I lit this shot with off-camera flash

Now that you know how to set up your flash and how to determine a good exposure, I'd like to run through my motorcycle photoshoot.

How did I get a nice final result?

Let me take you through the step-by-step process:

1. Take an ambient reading to determine the correct exposure for the background (without any flash). In this case, my ambient reading was f/4 at 1/125s and ISO 100. This exposure was set for the entire shoot.

2. Ask yourself if adding flash will improve or detract from the shot. In this case, the answer is a definite yes - it will improve the shot.

3. Bring in your flash and set it up as per the diagrams above.

4. The quickest and easiest way to figure out the best flash power settings is to use a light meter. (If you don't have a light meter, you can still work with off-camera flash. It will just take a bit longer to work out your exposure.) I believe a light meter is an essential tool in good portrait photography, and I would never leave home without one. When you use a light meter, you know you'll end up with the most accurate readings and lighting becomes easy. I suggest you set up your lights per the diagram above, start at a power setting of 1/32, and gradually increase your power in small increments (1/32, 1/16, 1/8, 1/4, etc.) until you get your desired result.

5. Set your light meter to non-sync and press the button on the side of the meter. The non-sync button will flash on and off indicating that it's ready. If you don't have an assistant, I suggest taking a radio slave off-camera and using it to test-fire your flash so you can take a reading. Hold the meter in front of your subject's face and point the sensor dome toward the camera.

6. Keep increasing or decreasing the amount of light until you have it a half stop to one stop over the ambient setting.

7. If you want a clean, beauty-style shot with lots of shadow detail, add one stop of fill-flash and shoot at your ambient meter settings.

This is something I strongly urge you to practice with as many patient friends, family members, and pets as possible. That way, you can build up your confidence and really get to know your equipment.

And here's my final image:

Notice the different background? It's from a shoot I did in St Mark's Square, Venice last year. I merged the two images together using Photoshop.

Working with off-camera flash: Conclusion

Now that you've finished this article, you should be ready to capture some beautiful shots using off-camera flash!

So make sure you have the right equipment. And make sure you follow my process carefully.

You'll come away with amazing results.
What are your experiences working with off-camera flash? Have you tried it? Does it intimidate you? Share your thoughts in the comments below!

Gina Milicia

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A Beginner's Guide to Working With Flash Off-Camera

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I spent the first three years of my photography career avoiding the use of off-camera flash. Why? Because I couldn't wrap my head around the concepts and science behind it. I tried to cover up my struggles by saying things like "I'm a natural light photographer," or "I really don't like the aesthetics of flash photography."

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Can a neural network learn to recognize doodles? See how well it does with your drawings and help teach it, just by playing.

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Flippity.net: Flashcards and Other Resources for Educators and Learners

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Create an interactive virtual breakout activity.

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https://www.wordgenius.com/famous-fonts/YvPMalzvZwAIwKtT?utm_source=blog&utm_medium=email&utm_campaign=2231805955

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Here are 20 drawing exercises for students using Adobe Fresco, designed to gradually advance their drawing skills. Each exercise should take no longer than 20 minutes to complete.

1. Basic Lines and Shapes: Draw straight lines, curved lines, and basic shapes (circles, squares, triangles).

2. Doodle Patterns: Create a page filled with simple doodle patterns like zigzags, spirals, and loops.

3. Line Weight Variation: Practice drawing lines with varying thicknesses using the brush settings.

4. Shading with Cross-Hatching: Shade a simple shape (e.g., a sphere) using cross-hatching techniques.

5. Simple Object Outlines: Draw the outlines of everyday objects (e.g., a cup, a book, a fruit).

6. Basic Perspective: Draw a simple 3D box using one-point perspective.

7. Overlapping Shapes: Draw a few overlapping shapes and practice shading to show depth.

8. Basic Still Life: Draw a basic still life setup with 3-4 simple objects.

9. Silhouettes: Create silhouettes of animals or people using solid black fills.

10. Gesture Drawing: Quick sketches of people in various poses to capture motion (2-minute poses).

11. Texture Practice: Draw different textures (e.g., wood, metal, fabric) on small squares.

12. Light and Shadow: Draw a basic object and add light and shadow based on a light source.

13. Contour Drawing: Draw the contour lines of a hand without lifting the stylus from the tablet.

14. Simple Character Design: Create a simple cartoon character with basic shapes and features.

15. Color Blending: Practice blending two colors smoothly in a gradient.

16. Basic Portrait: Draw a basic portrait focusing on proportions of the face.

17. Creating Depth: Draw a landscape with a foreground, middleground, and background.

18. Dynamic Poses: Draw figures in more dynamic and exaggerated poses to practice action lines.

19. Simple Animal Drawings: Draw simple animals focusing on basic shapes and proportions.

20. Creative Composition: Create a simple scene or illustration incorporating various elements learned from previous exercises (e.g., characters, objects, shading, perspective). These exercises will help students gradually build their drawing skills in Adobe Fresco, covering fundamentals like line work, shapes, shading, perspective, and composition.

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United Against Hate Week - CCSD Art Contest (1)

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Collaboration is a team contact sport. Use the Marshmallow Challenge to get your team to work together better to build rapid prototype solutions.

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Everyone has a creative “type”—knowing yours helps you maximize your potential. Take our quiz to discover your type!

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2. Beginning Graphic Design: Fundamentals

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2. Beginning Graphic Design: Fundamentals

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Beginning Graphic Design: Layout & Composition

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What is accessible design? Make your social content more accessible

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Teaching with sketchnoting | Sketchnoting with Adobe Express, Fresco and Scan

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Podcast planning template- Google slides

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Podcast planning template- Google slides

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Embrace the Shake | Phil Hansen | TED Talks

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Adobe Illustrator Illustration for Beginners | FREE COURSE

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What is art for? Alain de Botton's animated guide | Art and design

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204K views · 3.2K reactions | Acrylic markers on a gel plate (supplies in the first comment) #gelpress #gelplateprinting #monoprint #CreativePrinting #creativeprocess #mixedmediaart #gelprinting | Nadya Borisevich art

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Acrylic markers on a gel plate (supplies in the first comment) #gelpress #gelplateprinting #monoprint #CreativePrinting #creativeprocess #mixedmediaart #gelprinting.

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I’m excited to share this Bisa Butler inspired portraits with all of you.

Lesson Here: https://drive.google.com/drive/folders/19OFqVezq0xl4SjEncU3qPDGKFJx1vXmK?usp=sharing

Day One: learn about artist Bisa Butler and discuss her themes and artwork

Day Two: talk about lights and darks and using oil pastels on face and arms.

Day Three: Discuss her backgrounds to her quilts and design ours

Day Four: explain how to create the outfit and students begin that part. And I give them two to three more classes to do the details and embellishments with the paint pens.

All information is given in the video lesson (link above) including how to posterize your portrait before working

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Why your geli plate transfers don’t work.

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Why your geli plate transfers don’t work.

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61K views · 996 reactions | Why your image transfer on a gel plate doesn’t work.
I tried about 6 months, I watched tons of videos before my image transfers on a gel plate turned out well. Don’t give up! 💗 #imagetransfer #gelprinting #monoprint #gelplateprinting | Nadya Borisevich art

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Why your image transfer on a gel plate doesn’t work.
I tried about 6 months, I watched tons of videos before my image transfers on a gel plate turned out well. Don’t give up! 💗 #imagetransfer…