Introduction to Photoshop on the iPad with Terry White | Adobe Creative Cloud

– Hey, everybody. Terry White, worldwide designer
and photography evangelist for 23 years at Adobe, teaching
photography and design. I’m teaching Photoshop on the iPad, what you can do with it, tips and tricks, how to work with layer files, how to save your files back-and-forth between desktop and mobile, as well as Photoshop and Lightroom, which one to use for which purposes. I hope that I teach you
something, you get inspired, and that you leave here learning
more than you came in with. And with that said, I can’t
wait to see what you do, catch you on the next one. Bye, everybody. (soft music) Hello, everyone. Welcome to Adobe Max, and
this is our first class on Introduction to Photoshop on the iPad. My name is Terry White,
and I’m your instructor for the class, but I need help (laughs) so I brought Emily. Emily, as you probably saw her, she’s the one that did
the keynote yesterday. She did the Photoshop on
the iPad on the keynote. And we’re both, together, gonna give you as much information about
Photoshop on the iPad as we possibly can
because I know Photoshop and she knows Photoshop from
the iPad inside and out. She’s studied it for like a year or two. – Two.
– Two years. Yeah, and you’re on the
engineering team, right? – Yeah, so I work, yeah, I work on the engineering team
for specifically the iPad. – So, if there’s a feature you want. – Tell me. (laughs) – She’s the one that
could actually get it in. – We’re working on a lot of ’em. – All right, so with that
said, we’re gonna just kind of bounce back and forth and give you tips, tricks of what you can do, what you will be able
to do, hopefully, soon, and they’re recording this one, so if you could hold your
questions ’til the end, we’ll certainly save
some time for questions. And probably if you’re
about to ask a question now, if you had just waited a few minutes you would have seen it anyway. So let’s hold off the
questions ’til the end, and we’ll certainly do our best
to save time for questions. All right, so I think I’m gonna go first. I’m gonna kick things off. We’re just gonna just start giving you a look at the interface. Emily’s got a ton of little tips that, like she’s showing me left and right. I’m like, “Hey, where’d you
get that, how do you do that?” And then we’ll go from there. All right, so Photoshop on the iPad. I’m gonna go into my Adobe folder, and this where I keep all my Adobe apps. And let’s go ahead and launch Photoshop. And so the first thing right off the bat is that Photoshop uses a new technology that we just introduced at
this Max, called Cloud Docs. So if you open an image, no matter where you get that image from, and start working on that image, and just close Photoshop, it’s syncing that image to the cloud. And that is the way that Photoshop talks to Photoshop on the desktop. So if you wanted to start
something in either place, on the desktop or the iPad
and go back and forth, it is using Cloud Docs. Now, so the first question
that people usually have in their mind is, “Oh my God, I have “to keep all my images in the cloud.” No, you don’t. You can work with Cloud Docs, you don’t have to work with Cloud Docs. But for Photoshop on the iPad,
Cloud Docs is the default. That is where it’s going to save if you don’t do anything else. And on the desktop now there’s a new way to open images like you
always did on your hard drive, or open them from the Cloud Docs. So you’ll see the ones that
you created on your iPad when you go to Photoshop on the desktop. All right, so I’ve got Photoshop
open on the iPad right now. I’m going to go ahead and
create a new scene from scratch. So I have two choices. The one that Emily did
yesterday during the keynote, she just did a create new, which brings up the
standard new dialog box that you’ve seen in Photoshop for years. So print sizes, screen
sizes, film and video, and recent sizes, or of course, if none of those presets fit your fancy, you can always go over
to the right-hand side and just start creating a
document whatever size you want and start working on it. So I’m not gonna do it from scratch, I’m actually gonna do the
second choice at the bottom, which is import and open. When I go to import and
open, I get three choices. Get an image from my camera roll, so that means an image
that’s actually on this iPad, get an image from the files
system which is in iOS, and that means it could be anywhere. It could be on the iPad,
it could be in Dropbox, it could be in Creative Cloud, it could be in any app
that uses the file system. So I use Dropbox and
Creative Cloud mostly, but there are several of my
apps work with files on iOS. So wherever that image is, I can get it. And of course, if you
wanna hold your iPad up and be weird, you can
take a picture with it and use that as the camera to bring it in. And if you do that, I didn’t
mean to call you weird, but you are.
(audience laughing) All right, so let’s go
ahead and go to files. So when I go to files, it’s taking me to the last place I was, which, if I were to back out of this, I have a folder called
Photoshop on the iPad with different folders in it. If I go out it’s in my Demo folder, it’s in my Creative Cloud folder, and if I go to locations,
that’s where it shows me all those different
apps that support files. So I’m gonna go to Creative Cloud, now you’re gonna make me
drill down and find it again. I’m gonna go to Demo. I’m gonna go to, I think I called it Photoshop on the iPad. Yep, PS on the iPad. And then the one I’m working
with first is Live on the Moon. Okay, so this is just a bunch
of images I put together for this class that I could
just start working with and playing with and doing things with. And I’m just gonna create kind of like a, what do they call ’em, fantasy scene? A fantasy scene of just unrealistic things that people do in Photoshop. So let’s go ahead and start
out with the home image. And then open it up. Now, so that, if it hadn’t
been local on my machine, that means, in that case I did
need an internet connection long enough for it to download the image. Now, at this point, if I
disconnected it from the internet, or disconnect from wifi,
I still have this image and I can work all I want. So you only need the internet connection when you’re doing file in and out. So when I’m saving or when
I’m bringing an image down if it’s not local on this machine. Okay, so now I’ve got this image open, and the next thing I wanna
do is I want to import a sky. So now that that whole window is gone, how do I bring in new images? How do I bring in additional
images on top of this one? And even before we do that,
let’s talk about the interface. So on the left-hand, typical Adobe app, on the left-hand side, tools, on the right-hand side, panels. And you see the very little square in the middle on the right-hand side, that is where the layer is. Now that threw me at first. The very first time I
saw Photoshop on the iPad I was like, oh my God,
I can’t live with that little square as my Layers Panel. That’s gotta go. And it’s really just designed
that way to conserve space. So if you want see the
full, what you’re used to Layers Panel, just pinch it. Or, is that reverse pinch? That’s pinch, so reverse pinch it. So reverse pinch it. And there we go. And that will expand it out
to the full Layers Panel. – You can also use the buttons. – There are button, oh yeah, the buttons on the right-hand side that
you talked about yesterday that I always forget about. All right, (laughs) so let’s just– – You’re jumpin’ right
into the pro tricks. – This is why she’s here. On the right-hand side in
the upper right-hand corner, you notice that the top little layer stack is the one that’s kinda highlighted, ’cause that’s the one
we’re looking at now. I guess it would be this one? – Mm-hmm.
– There’s a button. So if the pinching, the
reverse pinching is too hard, just tap the button.
– Well, with one layer it can be difficult. – And it was. Thanks for bailing me out there. All right, so anyway, you can go back and forth between those. All right, and then the other
button, like, for example, the next one, the third one down is then what you would do, these
are the Layer Properties. So if you wanna reduce the opacity, you wanna add a blending mode, you wanna go into the
effects, smart filters or dimensions of it, you
could do all of those things including adding a clipped adjustment. We’re gonna get into all
that in just a minute. Just pointing things out at this point. The fourth button down,
which is just a plus sign, that’s adding a new layer. So if you just want an empty, blank layer, you would just tap that one. Then you’ve got show and hide, so I can just hide the
layer, show the layer. You’ve got add a layer mask to the layer. So that completely masks it out. You’ve got undo and redo. It’s unlimited, right? – I think it has the same restrictions as the default on desktop. – It’s unlimited.
(Emily laughing) All right so you have a bunch of undos and a bunch of redos at the top. Mask icon, I showed that. And then you’ve got the, that’s the clipped adjustment, right? This one? – [Emily] Clip layer. – Or that’s the clip layer, right? And then you have a filter button, which right now there’s
one great filter in there. – Gaussian blur, more to come. And then you have a menu. And the menu is where you get to a bunch of other little things that
you would usually wanna do from the File or Edit or the other menus that would normally be at
the top, which we don’t have. Now, during the keynote is actually where I learned a quick tip that Emily showed and I love this for,
like I was doing this, pinching and zooming with two
fingers or reverse pinching to zoom my image, but
one thing that she showed in keynote which is a
tip that I use more now is at the very top where it
shows you the percentage, like right now I’m at
44%, that’s scrub-able. So you just take your finger
and scrub that left or right to zoom in, quickly and easily. So I actually like that better, just seemed to have more
control when I do it that way. All right, the one big thing
that I haven’t mentioned yet, let me zoom a down a little
bit or move this over so you can see it is that little, that finger sized circle
on the bottom left. That is your touch modifier. – [Emily] Shortcut? – Touch shortcut, touch modifier. And think of that as if you
were working in Photoshop on the desktop, a lot of
things require you to hold down an Option key or a Shift key
when you use that function. I am using this with a keyboard, but you could use it without a keyboard, that becomes that modifier. So if a tool has extra options, and you want to for example, let’s say you’re doing a selection and normally you would hold
an Option key to subtract from that selection, you hold
down that modifier instead. Now that modifier has two modes, let me see if I can get to it. When I hold it down,
notice that I’m swiping it a little to the upper
left or any direction. That makes the circle from a small circle to a bigger circle, so
depending on the tool, it can have two options, so that’s why on the desktop you might
hold an Option sometimes you might hold a Shift sometimes. Depending on the tool, it might just be hold it
down or swipe, I don’t know. – Scrub it over.
– Scrub it over to get to the second set of options and it will be tool-depending. So every tool is different. So for example I’m on
Quick Select right now and when I’m holding the circle down it’s saying subtract from selection. When I swipe up, it switches
to normal Quick Select. So it’s letting me toggle back and forth. But if I were to go to the Lasso and hold it down, it’s
add to the selection or just use the Lasso. – I think move is–
– Move is the one that’s got the best one? Okay, so I’ll hold it down, duplicate verses just move constrained. So you know when you’re using a Move Tool and you wanna move something,
but you don’t want it to go up or down, you
hold down your Shift key, and you move it and it
stays in a straight line. That’s constrained, but in this case the modifier if you swipe or scrub over and you move it will duplicate instead. So again, that’s a great example, where the tool can have
two different options for that touch modifier. All right, and then, last but not least in desktop Photoshop you have
a control panel at the top so when you select the
tool, all those tool options will be at the top, that’s at the bottom. So when I’m on the Move Tool, I see the options for the
Move Tool at the very bottom of the screen, when I’m on– – [Emily] Actually that’s
the Selection Toolbar, sorry. – [Terry] Well, it depends
too, it will change based on what you’re, or
is that only selection? – The bottom bar is just selection. You didn’t notice I
think, but when you tried to pinch to zoom you made a selection. So if you see that bottom bar, it means you have an active selection, which I really like because
sometimes you do have an active selection without realizing it. Yeah, the Tool Options will
present as that floating panel which you can also then drag. – So I’m misexplaining that. So this is your options,
and if you have a selection like that, then the selection
bar is at the bottom. Thank you.
– You’re welcome. – She’s keeping me honest.
– This is why I’m here. – Now, notice that I made
a selection real quick and I got the deselect as the
first choice at the bottom. I never in desktop Photoshop, go up to a menu, and choose deselect. I also years ago, got away
from trying to click away from a selection because
that’s just bad in Photoshop. The easiest way to deselect in Photoshop on the desktop is Command +
D or Control + D on Windows. Well, I have a keyboard
attached to my iPad right now and I just instinctively hit
Command + D and it deselected. So a lot of your same desktop
keyboard shortcuts will work on the iPad, but how
do you know which ones? Hold down the Command
key for a few seconds on the keyboard and you’ll see them. That’ll show you all
your keyboard shortcuts that you have access to. And you can swipe left and
right ’cause there’s a bunch. So it won’t pop up right
away, you gotta hold the Command key down
for like three seconds before this will pop up. – And that is also contextual. Yeah, don’t look at those and think, oh that’s all the options in the world ’cause if you make a selection
and then hold that back down now you’ll see Command + D as an option whereas before it was the re-select one. – Sweet. So it’s showing you your available keyboard shortcuts in context. What’s going on in that moment. – Is there anyone here from Apple? Okay, good. (laughs) So I can say this, something
you might be wondering is all my Shift shortcuts,
why don’t they work, why can’t you just wire those up, and the answer is a hardware issue that the Shift key on the Apple keyboard, on the iPad keyboard doesn’t actually transmit any data to the iPad. So we’re working with Apple to fix that. Hopefully either a
future generation of IOS or the keyboard itself will allow that interaction to happen. – And do we know if
that’s just this keyboard or any Bluetooth keyboard? – I don’t know actually, I think it’s any. – I’d be curious to try
that when I get home. – Definitely the one that everyone has. – Yeah, the fold-over keyboard
that comes with the iPad Pro. That’s another question, so
I know there was discussion that you and I had, back and forth for the last few months
on now that Photoshop for the iPad has shipped,
what iPads does it work on? – Oh Terry, there’s a whole list. (laughs) – While you look that
up, I wanna continue. – I’ll look it up. (laughs) – So it’s not just iPad Pros, right? – No, it’s some more recent generations. – That’s the point I wanted to make. So people look at this and think, “Oh, I don’t have an iPad
Pro, I can’t use it.” It doesn’t just require an iPad Pro, there are other iPads that it work for. All right, so I’m gonna deselect and now I’m gonna go finish
working on this composite. And I left off before
I went through the tool or around the interface, how
do I bring in my next image since that new open file thing is gone. Well, there’s an actual button for it. In desktop Photoshop you go File Import or File Place to grab new images. Well, there’s an actual button below the Text Tool that
looks like an image. Just tap it and that will
give you the same options. From the Camera Roll, well
actually one more option. From the Camera Roll, from the files, which is where I was getting mine from and one more, Libraries because you already have an image open. So just like Photoshop you
can’t start with a Library item, but once you have an image
open or a blank canvas you bring in that library items. Same thing in Photoshop on the iPad. All right, so I’m gonna go back to files. I’m gonna bring in my
sky, and my sky is there. And it brings it in
just like on the desktop in a free transform
method, so I can now get it positioned where I wanted, get
it the size that I want it, do everything I wanna do to
it, while I’ve got it here. So I’m just pinching it to make it bigger, I’m not having to hold down the Shift key that doesn’t transmit anything anyway. It’s just doing it. Now, would I hold down the modifier if I wanted to stretch it? – [Emily] Yes. – Okay, so the modifier
becomes that Shift operation. If you wanted to stretch it
and not scale it proportionally you’d hold down that touch modifier. Okay, now that I got it in place and you can see that it’s
giving me that second layer I can go in and I can start
playing with blending modes to see how I wanna blend that in. So I can go ahead and switch
over to the layer properties. And I have my blend modes
and my first bit of feedback for Photoshop on the iPad team is either A, display what my actual layer is or B, take away these icons. Now that’s just me. The icons to me don’t mean anything because they’re not
representative of my image. So you either show me
my image in the previews or don’t show me, just show the words. – I think that’s the hope longitudinally, but to defend the inclusion (laughter) as I talked about yesterday the first person we have
in mind when we built this is obviously the creative professional who’s using Photoshop every day, but we really want to be thinking about how can we bring new users in, how can we actually take
some of these concepts and vocabulary that are not necessarily intuitive to someone who’s
never worked in a darkroom and this is the bare minimum we can– – I get it for a beginner it can help because oh, I see the image gets darker, let me use that, let me start there. Okay, I get it, but– – Yeah, default preview.
– Show me my preview. See, I can take it, but
I can also give it back. (Emily laughs) Okay, so now that I got this in place I’m loving what it’s doing to the sky, I’m not loving what
it’s doing to the ground ’cause you wouldn’t
have stars on the ground and there’s no water so they
wouldn’t be reflecting on dirt. So in this case I’m going to cheat, I’m going to do a crop
because I really don’t need the ground anyway for this. Let me grab the crop
tool, and the crop tool looks like it is doing
a constrained, yeah. No, it’s not, okay, oh
it’s cropping, I see, it’s cropping to the actual
original image, not the sky. Bring it up to about there. Okay, I’m done. All right, next up. I’m not crazy about some of the places where the stars are going
like on the rooftop. Now in this case I can add a mask and I can start using my
brush and painting that mask to mask off that top
layer, but the problem is the minute I do that then that roof gets the original lightness
that it originally had, so it’s just as bright,
just as daylight bright as it was in the very beginning. That’s okay, I’m gonna
fix that in just a minute. Just gonna say, don’t give me
any stars on the actual house. Now this is pressure sensitive and I’ve got a fairly large brush, let’s go down in brush size. There we go. And one of the first
things I discovered was of course when you’re masking
black hides, white reveals, I was like, “Oh, I know on the desktop “I just hit the letter X and switch.” And before I got to, I don’t even think I had the keyboard attached at the time, I was just like, “How would I switch?” And I just came over here
and I just swiped it down. It switched perfectly, and
I was like, “Oh, cool.” I love it when it’s intuitive. But to answer your
question, yes, X does work if you do have your keyboard attached. And of course I can pinch and zoom and do a better job with this. All right, I’m not gonna
spend time being that picky ’cause we don’t have a lot of time today. Do some more of this, here, here. Get some of that sky
off the building, okay. Zoom out. Okay, so now my building’s
unnaturally bright so I can go back to that
layer that was below and I can do what’s called
a clipped adjustment. In this case I don’t really
need a clipped adjustment because there’s no other layer below it, but if there were a stack
of layers you typically would do a clipped
adjustment when you only want the adjustment to
affect the layer below. But just to show you what a
clipped adjustment looks like I can go in and I can say
add a clipped adjustment, it brings up my adjustment layers and I can go into something like exposure and I can go in and adjust the exposure. So adjusting the exposure overall. I’m gonna go ahead and
bring the exposure down. Let’s see if I can do
something with that mask. How do I wanna do this, hang
on, let’s get rid of this. So I inverted the mask and now I can go in on that mask and paint, I just
did Command + I by the way. – [Emily] You could also
load your previous mask. – True.
– As a selection. – Paint in black what goes on the mask. That’s just super dark.
– Yeah. – So we’ll light that
back up in just a minute. So there we go, just wanted it a little darker then, it was super bright. Okay. All right, next up. I’m gonna go ahead and do another import from files, my moon shot. Oops, cancel, import
that above that layer, so let’s do it again. There we go. And so now, this is one of the things that you saw a sneak yesterday of Select Subject and Refine Edge. Those aren’t here today, but
they’re very soon, right, soon. So anyway, I have to go back in time and think of some of
the ways I would’ve done this in the past to make the selection. Now luckily there is Quick Select so I use Quick Select quite a bit. Select Subject, I’m so spoiled by that because it would’ve done it in one click, but in this case, let’s
go ahead and lock it in. I will go in and switch to Quick Select and just start dragging
my selection around and Quick Select does do it. Now in this point I want
to invert that selection, so when I mask it, it
masks the actual background so I’m gonna hit invert and then hit mask. And I did the opposite, hang on. I had it the right way,
there we go, invert and mask. All right, so now that I got that masked before I size it down and move it in place and apply an adjustment
to it, I wanna cut it out. Wanna actually hide the
the middle part of it. And so in this case I’m gonna go in and use the Elliptical
Marquee and this is where my touch modifier’s gonna come in. So I have that tool
selected, and right now if I make a selection,
it says select constrain, if I select up, it says select
constrained from the center. So you know how you
hold down the Option key when you wanna make a
selection with the center? That’s what this is doing
now, so that was just me holding the touch modifier down and swiping out to the outer edge. And now if I do it from roughly the center it will make that selection
from the center like I’m used to and of course I didn’t
get it quite in the center but that’s close enough. All right, so now I can move that where I really want it to be. Just gonna do right about there. There we go, and now that
I’ve made that selection I’m gonna go ahead and
mask that too so fill that. Use the Paint Bucket on a mask? – Yeah.
– Cool. So basically all I did was
just fill that mask with black. All right, deselect, and I still see some of the outer edge there. Perfect. All right, so now I wanna size it down so again I gotta start thinking, “How would I do that in
a touch environment?” There’s a whole Free Transform Mode so that there’s a button for just like you would hit Command + T on the Mac, you have a Free Transform Mode here. So I can scale it, rotate it, flip it, and by the way you’re flip controls are in the upper right hand corner. You have distort,
perspective, those things are on the left hand side on
the toolbar in the options. Of course I can put that then
wherever I want it to be. I want more over here. Okay, next up, we’re
gonna add one more image. Files, well actually two more, but let’s get this one in first. My ladder, same thing, get it in place first, make my selection. Now this is one of my favorites. I’m just gonna make a little bit of a selection on the white. So I’m just gonna use Quick Select and just a touch of white got selected. I just moved it a little bit because at the very bottom
with all the selection options there’s a more option,
and when I tap on more it give me select similar, which is key and crucial in this case. Select similar, basically
select all the white. And now I can go ahead and mask. I always do the opposite,
invert first, then mask. Invert, mask, there we go. All right, one day that
will lock in my brain as to which one’s which. All right so now let’s go
ahead and free transform that one as well, scale it down, where I want it to be. Now this is another opportunity for, by the way when you’re in this compressed or condensed layer mode
you can swipe left to right to get between the layer and the mask. So right now I’m on the
layer, if I swipe to the left I’m on the mask, and visa-versa. Now that I’m on that
layer and I can still see a little bit of white left over. Let’s go ahead and mask that real quick. Now that I’m on that layer,
this is another opportunity for clipped adjustment, so I just go in, add a clipped adjustment and in this case, ah, we’ll do the clipped adjustment. Again, wanna bring down
the exposure of that ’cause it’s a bit too bright. All right, next up. What are you climbing up
to the moon to get to? Let’s give you your humble abode. All right, I only need one thing in this, I only need the house,
I don’t need the sky, I don’t need the ground, I
don’t need anything else. So let’s go ahead and do one more, Quick Select. Adjust that. Now one thing I hadn’t thought about is I have not tried, let me see. Never mind I don’t see it as an option. We’ll talk about it later. – [Emily] Okay. (laughter) – And let’s see, do I wanna
invert to do the mask? No, yes. All right, so now we go ahead
and there’s a little bit of white left in that window, or sky, so again we’re on the mask already, fill the brush, size the brush down, and we’re painting with black already. Just paint through to the sky. Now had I made a better
selection in the first place then I wouldn’t be dealing with this now. So it’s all about where
do you wanna do the work, up front or after. I’m not gonna spend a lot
of time cleaning this up, but you get the idea. Okay, clean enough for now. And free transform it. Now the very first demo I ever did of back then code name was
Rocket, but the very first demo I ever did of Photoshop on the iPad was for an internal meeting
and I was working on an image and I got to the point
where I wanted to move a layer and I just tapped it and dragged it and nothing happened. It didn’t happen after the second time and it was just like, “Oh, it’s the beta, “it’s bugged, it’ll get fixed.” And then I realized after I got off stage is that it was working, I
just wasn’t patient enough. When you wanna move a layer, you actually hold it down for a second and then you can move it. You start dragging it right
away, nothing will happen. So okay, I wanted to
put it behind the moon. And then move it down
just a bit, there we go. All right, and those are just, again, getting your feet wet
on some of the things that you can begin to start working on in Photoshop on the iPad. Now again, if I go home, if I just say, “I’m just done for now, I’ll
come back later,” tap on Home. That will once I have
an internet connection that will start the syncing process. I think it starts syncing
before then, right or does it wait ’til you’re finished? – There’s a specific cadence
on which it saves and syncs, so even when you’re working in
the document it should start. – Yeah, that’s what I was gonna say, it starts syncing even before you are ’cause then in case it
crashed or whatever. – Yeah, it’s saving locally
a little more frequently than it’s trying to
sync all the way, right. – So if I go back to the desktop
and I say open Cloud Docs, there it is. So it’s already in the cloud, it’s already accessible
to me on my computer. So I can just go ahead and open it here. Now it’s downloading it. – [Emily] And it’s been really cool even preparing for this demo, we use these assets, this creative work just to get them to the
point where we can use them in the demo keynote, and
that was a really cool chance to be going back and
forth between the desktop and to the iPad and see wow, (laughs) just realize that there are things that even if I’m sitting at
my desk with my laptop, there’s just things that are
easier to do on the iPad. Like I’d be bouncing over
there for for anything involving brushing, anything like cloning or really fine-grain selection ’cause if you don’t have a Cintiq with you yeah, it’s just so much more
fun to do it on the iPad. – Right, and also keep in mind it’s not just one way,
if I save a document that I want to play with on the iPad, maybe it’s got 50%, 75% of the work done, but I wanna be able to brush,
I wanna be able to retouch, I wanna be able to do
things with my Apple Pencil, I can just go into
Photoshop on the desktop, do a Save As, and save
it as a cloud document and then it’s ready for
me to open on my iPad. So it will show up on the
home screen of the iPad. All right, Emily, your turn,
wanna show us some stuff? – Sure. – Let’s get you ready.
– One sec, one sec. – She’s typing in her secret password, now I know what it is. (Emily laughs) – Cool.
– That’s you, okay. – Yeah. I’ll do the flow that we
looked at yesterday together. There’s some sky swapping in here too, I think it’s just such a fun thing to demo for changing lighting in an image. But yeah, went to Iceland recently to this really cool spot
called the Blue Lagoon, but I then went to a
wedding at the Bronx Zoo and I saw these seals who were posing, it was too fun to pass up,
so I’m gonna do a little geographically inaccurate Photoshop and bring this seal into
this spot with me. (laughs) – [Terry] Oh, climate change. – [Emily] (laughs) Who knows, they might be in Iceland as we speak. Yeah, so I like to get
started with Quick Select, honestly in something like this I’m not even sure what Select Subject would come up with naturally,
but like Terry was saying you have these options
for when you do the work. I like to do the work a little bit more on the selection side just ’cause. – [Terry] Yeah, it’s much
better if you do it here as opposed to trying to fix the mask. – You can get just a finer grain control and now that I’ve been
practicing for this demo so much I definitely have better motor control than I did at the start, yeah. So after you make your initial selection I will say I feel like
selection’s intimidated me for a long time in the desktop. I more of an internet
meme Photoshop expert than like an influencer and
so it’s been really cool to be on this team and
just get really comfortable with these super powerful concepts because if you’re used to
using these destructive tools that have been around for so long getting comfortable with masking, really seeing that mask as
pixels to be manipulated, yeah, I’m preaching to the
choir here, but it’s really fun. And then yeah, because we’re
still working on bringing Refined Edge for things
like Shift + Edge and stuff I will sometimes just cheat
a little and just use blur in combination with, oops,
opacity and softness here. Yeah, so Terry pointed out
scrubbing here in the header, like our ethos when it comes
to designing for mobile, you just want everything to
be accessible with a gesture. I didn’t call it out in
the keynote yesterday, but I never tap this and
then move the slider, I will always just start
scrubbing right on the number just ’cause I think it’s so much faster. – [Terry] I did not know that. – And honestly when it comes to, this I did call in the demo,
but you have the choice and this is brush by brush
of what your settings are, so you don’t have to
use pressure for size, you can choose to use it
for something like opacity, so this might be a case where I want my pressure to yeah, yeah. I’ll use that later. (laughs) I find a better example for that. But yeah, as you’re going about your work for different tasks, I’ve definitely found those different settings to be crucial. Okay, there we go. Just position this guy a
little bit around here, okay. So obviously now he’s a little
out of place in the image. Let’s do a clipped adjustment layer and bring that hue, sat
a little more in line. I’m not actually going to worry about getting this too perfect right now ’cause I have bigger plans for
what happens in this image. Cool, so I’ll leave that
there for right now. Now I’m gonna do the sky swap. (laughs) – [Terry] Okay, I can’t wait. – And yeah, I always start
like I said with Quick Select. So Quick Select’s not a
perfect algorithm obviously, it is going mostly by color,
oh and here’s a good place to be toggling with
subtracting and adding. – [Terry] So that’s holding
down that touch modifier. – [Emily] Holding down
the touch modifier yeah, and just getting it where I want it. Yeah, this is something I
would never do on the desktop with a mouse ’cause I just
feel like this is hard, but the iPad has turned me
into a real Selection Maiden. Okay, cool. So this is where we’re gonna invert and mask this layer, cool. So when I was in Iceland, the
whole point of the trip for me was to see the Northern Lights, and I made my friend go with
me on this midnight bus ride out into the middle of nowhere, where there turned out to
be 500 other people also waiting to see the Northern Lights and we actually saw them so,
I’m gonna celebrate that here. I definitely feel like I earned it because you’re not supposed
to take flash photography of the Northern Lights, why
would you try to do that, right? Some people were trying it,
luckily one professional was there, shared his photos with me. Okay, I’m actually gonna
blur this a little bit more ’cause I sized it up, so I
lost a little of that fidelity. And this gives me
another great opportunity to create that fake depth
of field I did yesterday. So before I adjust the colors in the image I’ll actually work on that. First things first. Okay, so here I’m
actually just gonna start by getting just the parts of
this foreground that I want. And then let me make sure I do this right. Let’s try a subtract mask,
there we go, add the mask. I wanted to do something
fancy here for you guys. Oh, I know, invert the
selection, add the mask, (laughs) this is where
being a little bit dyslexic is coming into play, that’s okay. Basically I’m just gonna copy this layer and paste it here, and then
color the mask as a selection, invert it, okay. And then I’m just gonna do Control + T. And then go to that other
mask, there we go, okay. Some complicated math, you could probably do it
better yourselves. (laughs) But here I’m just gonna
sort of create and cancel. Oh, I see what I did, sorry about this. Okay. Invert, oops, target
that, invert, okay great. Got it right where I want it. Sometimes these things
can take me a second just to like figure out
where I am, awesome. Actually before I do this, I’m going to load this as a selection. Wow, this is the one where I… Okay, let’s load the selection,
gonna add this back in. Subtracting, all right. Okay. (chuckles) You’re seein’ it happen live. Great, now I have what I need, okay. So here I’m gonna blur
this a little bit, cancel. – [Terry] You’re just
creating different layers of– – Yeah, here I’m just
basically masking out, and Terry you step in at any point here. Okay, so I also want to hide
that in the layer behind because I’m gonna create this
fake depth of field effect. Deselect, okay, so now I
should have this isolated and yeah, awesome. That’s right where I want it. And I’ll just I’ll just blur it. A little bit here. Okay, so now this is
where, through this painful process of experimentation getting here, but this is where using
masks is really nice because I haven’t eliminated any pixels, so I can go back and smooth
out a lot of those mistakes. So if you’re someone
in the room who’s like, “I don’t know, I just
wanna like copy and paste “to make a bunch of layers.” I’ve had to really weed
myself off that practice because this, it ends
up being so much easier, I can go back in and smooth out right here where I didn’t get a perfect edge, I can really take full advantage of those pixels that are still
waiting for me there, cool. And then I’m just gonna go and whoop, here I can now blur
that mask a little bit. Kind of get a haze going, cool. Somewhere hee I still had a little line. So I’m gonna, yeah, just eliminate that. Awesome. Okay, so let’s bring back in our seal. Now I’ve got this depth of field I want, I have my seal, we can take care of the lighting and the mood
that the Northern Lights would bring into the image. The first thing I think I
wanna tackle is the color because I really want it
to have this eerie glow. Let me add, I’ll add a
global adjustment layer here. There’s that. Actually I’ll use color balance. Actually, you know what,
let’s tackle exposure first ’cause I think that’ll be more impactful. Obviously, I don’t wanna bring it down quite a bit at least at the bottom. And here is where I really
like to use gradients. I don’t think I used
these at all in my demo, but using a gradient no a
mask can be really, really powerful when you’re trying
to get a very specific effect. And we’re starting with
two-color gradients so it takes the foreground
and background colors. Soon we’ll have all that
gradient power you expect, the different stops and some of the stuff that Terry showed in the desktop, but for now, just gonna
take this opportunity. Kind of just find exactly the look I want, there we go, okay. Give it this glow. Okay, and then I can actually get, whoops, here we go, okay, ’cause
then I also kinda wanna do the same thing on my color balance layer and really just highlight that water where I had so much blue, give it that same sort of greenish tinge. Okay, so this is kind of quick, but yeah, using this power of masking, combined with adjustment layers. You know and my friends
who are really intimidated by Photoshop are like,
“What would you teach me “if you could only teach me a few things?” I say, adjustment layers, masking, being comfortable in the layers panel, and then whatever tool it is that you use in your day-to-day work. Because when you combine
those things together and those are really some
of the high-level concepts we’ve prioritized for this first version for that very reason. Especially when you’re
round-tripping back and forth between desktop and the iPad, really working
non-destructively in that way can save you a lot of time and headache because you know you’ve got those original pixels to go back to. You can always step back
from some of the changes you’ve made without bloating your files to be really big because I used to do, you have a group, and then
you copy it three times ’cause you wanna make a change,
you’re not totally sure, yeah, so that’s just a quick
walkthrough of one flow idea. – All right, so I asked
you this yesterday, I think it was a hidden feature because you were surprised
that it wasn’t documented in the keyboard shortcuts. So you might remember when
she was showing a sneak of What was it, it was Select
Subject on the turtle. She was able to show you that
selection with a red overlay and I know that’s quick
mask on the desktop, but how did you get to that on iPad? – Yeah, so it wasn’t full Quick Mask Mode, but let’s just make a
selection here to take a look. This is another thing I’ve learned working on Photoshop is
how many different ways you have to view your selections. Obviously these marching ants are iconic, but it totally depends
on what you’re doing and what you’re trying to see. Pressing F lets you cycle
through all the different ways you have to view your
selection in Photoshop. So we have this Rubylith red overlay, this view where the background is darkened and the selection is highlighted, this view where you’re using light and if you’re new to
masks I really recommend cycling through these until you find one, or new to selections and masking, cycle through these until you find one that’s intuitive to you because it can be depending on how your mind works or the task at hand. We use the red for the Refine Edge demo because it shows really well,
but if I were actually doing that type of Refine
Edge work with that boy I would actually use a dark background because for me it’s just
easier to see that dark hair coming off a dark background,
like it’s a subtle change. Some people might prefer white. – Cool. All right, I’ve got one on
a topic we talked about. Right now Photoshop on
the iPad is primarily targeted at compositing, correct? – Yeah. – I do more retouching
than I do compositing and I know that there
are tools that are coming that will come over from Photoshop that will help with the retouching part, but I thought happy medium might be for now, photo restoration. – Yes. – I know you’ve got an example, I’ve got an example. – I like yours. – Let me get to mine ’cause
mine’s quick and easy. So let me do mine first
and then you can show the one you had, I think
you had a cool one. – Cool.
– All right, cool. So I’m gonna switch over back to me. Oh, hang on, that’s probably the desktop. Switch to the iPad, there we go. So this is a stock photo,
I don’t know these people. This is a stock photo
and I looked for things that were old, cracked,
damaged photo in my search and got a bunch of these to come up with. Now, my go-to tools in
the desktop would be Healing Brush, Patch, Clone
Stamp, of course cropping and fixing the color,
that goes without saying, but just fixing the damage is
what I’m aiming at right now and I’ve got a couple of
those, not all of them, but I’ve got a couple to start with, so let me go ahead and
grab my Apple Pencil here, and there is a Spot Healing Brush, and there is a Clone Stamp
Tool, so you can use either one, so just the Spot Healing Brush
works like it always did. I’m gonna try your tip now
to make, oh look at that, that does work, to make the brush bigger. Holdin’ out on me.
(Emily laughs) It’s okay. Still wanna a bigger brush. And you gotta be careful when
you come in on someone’s face because background people will forgive, someone’s face they will not forgive. Now of course this is
just rinse and repeat, just keep going through
it with your Healing Brush ’till you’ve got all the
little areas repaired, but in the case where
there’s a little blue speck of something on her cheek there, and I could heal that
out, but just to show you how the other tool would work. If I did switch over to
the Clone Stamp Tool, as you know on the desktop you
have to pick a source first, that would be an Option or an Alt key, click somewhere else, and then do it. Who could guess what you
would hold down on the iPad? Touch modifier, exactly. So touch modifier, set your source, tap, and then you are cloning. And that was a bad
clone, let’s do it again. Let’s pick a darker source, there we go. Still not great, too much pressure. And then up here, it’s way brighter than
I expected it to be. And then to smooth that out,
that’s when I usually use Patch, but we’ll switch back
to the Healing Brush for now. Just smooth that out. Now when you have a,
like part of the photo’s completely gone, like torn
away, gone, burned out, whatever then that would, oh,
(chuckles) that’s bad, that would take a lot more
work with various tools like the Clone Stamp
Tool to restore or copy from another part of the
photo to make that work. There’s just a lot of
stuff that’s missing. So this might be another
Clone Stamp opportunity. Smaller brush. Softer brush, that’s as soft as it gets. (Emily chuckles) All right. So yeah, once I do a
repair then I typically wanna blend it in ’cause
sometimes that repair can look obvious and very hard edged. All right, so again, this
would be continuing to remove all the tears and broken
things in the photo. Once that would be all done
then we go in and crop it. Don’t really need the border. And then at that point this
is where you might go in with a black and white adjustment and dial in the black and
white that you’re looking for. Okay, and Emily, you’ve got one? – Yeah.
– Layers, hold on a second. All right, I’m gonna switch over to you and I’m gonna keep working. All right, let’s see yours. – So, as I was looking
through some old photos my parents had sent me I found this one of my grandmother and her brother, which looks like it’s from the
scrapbook, the ’30s probably. Definitely an OG attempt at
a Photoshop using collage. So I thought this would be
a fun one to finish the job, maybe use a little Clone
Stamp, make it look like they’re actually standing in
front of the Statue of Liberty. We can start by cleaning up a little bit. Just getting rid of some of that. This little dust and scratches. And then let’s get into the real work. So I really haven’t tested this one, so we’re gonna see how far
Quick Select can get us. Even when I’m doing Clone Stamp sometimes I like to start with a selection to protect whatever it is
I’m not trying to clone. Yeah, so something I
didn’t talk about yesterday ’cause I didn’t make the mistake that would’ve required me to talk about it is the gestures we have around, there’s so many ways to undo and redo, you can use Command + Z,
you can use those buttons on the top of the screen here. You can also do a double tap to undo and a triple tap to redo. It’s kind of a risky
business to be tapping when you’re also selecting, but that’s just sometimes what I do. I’m gonna grab that,
cool, so now I just have a protective barrier while
I do some cloning over here. Here I have some of those options I want for the Clone Stamp Tool,
I’m not gonna use them here ’cause I only have one layer and I am doing this destructively. ‘Cause I could do best practice
and add a second layer, but just so you know they’re there. And you have some of these
same size and opacity controls which can really come in handy. This sort of carries through. And again you can see
how starting with that. I love Clone Stamp for stuff like this because you really can,
anywhere where you’re trying to bring a texture across an image, especially using that opacity, it just lets you get some
of that natural variety that just copy and pasting
and masking might not. – [Terry] Very cool. Okay, we’re almost out of time and I promised you we would
have time for questions so I’m gonna let Emily keep working, but we’re gonna answer your
questions while you ask them. First one right here. – [Audience Member] You mentioned F to move through selection modes. What is the don’t-have-a-keyboard,
how do you, can you? – [Emily] Very good question,
no you cannot right now. So there are just some
things that right now are just Easter Eggs that
are only accessible through the keyboard or only accessible
through the touch shortcut. I mentioned the technical
limitations around those. – By the way that’s how
far I got that quickly. – Oh wow, cool. – Okay, next, yes ma’am. Can you copy and paste? – Yeah, Control + C, Control + V. – For the keyboard, same
thing, without the keyboard? – Oh without the keyboard,
it’s under the ellipsis menu. – Oh, hang on, they’re not seeing you. There we go, show ’em again. – So yeah, I can cut, I can paste. So this is sort of we call the taskbar since this is where you’re
taking those actions on your layers or other selections. And that’s where, like Terry
said, a lot of that stuff that would be under a File menu
would be located right now. – [Audience Member] It says copy layer, but why doesn’t it say
copy selection or copy? – That’s a good question actually, I’m not totally sure why that
verbiage is there that way. – [Audience Member] Is it copy related? – M-hmm, yeah. Yeah. – [Terry] I just did it, so I just, here I’ll switch back to me. I just copied some of her
coat and moved it around. All I did was make a selection, hit that copy layer and
paste and I got that. And if I’m not mistaken,
it’s because it is, even though it was just a selection, it’s not copying the whole layer, it’s like the command in
Photoshop that’s layer via copy, so it’s doing it in two steps,
you’re making a selection, you’re doing a copy, when you paste, it’s pasting it onto a new layer. So it automatically did that
when I copied her jacket. So let me do it again, selection, menu, copy layer,
deselect, and just paste. Oh, hang on, I’m still in
selection, there we go. Now she has a hat, yes. – [Audience Member] What about shapes? Will that be included eventually? – Shapes?
– Yeah. – Shape layers, shapes? – Yeah, it’s on our product roadmap. – Everything’s on the roadmap,
it’s just a matter of when. – And there is on the Home Screen there are very prominent panels saying request a feature in
Photoshop, really use those. – [Terry] Right here on the
upper right, suggest a feature. – [Emily] Suggest what’s next. – ‘Cause here’s the thing, the team would love to bring it all over. And they will work to bring over as much as they can that makes sense, but the question then
becomes in what priority and that’s where you come in. Set the priority. – This is a V1, and it was
really time to get it in to the community’s hands so
that we could start working not just with a select group of you know, we’re doing all this
research all the time, but it’s important to see
what is the priority for the most people so that we can get that in there the fastest. Tell your friends to also request shapes. – Like shapes would never
even be on my priority list, so that’s why you gotta put yours in. Yes. – [Audience Member] Are there
plans to show brush edges? When I’m cleaning a mask, I don’t know where my brush is until I’ve
gone past where I want to be. – So showing brush edges
when you’re painting? – [Audience Member] In
Photoshop when you’re painting don’t you see like a circle
around where your brush is? – I see what you’re saying, yeah because you’re working with a mouse you have that placeholder for the brush. – [Audience Member]
Yeah, that shows the size that your brush is so you know
where that edge is starting. – Yeah.
– Yeah. Unfortunately with a touch
UI, like with a mouse, the minute you select a brush
you see it on the screen and then you press the button and you start moving it around. With a stylus, there’s no
contact until you actually touch the screen.
– Right. – But in that case and to his point I think there should be. Even though I’m touching the screen I’m not seeing the circle, so
I’m not seeing the boundary of what the size of that
brush and where it’s going. I think we could do that. – [Audience Member] Kind of
a surprise when you start. – Right, yeah, ’cause you
don’t even see the circle even while you’re paining. – Yeah, if you adjust
the size of the brush, right now the closest
thing we have to this is as you adjust the size of
the brush you get that preview. – [Terry] You see that first. – [Emily] Right, I totally
understand his position. – [Terry] But then it goes away and when you start painting
you don’t see it, I agree. – Yeah, the thinking is kind
of like when you’re using a mouse that is just your proxy
for where you’re going to be enacting that stroke, so in a touch UI in one sense you know
where it’s gonna happen because you’re touching
the screen, but yeah. Those kind of overlays, making
sure that there are settings and options for people to bring those in. – I definitely see your point, but suggest that as a feature as well. Yes, over here. – [Audience Member] All right,
so your two color selectors on the left hand side if
they weren’t black and white, if they were different colors, and you don’t have a
keyboard is there a gesture or a shortcut to fall
back to black and white? – Ooh, like normally I would
hit D for default colors. – No, I don’t think there’s a non-keyboard shortcut right now. That’s a good question. – And D does work. – And some of that stuff, long term don’t wanna require that people have a keyboard to access all those functionality. – Good question, I love that. If I had a prize, I’d give it
to you, that was a good one. – Yeah, statistically speaking most people who have iPad Pros do have the keyboard and the Apple Pencil. – No, but you shouldn’t need the keyboard to default your colors
back to black and white. – It’s one of those things,
V1, had to get it out there. – Yes. Yes, so the question
was can I merge layers. So for example I turn off
her hat layer. (chuckles) No, that’s the hat layer
here, op, wrong one, sorry, sorry, sorry, undo, undo, undo. Go back to that one, turn it back on and now that layer’s selected
there is a merge down and a merge visible at the very bottom. Yep, here. – [Audience Member] Is there an alignment, center align, left align? – No alignments, no guides, no rulers. – Now some of this is under the
headline of hidden features. If you bring in a file that
has guides on the desktop they won’t be visible to you
yet, but you can snap to them, so if you’re doing
intricate work with guides it’s something to be aware of for sure, so it doesn’t surprise you. – I almost count that as a bug. – I know.
(Terry laughs) – All right, but anyway
’cause you can’t see ’em. – But it’s like the guides
are coming soon. (laughs) – All right, anything else? If I can’t see your hand just go ahead and yell it out, go ahead. – [Audience Member] Are
smart objects supported? – Not yet. Are smart objects supported
yet was the question, not yet. – If you open a file that
has them in them, yeah. – By the way any file that you open, if you create a bunch of smart
objects, a bunch of things that even aren’t supported
yet on the desktop and open that file, they’re still there, there’s just no UI to
manipulate them on the iPad yet. So you don’t lose them, you just can’t– – You could mask a smart object, you could clip something
to a smart object, but you just can’t go in
and edit the smart object, which is obviously a limitation
that we’re working on. – Well that is our time,
we’re actually over and I wanna thank you guys
for being here this morning. – Yeah.
(audience applauds) (soft music)


  1. This isn't really a desktop version of Photoshop. I was considering switching to an iPad, but I tried my sisters and realized it's not a viable alternative for designers. The iPad is still a companion device, and you'll need a Mac or PC to get design-related tasks done. I also noticed how much time is wasted on the iPad, and things take a lot longer. You're better off with a Surface Pro + Pen and full Photoshop or using a Mac.

  2. Does this Version of Photoshop (for the ipad-line) have a „Gradient Edit“ oder is it just primarily a masking tool ?

    (Can one create a magazine with Adobe Comp, or is it just a tiny extension, for InDesign on the Lap/Desktop?)

    Could you just please tell us what it doesn‘t have compaired to the Desktop-version.
    It would help alot of people out.

    I‘d really would like to like it, but with the lack of information,- tiil now it just seem for me like, it’s not at all made for professionals- this surely turns one of, of this whole ipad/adobe thing.

    Still dig the rest of you output
    But a little help would be appreciated

Leave a Reply

Your email address will not be published. Required fields are marked *