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Lesson Info

Using Layers to Adjust Lighting

So let's take a look at another incredibly useful adjustment layer and that is levels levels gets its name from changing the levels of brightness that are found in your image and that's how we can create correct color and lighting so we're working in folder number four cleverly named the levels and the first image is going to be the one that we looked at earlier in the day when we were doing our soft dark ege vignette with our grady in't adjustment layer so this image is really nice and content but it looks a little flat so it's a little void of contrast so what we're going to do is do the correcting on a whole nother layer that way we can hide it from parts of the layer that are parts of the photo that don't need it we can lower its opacity to back off of the correction if we need to do that or throw it away if we don't like the effect so we're going to create a levels adjustment layer by clicking that half black half white circle at the bottom of the layers panel we're going to choos...

e levels you can also cheese layer new adjustment layer levels you get the same set of adjustment layers through the menu system and your fill layers that we've been using earlier also up there but in a different category first thing that happens when you create a levels adjustment layer is that in c s six, the properties panel will pop open in c s five it's the adjustments panel, but you'll see the same thing someone is him in here just a little bit and we'll talk fairly briefly about what we're looking at. This is a history graham, which is a visual representation of the levels of brightness that were captured in your image you can think of these if we were to be able to zoom in super super far you can think of these as a teeny tiny little bar graphs shoved up against each other really is what they are really tall bar grass right here or mountains it was like a mountain range to me, maybe that's because I live against the hills boulder so really tall areas here mean that you have a lot of information at that particular level of brightness and what level of brightness is that will if you were to take a ruler and draw a straight line down from one of these bar graphs to that gray scale bar down here that is the level of brightness that this graph is telling you that you have really tall, wide mountains means you have a slew of pixels of that particular brightness level really short mountains or vast prairies I mean, you don't have hardly any or no pixels at that particular brightness level in what brightness level is that well, if we draw a straight line down from this area to our grayscale bar, we can see that we don't have anything in the upper highlight in under the upper range of allies and whites. Ok, so appear we've got a slew of pixels at this brightness level coming over here are mountains start to fall off a little bit? We've got a quite a bit of pixels at that brightness level, but coming over here toward the shadow end of, uh, the's bar grass, which is called a history, um, we can see that our mountains get really, really short, so we don't have very many pixels in this brightness level here, and if we look at our image, we can agree because that's, why it looks like it doesn't have much contrast, it looks flat because we don't really have any dark blacks in our image, so there are several different ways in which to use levels. We're going to go through all of them today, but the simplest way to use this adjustment is to simply drag in the shadow slider and, you know, it's, a shadow slider because it's filled with black and it's also on the left end of this bargain here where your blacks are, you can move that in to the foot of your mountains, and when you do that photoshopped re maps or resets the colors in your image according to what you just told it really ought to be black so basically what we just did was we took all the pixels that were this really dark gray down here, which is where the slider is sitting above okay? And we just made those black if you've got a gap on the right side of your history and where your highlights are, then you can drag that slider overto where the foot of your mountains start and that is resetting remapping the white point so basically you're saying, hey, photo shop I don't really have any bright lights in my image, so why don't you take the color this color really, really like gray and make it light? Okay, that's what moving these sliders is doing you're resetting, you're black and you're white points came the slider in the center is for your mid tones cain it's filled with gray and you can use that slide or to increase contrast so if I drag it slightly to the right, I get more contrast I drag it to the left, I get last contrast so you're affecting the mid tones ok, so you've got your shadows, your men tones and your highlights so let's topple the visibility I've often on on that layers levels adjustment layer to see a before and an after now let's say that our guy's face or his hair suit area got a little bit too dark with that adjustment we could come over here to the included layer mast, click inside it to activate it come over to your image with a regular old breast tool case sieves press b to grab the brush tool set your foreground color chips black and then you could come over here and you could hide the adjustment from part of the image that doesn't need it and if you hide too much of the adjustment, then all you have to do is press eggs to flip flop your colored ships that you're painting with white and you can come back in and reveal that adjustment again where it needs it so basically now I've only got the adjustment hidden from his hair if I decide the adjustment is a little bit too strong aiken just back off of the opacity using the opacity slider at the top of the layers panel so incredibly flexible editing here now in the round with the layer mask if black conceals and white reveals you still got all those shades of gray, so if you want to hide a little bit of the adjustment but not all of it, then you could paint with gray instead of black okay, so we'll do that here in a second so let's take a look at another image okay, we've seen this one before as well, so let's, add another levels adjustment layer. We've got our history in here, so for this one, we could simply just dragged that shadow slider to the right where the foot of our mountain start, and then we can toggle the visibility often on to see what a difference that made. And again, if there's some areas in the image that didn't need that adjustment, you can click to activate the layer mask and paint with black or a shade of gray to partially hide that adjustment. Now there are couple of other ways you can use a levels adjustment layer case you can see over here in my layers panel, I've got a whole bunch of adjustment layers going on, vibrant ce to pump up the color. We're talk about that later on this afternoon, brightness contrast, I used that to actually darken the image a little bit dark in the sky part and here's our levels adjustment so here's our before and are after. So go ahead and turn the visibility I've all off on that layer, and we're gonna create another one, okay, so far, we've been adjusting the composite hissed agreement, which means that this history and we're seeing right here are a collection of our grafts or mountain range is a mash up a three individual missed a grams, one for the red channel, one for the green channel and one for the blue because your camera is capturing three different tales of brightness information red, green and blue rgb if your history in varies quite a bit from one channel to the next, it will behoove you. Teo, adjust those shadow and highlight sliders in the individual channels instead of the composite town. You don't want to do both, you want to do one or the other. So what I do at home when I'm doing this for riel is I take a spin through these channels right here and I look at my history um, ok, so don't pay attention to the rgb or the composite won the mash up so let's, look at red, I make a mental note of the gaps on either side, so I'm looking to see if they are vastly different between the channels. So here's, our green channel, that was pretty different. So here's I read again, so I've got a pretty good size gap on the right in the highlight end, but then in the green channel, that gap is less than half in size, but I've got a larger gap over here in the shadows now let's, look at the blue channel, I don't have any gaffe over here. Ok, I've got a little gap on the shadow side, so if those gaps are substantially different between the channels, then you'll produce a better looking image if you adjust them individually so after taking a spin through there let's, go ahead and do that. The last channel I looked at was the bally channel, so I'll go ahead and start there doesn't matter which one you start on, so we'll go ahead and drag our shadow slider in we don't have a gap on the right side here, so we don't have to worry about that come appear to the green channel dragged the slider in toward the information, starts and then dragged that highlight slider over go to the red channel and we're going to drag that shadow slider in and then dragged the highlight slider over quite a bit now what you can do in the composite channel if you have adjusted the shadow in highlight sliders and the individual channels, come back here to the composite and tweak the contrast by adjusting that mid tone slider, so do the shadows and highlight sliders and the individual channels. If your history grams are substantially different and we're mainly looking at gaps on either side can then save your mid tone adjustment for the composite or master channel so now let's take a peek at the before and after by toggle in the visibility I've often on pretty big difference on the image here in a minute, we're going to be using her after lunch. Rather, we're going to be using what I I like to call empathy, adjustment layers to do a little bit of selective lightning and darkening so that's what? This guy is right here, I really didn't make a brightness in contra fast change, but I used that adjustment layer to get out the layer blend moves, and I chose a blend mood that happens to be in the dark and category, and I can use that to darken the sky a little bit. Ok, so let's do that one again different image casey here's our before and after. Ok, so let's come down here and at all levels adjustment, layer and let's take a spin through our channels and see what we're working with here. So here's the red channel, we've got a honking big gap on the shadow side, quite a bit less of a gap in the green channel and then the blue channel. We don't have any gaps at all, so in this case I would have just been individually okay, so around the green channels to drag that over to fill in the gap and for the red channel dragged that all the way over, where do you stop? When you've got not a whole lot of information like that really short mountains, which means you don't have a slew of pixels at that particular brightness level it's totally up to you keep looking at the image and dragged that over so where it looks good okay, so only you know what that end there's looked like when you shot it, and then we'll go back to the rgb channel and we'll drag or mental slider slightly to the right to add some contrast and now we can see our before and are after that one's a quite a dramatic change there. The third way to use levels is by using the little eye droppers that you might have seen, so what we've looked at so far is adjusting the rgb channel the shadows and slider highlights, dragging them into where the foot of your mountains are. We've also looked at adjusting each individual channel, dragging the shadow and highlight sliders in to where your information is now. The third way to use levels is with the levels I droppers case so let's, take a look at that on a couple of images and then we'll take questions on levels so here's our before you nasty green color caste and here's our after case will go ahead and make another levels adjustment layer you get a nice good history ram here, this is really what you want in your images and if you weren't around in your cameras owner's manual, you can turn that on. You can see that history ram on your lcd screen on the back side of your camera so you'll notice there's a set of eye droppers over here to the left of our history, and then you'll also notice there filled with killers that one eye droppers filled with black muslims filled with gray and this one is filled with white so you can use these eye droppers to tell to do that remapping or resetting of what really should be black. What really should be why that we've been doing with the sliders whichever method feels better to use that method. This isn't a right or wrong kind of thing. The only challenge with these in the eye droppers is that it can be difficult to find a spot in your image that really should be black or really should be fight because you don't want a shadow you know this pick a shadow point you want to pick something that's really black in color and when you're using the white eye dropper, you don't want to pick a reflective light you don't pick something that only white in color because there's a reflection happening you want to pick something that's really supposed to be white so let's go ahead and take a look at that so here's our image I'm gonna go ahead and start with the shadow slider doesn't really matter which one you start with the wider the black and my job's to come over here to the image and try to find something that really should be black and that is difficult ok for this particular image but you could simply click around and try to find a really dark part of her hair and when you make that click photo shop is going to change your history um and you're going to see the results immediately so if you don't like them you can simply keep clicking on other parts of the image until you find not that one until you find a spot that makes the image look good to you okay, another way to use this let me reset my properties panel here too what it looks like when we first opened it and make like that little curved area the bottom of the properties panel you have the same arrow and see us five and earlier but it's in the adjustments panel so just give out a click and that resets everything that we did in this adjustment photo shop is happy to tell you or show you rather the darkest parts of your image in the lightest parts of your image but the trick is to hold down a modifier key and it's option on a mac or altana pc if you do that in you drag the shadows slider to the right your whole image goes white the first areas that begin to appear in color when you're dragging that slider to the right are the darkest parts of your image so you could simply make a note of one of those areas and then click there with the black eye dropper the shadow eyedropper ok so I'm seeing that really my only true black is her people you know my true black that is is close to the focal point as possible so I could come over here and said that is my black point not there there or whatever looks good to you so it's option on america altana pc and as you drag that shadow slider while holding down your mouse button and holding them that modifier he then the first areas that appear in color are your darkest points so we're picking up that shadow area the shadow from her hair but if the shadow area is all you've got for black in them that may work so we can come over here and click within that area to reset our black point works exactly the same way on the highlights into the spectrum so if we hold down the option key or all on a pc and we click that highlight slider the whole image goes black ok so it's office it as you drag that spider leftward the first areas to appear in color are your lightest parts hey so it looks like on her fingers where she's holding that starfish is what we should click on so make a mental note of that area come over with the uae eyedropper and click that spot now your mid tones are a bit more difficult because there's no option dragging that she can really d you can option they're all drag all day long till the cows come home and photo shop is not going to help you find midtown one bit for a fifty percent gray but what you can do is hunt around for in the area that looks to be a neutral gray in your photo and just give it a click so we've got some great going on a pier and really what you're looking for here is shifts in color that brings the color back in line tio what you saw when you shot it yes sir the midtown especially affecting your color temperature yeah I think of it like that yeah so let's look at that again on yet another image k so here's our before and here's our after so we'll go and leave that later turned off come down here create a new levels adjustment layer and it just depends on how you want to use the tool you can have a go with the eye droppers or you can use the sliders whichever one feels better need which everyone seems to do uh your job feels more comfortable so let's, go ahead and look at our option clique are all to click trick to get photo shop to show us where the darkest parts of our image are the images completely white right now why is it completely white? If you look at the history graham, we don't have any dark black pixels in here, so we're going to have to drag that shadow slider while option are all clicking clear over here before we start seeing any dark areas come into play and I'm gonna break this panel apart executed over because it's covering up half of our photo there you so brianna option or all to click that shadow slider and we're going to keep dragon and now we've got a little bit of information coming back, but again, we're looking for a dark point that's near our focal point so I can tell that's that lady's hair there so instead of resetting my black point to the dark parts that are at the bottom of the image, I'm going to go for the one is near her hair, so we'll click the black eye dropper click on her hair and now we can option or all click the highlight slider um immediately I'm seeing some white white parts that is the film or the tip of the way of the crests of the waves I believe a little bit of the sand ok, so those are our lightest bits the ones that are appearing in color first I could also try just clicking on his shirt, not with the shadow slider good gosh grabbed the white slider so we could try clicking on his shirt because it really is why which kind of blows it out, but the great part is that you can keep clicking until you find something that looks good to you and brings the color back in line of what it looked like when you shot it. Son alice grabbed the mid tone eyedropper and now our job over here really is to find an initial point so let's, try clicking on the sand not going to do it for us, but this gray down here from the shadow, at least in my mind, brings the color back around so I can move my little property panel out of the way and then we can have it before and then after shot. Now let's say that the color still didn't look right to me or rather let's say that I'd like that area to be a little bit darker. You could duplicate this adjustment layer by person commander control d for jay rather now it's too, too much of an adjustment so we can drop the opacity way down okay, now this area is looking better to me, but my people my people have always on in people like some people, my people are too dark, so what can we did? I'm gonna click to activate the mask and this adjustment and we're going toe grab the regular all brushed tool set to paint with black, and then I can hide the adjustment for the duplicated adjustment layer from that area like that question levels when when I hold my option key and move the sliders to see the the masked image, it doesn't necessarily look exactly like yours is that have a lot to do with monitor calibration and brightness are those? Is that going to change? If you reset your image, hold down, you're all key and hit the black slider, it didn't exactly pick up the same exact spots is what I was seeing does monitor calibration and brightness have anything to do with that? It shouldn't it shouldn't. Did you by chance have one of the adjustment layers still on? That could have been it? That might be the reason why it's a little bit different, but it really shouldn't have anything to do with with your monitor that's a great question anybody else have any questions on the stuff we do have got apple this's just kind of a for clarification type question photographic csi miami wants no, it seems that adjusting the channel's affect color do just white balance after levels I wouldn't if you're going to use that method that we did, we go into the individual channels, I would just those channels, like we did the highlights and the shadow sliders, if there's gaps, and then I would say that mid tone adjustment, which, you know, does change the color balance in there, the color of light rather last in the composite channel, though in the massive, so that is essentially what you're doing is choosing your white balance, but doing it manually, so because of a couple of folks, they're also asking about, well, doesn't reminder, folks, that there about a thousand ways to dio particular thing in photo shop s o certainly a lot of you are giving great examples of how you could do things another way, yes, but so some of those folks are asking about using a great card, could you? If you use a great hard to, then use the droplets to get here? You're absolutely, and that would be the easiest way tio to use the suggest mint, but there are tons of different ways to do this stuff, but to be honest with you, if you're shooting raw, I wouldn't be in any of this stuff and photoshopped doing camera raw, or if you're using light rain, do it over there it's a hell of a lot easier, tio use those two pieces of software, light room in camera or aperture, if you're a fan of that to do this kind of brightness, level changing or color correction, if you want to call it that, but we're really just adjusting the brightness levels that were captured on camera. This class is called photoshopped deep dive adjustment layers, so we are using photo shops, tools, but that doesn't mean that there are a million different ways that you could do this, but another great thing that you could be, especially if you're a pro photographer. Designers aren't going to have these kind of color cars. Designers will be given photos, and they will need tio make them look good in order for them to be included in a piece for prints her piece for the web. But if your photographer so designers not gonna be shooting the image, so the designer is never going to have a great card to put in the shot. But if you have a great car and that's just a a car, you can purchase them from all kinds of different companies. But it's a car that is a fifty percent gray, and you put that in the shot or whatever level of great you put that in the shot, and you've got a good mentone in which two. Click so you take two shots, right? You have a shot with the model holding the card and I know a lot of photographers that sheet with the black heart of white card in a great card, ok, I have a little passport uh, pitchy. They have all the different colors swatches in there, so I put that in the shot with the model, I'd make them hold it. Oh, okay, shed a couple of pictures, have the model, put down the car, then you do the risk the photo shoot and then for your color correction, you color correct on the photo that has the card in the shot, and if you're using adjustment layers, then all you have to do is drag but adjustment layer into the other documents, apply it so you color correct on the english that has that part in there, and then you apply that adjustment by dragging the adjustment layer into the image that doesn't have the card in the shot, so but is that a designer is never going to do that? Because they're not going taking the shot so way have another question dribble seven question is what is happening when you have levels looking like a comb? Is that going to affect the image if you choose to print, so it has all those kind of you know that pull that the comb looking history and after you've been a levels adjustment is simply your way of knowing that that history has been changed, so you know that it has been adjusted, but what's gonna print is what you see here on your on your monitor. Hopefully, if you've had it calibrated, maybe one more question a couple folks have asked and why you're your eyes and why you your eyes and ron john from india, how well does auto levels work? First doing this manually? Excellent question. Thank you so much for asking it. Let's, open up one of our other images. Ok, so here is our original auto levels used to suck, but in c s six, adobe completely redid the math behind the auto button and a levels adjustment and the auto button in the curves adjustment, and they worked incredibly well now mail, but you're gonna have to try it out on your own images to see if it brings it back in line to the way you think that it should look so let's have a go with that on this image, I'll go ahead to make another levels adjustment, and we're just going to click the auto button this is what we're talking about right here. If you're using c s five and earlier, don't even bother, but if you're on cia six, go ahead and give it a shot, and it may do a wonderful job on your image, so if we click auto on this one and then we do before and after, he didn't really get job. Ok, so in cia six do have a go with the auto button because the dhobi completely changed the math that it uses, so we'll turn off our manual levels adjustment layer that we made and let's come in here and she's levels again, and that will click auto and collapse our panel so hers are before and are after no can compare that to the one that we created. Mine has a little bit more contrast for the one that we did manually, but you could easily click the auto bitten while this is still open, then you can just adjust the midtown slide or a little bit more, drag it to the right to introduce a little bit more contrast so that's yet another way to use levels. Yes, sir, but make sure you use that set of the auto levels don't go into the one under image adjustments and then pick those levels it doesn't affect it the same, and it affects the document differently, yes, and we want to stick with the auto bed in the actual levels adjustment in the properties panel this guy right here now we're gonna be working in folder number five how curves and isn't only I'm closing all these documents by pressing commander control w for window and then I'm triggering the don't save but in my pressing d there you okay so were unfolding number five workers I'm not gonna spend a ton of time on curse because it's not my color creation tool of choice it is incredibly powerful though but my good friend ben wilmore has a fabulous way of explaining curves and you can think of curves like a siri's of dimmer switches so in the photo shop document that I've got here if I play with my opacity slider on this black phil layer that I created we can simulate the effect of dimmer switches ok so if I dragged a slider to the lift which is you can think of her actually to the right you can think of turning the dimmer switch down what happens when you drag a dimmer switch down toward the floor it gets dark right what happens if you drag a dimmer switch up everything it's lighter right so you can think of curves adjustment as a siri's of about sixteen dimmer switches in the levels adjustment we've really only got three things we can do we can adjust our shadows we can adjust our mid tones and weaken just our highlights with curves you can set up to sixteen adjustment points, which you can think of as levels, having three dimmer switches and curves having a row of sixteen dimmer switches, right? So you can do incredibly powerful lighting adjustments using curbs, but I'm going to show you an easy way to use it been open at this image right here, and the first thing we're going to do is use the auto button in cs sixes curves adjustment because it got a math upgrade as well, so I've already done those for you, but we'll do it again so here's the result of using auto thought about nanna curves adjustment there's the before there's the after I think it did a great job on this image and here's what she can get doing, emanuel curves adjustment and we're going to do this in an incredibly easy way. So depending upon your eyes and what you like, what color color of lighting that you like one of these images will look better to you than the other, so let's go ahead and created again. Together we'll go ahead and click that half black, half white circle at the bottom of your layers pale and choose curves now in c s five curves got a heck of a lot easier to use I think it was see us five convincing us for because adobe added this on image adjustment tool cain the icon looks like a little hand with an upper down arrow you can think of that as your hand reaching over to a dimmer switch, pulling it upto light in that area, pulling it down too dark in that area when you use that tool photo shop comes over here and it sets the appropriate points on this line and adjust them accordingly. Okay, that's what occurs is so hard to use because people don't know what to do with this line and this grid they don't know what clicking where means to the image. So adobe took that out of the equation and gave you anonymous adjustment tool so we can click that little hand icon then we can mouse over to our image itself and we can lighten her dark in certain areas and photo shop will put the points on the curve, but you can see that little point move as I mouse around on my image see that little circle that's appearing along the line. That line is actually called that's the curve even though it's not yet curved because we haven't made any changes to the brightness levels in our image but if you have really really good eyes, you can see well amusing back a little bit here and now I'll come in here if you have really good eyes, you can see that there's a tiny grayscale bar underneath the history grant same history and we saw on levels and there's a tiny grayscale bar to the left these are your original values of brightness levels down here at the bottom these are the ones that you would be changing should you set a point on that curve and drag it up or down upto lighten down to darken so as I mouse around on that image I can see the range of colors are brightness levels that I would be affecting because where that little circle is on that dagen a line if you draw a straight line down to that grayscale bar underneath the history and you'd be affecting that range of brightness levels okay, so if we want tio do this very simply we can click the auto button and if we like what we see great we're done and you can see that funnel shop at a point on the curve. So what it did was it added a point right here and if we draw a straight line down we can see that that's our well kind of dark grays not charcoal gray but kind of dark grays and what it did is it changed it if you draw a straight line to the left now it changed that range of colors that used to be this lighter gray draw a straight line to the right it changed into a little bit of a dark agree okay, so these are the original values, these air, the new values. It added another point appear. And if we draw a straight line down to that grayscale bar, we see that that's in our upper range of highlights, you can see that the curve of that line is going up, right? So it lightened, though, so it darkened this spartan and lighten that part. And we know that because the point has moved up or the point has moved down just like a dimmer switch. So what's the new value of this point right here, dos straight line over to the left. And you can see that that has indeed been lightened. Same thing out there. So now if our image looks good but let's say that we want our sky to be a little bit darker. How on earth do we know where to set that point in order to lightner darken it? Well, we're going to grab that on him. And adjustment tool come over to our sky. Click hold on your mouse button. Your cursor turns into that little scrubby hand in which direction do you want to drag? If you want to darken it, drag that dimmer switch down it looks terrible, but if you want to lighten, it dragged that dimmer switch up. So that's changing the curve over here in our properties panel without us having to really mess with it ourself okay, so we'll do that again, so we'll go ahead and delete all these guys so add another curves adjustment layer click the auto button see how far that gets you take a peek in your image see if there's any areas that need to be further lightened your darkened if there is grab that targeted adjustment tool mouse over to that part of your image was trying to darken our charitable bit, click and hold on your mouse button in drag in the direction that you want the change to g o okay and for the shop will adjust all the other colors in the image and I will say that the adjustments that he making curves with that targeted adjustment tool need to be very, very small, okay? Because just a little bit of a change makes a big difference. Okay, so here I've used that tool on her skin tones and I'm if I dragged down I'm darkening those tim's wherever they appear. If I drag upward, I'm lightning them wherever they appear so I can weigh said everything in curves click the auto button great tag, grab the target investment tool come over here enlighten her skin ever so slightly that way so there's our before and there's our after okay and we've got another image here and I'll show you another way to use curves there's our original image looks kind of gross eso let's added curves adjustment layer there we go and then we could have a go with the auto button or use and use the target adjustment tool but there's eye droppers over here team and they were exactly the same way that they do in levels you can also use your same option on a mac or ault on a pc trick to find the shadows and the highlights in your image and then use the eye droppers like we did over in levels so let's do that so if I option or all click the shadow slider underneath that history um we get the same thing hey as I dragged to the right photo shop is telling me where my darkest arcs are ok so my job here is to try to find a peace with that panel out of the way that isn't a shadow but that is really black and it looks like that might be on my little snorkel facemask here case all grab the black eye dropper come over here clinton tell photoshopped what really should be black in the image now we can do the same thing for the highlight slider so it's optional all click the white slider the right into the history and and as we drag that back I'm seeing that my flippers here are some of my lightest lives, but I know they're not white they're green right? But what I am seeing as light is some of those little the perforation and whatever the heck is back behind those flippers ok? Someone released my mouse but and drive the slider bag and now with the highlight eyedropper, I'm going to zoom way the heck in to this image and I'm going to click on one of these well preparations that are actually white there we go so here's our before and here's our after came if the adjustment isn't strong enough for you, duplicate the layer, duplicate the layer for the shop, all right, well click and drag it down to the new weir icon at the bottom of the layers panel and then we could back off the opacity if that didn't get you all the way there, okay? And again, if there's an area in the image that didn't need adjusting thing weaken just used included layer mask. So to finish off this particular piece, I added the grady int dark edvin yet that we did earlier so this is a great way to create a little product shot or if you're selling your stuff on ebay or craigslist or wherever this is a great thing a great way to make your photo look a little bit more professional and maybe people will come by the thing that you're trying to sell you know, fixed the color and lining, using either levels or curves, which everyone you're more comfortable with. I like levels way better than curse. That's just me. And then add that little darkened edge vigna to make the shot really look good.