So What? Generative AI and Photoshop

Well, hey everyone, happy Thursday. Welcome to So What the Marketing Analytics and Insights Live Show. I'm Katie, joined by John. Hey John. Hello.

Uh Chris, I believe is currently on a plane heading back from Denver. So he is not with us this week. Um, but this week, John and I, I'm actually really excited about this episode because it's, you know, we talk about generative AL AI a lot. And I don't know about other people, but for me, they're not systems that I have been, you know, super familiar with. But today we're talking about generative AI and Photoshop.

And Photoshop is one of those systems that I personally uh I learned it back in college, back when the whole, you know, you set up Photoshop and the training was they gave you a picture of a stork and you like it, you had to like use the Dodge tool and the lighting tool, and it showed you all the different things to do with it. And then I haven't really used it since, but now it's like all coming back to me because what Adobe has done is they've built generative AI into a lot of their tools. And so today John and I are gonna cover well, I'm gonna say John's gonna cover the basics of Adobe Photoshop in 2024. Um what you can and can't do with the generative AI tool built in and how to construct a proper prompt. So does that pretty much cover it?

Yeah, that sounds good. So there is a big thing, and uh I wanted to throw this out to you. And it's funny, we're as gen Xers that we'll do this as a choose your own adventure for our crowd here if they want to decide. There's three big topics that I wanted to hit, and you hit the you know, the biggest one, the hottest one is generative AI for Photoshop. Like, what can we do with this thing?

And so we're gonna have a blast because I did a bunch of stuff, and you're gonna see how you know how well it went and how wrong it went. And there's a bunch of stuff we can look at there. Um, the other thing is you know, there is a bunch of marketing activities, there's things that people do commonly with Photoshop, so we can talk about that. But then the other thing that got me was it's been so long since I've done an overview of the space, and Adobe has like changed everything. There's so much going on across the board.

And so the big question is you know, we could dive right in and start in Photoshop with that fixed stuff and work our way up, or we could talk a little bit up front about like what the hell is going on across the whole space and work our way down. So I'd say let's sort of give a brief overview of what's going on in the space, because we talk a lot about Google and Microsoft, and we don't give enough credit to Adobe. Um, which, you know, full disclosure, like they're not none of these companies are paying us to talk about this. So we are completely agnostic of tools. We are just you know excited to talk about the different things.

Um let's get let's sort of get an overview of what Adobe is doing because they're sort of the uh the underdog, if you will, because there's so much conversation about all of the other generative AI things that are happening that Adobe's just sort of been in the background staying consistent with what they're doing. So, what's going on with Adobe? Yeah, so that's let me share up a screen here. We can go into my web, you know, based front end of this thing, so you can see. And of course, this is classic.

I have for this session, I have to have like 65 windows open, and it's not giving me the right one to actually control this one. All right, here we go. So here, this is my Adobe front door, right? So everybody using Adobe, the suite, you paid like 60 bucks a month for this, and here's everything that's in there. And so this is this stack hasn't changed for me in decades, right?

But Photoshop, Illustrator, Acrobat, InDesign, Premiere, After Effects, Dreamweaver, Audition, a couple encoders. And yeah, this is really the place for us to practice our user stories. You know, I mean, this is really okay. So Photoshop as someone who's editing pictures, I need to be able to resize, crop, correct so that I can use them on the web or send them out to other people. Illustrator is more about drawing, right?

So as someone who can paint digitally or draw digitally, I need an interface that allows me to use a tablet or does all the kinds of things I like to do with painting and ray drawing and being able to scale with vector graphics and things like that. Um we can go down the list and hammer through the InDesign for anyone that you know in the old days used to use PageMaker. That's the idea that that's more of a publishing tool. You're actually putting something in a book format or magazine or poster or whatever. It has the tools to manage those kinds of projects.

Premiere is their video editing suite. You know, Final Cut Pro is kind of champion in that space, but Premiere is still pretty strong. Um, After Effects is special effects for video, allows you to layer stuff onto it, do stuff inside of it. Dreamweaver is their HTML editor. I still use that.

I don't know. I'm kind of a dinosaur in that, and then I still use that thing to write. I feel like it's been around forever. It yeah, it's been around for a million years and was, you know, was acquired by Adobe out of Cambridge. Um, you know, for folks that use it, it does what it needs to do.

Audition is the audio editor. So that's uh, you know, a lot of people will use Pro Tools or um Garage Band or whatever, but that's their audio editing suite. And then the media encoder that that's you know, you always run into these encoders when you're trying to get different file formats. You have to get some more plugins to make stuff work. And so, you know, all these tools are top three in their space.

But the thing is for $60 a month, you get all of them, you know, instead of paying, you know, a thousand dollars each for the the leaders in the the space for each of these, you throw down your 60 bucks and you get the whole suite. So it's kind of hard, you know, to justify going elsewhere if you once you get used to a suite of stuff that works. So that's like the easy beginning for everybody that knows the space is that okay, there's these huge giant apps and you install them on your machine. That's great. But now there's a whole suite of mobile stuff that they've created.

So a lot of these tools all have their analog and it's split too, in that there's phone level tools and tablet tools, iPad or whatever you know, Wake Um tablet they're using. So, you know, the phone tools are optimized for those tiny little interfaces to be able to do a lot of stuff and still do, you know, the main things you need to get done to get an image or a movie where you need it to go. And then the tablet ones, most of those, a lot of it is the fact that it's pen driven. You know, you have the ability to draw and do some other stuff. So here's here's the whole um entire suite as far that I've got access to with my login as far as what to get.

And I have to give a shout out to while we're over here too, for Adobe Scan, which is like the that has replaced my photo scanner. And if you do document management, the ability to just grab any kind of piece of paper, throw it into a PDF, have it smart routed around to where you want it to go. That really can change your life as far as paper. Um, but now, and then this is even crazy. As of mid-September, they went live with Photoshop on the web.

And so I actually have that rang here. So there's actually this interface here is all entirely browser-based, and you get access to this. So you don't have to install anything. It's stripped down, it doesn't have all of the stuff, but it has a lot of the major, and of course, this is because this is the first time I'm firing up, it's like bothering me with 65 tutorials. But um, so this is another option.

You have this web-based one, and it does, it's got generative fill and generative removal. Uh, you know, it has a bunch of the web-based stuff. And so, as far as product line, like this is really interesting, right? I mean, so they get to a point where if it's all browser based, they don't have to pay either of the major operating systems to get their stuff out there. Um, you know, they kind of skirt around that.

But then there's a whole nother level of like, okay, how does this run on the web and what runs and what doesn't run and all that kind of stuff. Well, and I think that though that goes back to the point that you brought up was that's where it's a really good idea to do your user stories because you just showed, you know, basically two dozen different options. And so if you're someone who's more who's newer to Adobe Suite, or if you've been using it but haven't used all the tools, it's really helpful to nail down your user stories. So, you know, for me it might be, you know, as a novice Adobe user, I want to, you know, uh do something lightweight with Photoshop so that I'm not, you know, bogging down my processor or I'm not paying too much. And so maybe the web version of Photoshop might be the right option for me versus buying into the whole suite.

But I won't know that until I really go through my user story and understand what it is I'm trying to do. Right, and where you want to go. Now, there's a whole another level below that actually is Adobe Express. And so this is web based, and there's a mobile version of this, which can do a lot of different stuff that in fact is tailored straight to marketing. And so as you know too, you we use Canva in-house.

This is toe-to-toe with Canva is the idea here is to have something that's completely web-based. And you know, it's already built for Facebook or Instagram or TikTok. And so you don't have to mess around with like, okay, what is this? You know, what are the file sizes this week that Facebook likes? You know, all that stuff is all in there.

And they're again they're baking in some of the generative fill stuff, text effects. That's actually based on you know a prompt driven acceleration. So you've got Express. And so yeah, I've been playing around a lot with Express on the phone. Like that's a great way to kind of just do your social posts on a bunch of fronts, and it comes with a whole huge stack of all kinds of templates if there's stuff that you want to try.

So um, you know, that there's a lot going on over here too, which is is crazy. Um, as far as the rest of the stack, uh let's see if there was anything else that I do want to mention Behance. If you're a creative person and a designer and you have a portfolio, that's how you can manage your work, and it actually connects straight into a contractor network. So you can actually, you know, get business to come in and out and you have your portfolio managed and it pushes out to higher projects for you and do all kinds of stuff. So it's kind of a we work or Fiverr or whatever, but you know, more uh tailored toward the Adobe audience and higher end basically on where to go.

Um the Adobe stock library that's independent of this. You have to buy if you want access to that to get stock photographs, you know, if you're using one of these companies that does images, and their generative AI is built on their own stock library of millions of images, so they're pulling from there. So interesting. Yeah, it's a little better as far as you know, worrying about rights on stuff that gets pulled and generated because it's their own thing. And then Adobe Firefly is the other thing to talk about.

So that's a new one in the suite. And Firefly is specifically the AI image tool. So it that's basically like the Dolly or one of these other tools. And it just integrates into everything else. It's already fully built into Photoshop.

They're bringing it into Illustrator. It actually has some fill color fill stuff and things going on with Illustrator. So, you know, that's what's going on with there. I'm just want to make sure I go through and see that I've hit. Yeah, that's everything that I would, you know, it was talking about the landscape, so that everything's out there.

If you've got questions on that, definitely throw in, feel free to hit us with comments. Um yeah, I don't know. Any other questions on like the whole landscape? No, I mean it's a pretty vast landscape. And so, you know, to sort of refocus today, today we're we're talking specifically about Photoshop.

And so I can bring up my screen because the first thing I wanted to do was so I mentioned at the top of the show, um that I learned Photoshop many, many moons ago in college, and then I haven't touched it since. And a lot has changed with Photoshop. And the first thing I noticed when I got into Photoshop was that there is a uh generative AI tool built in, which of course um, you know, you can select things. Um, I don't know why you're not seeing the gender piece in, but anyway, we'll get to that in a second. But so when I first saw that, and I'm sure I'm not the only one.

The first thing I thought was, oh, it must work just like Chat GPT or Anthropic Claude, because there's a, you know, you can select a thing and then give it a prompt. So that was the first thing I did. So this is a picture uh from one of our clients. This is a picture of one of their menu items. And so before I post things on social, I try to make sure that I clean up any, you know, stray marks.

Sometimes there's like a little piece of parsley that just doesn't quite make the shot look right. And then I started to get way too fancy, and I was looking at this and I was like, let me maybe um let me try to like clean up maybe some shadow over here or something. And I was like, so I was like, okay, well, the first you know, prompt that I put in work because basically I selected like a little thing down here, and I said, remove this, you know, green mark, and it did that. So I was like, oh, this is fantastic. Let me go ahead and do the same thing here.

So I've selected this shadowy area here, and so I'm gonna put into my generative fill where it gives you a prompt. I don't know why you can't see it on your screen, but it says, What would you like to generate? And so I'm gonna say, remove the shadow from the plate and replace with more white plate, which seems like a pretty straightforward prompt, right? What do you think is gonna happen? Yeah, well, this is the joy of this.

Let's see what the heck happens. I from the stuff that I've seen, I think this might go really wild. All right, and so it's thinking. And I wanted to do this specifically because actually, of course. When I'm oh, here we go.

It's a little wobbly. So this one you can see kind of got weird. Yeah, yeah. Um it didn't really do a whole lot. So let me try it again and see if I can uh select just this area here.

Yeah, and while as you're grabbing too, I want to point out some things with us. So over on the right side on the layer browser there, you can see the generative AI creates a whole new layer. So it just puts a layer above it. And then also interesting on the workspace you've got on the above that is it does it in threes. You actually get you get some options.

You can choose and where you want to also though important to note you only get a thousand hits a month as far as generating stuff. So if you're generating tons and tons of stuff, you may hit your you can just buy more coins. It's not that big a deal, but yeah. I didn't realize that. I didn't, but it makes sense because you know, you would imagine that uh it's not limitless, you know, at some point they have to, you know, be like, all right, you've done enough.

Um well, the interesting thing to say is so these are all making calls home, right? Every one of these functions, when you do this, it's taking a chunk of that image, uploading it to their servers, and the AI happens up in the cloud and comes back down. So because this is a live stream, and because I'm trying to demonstrate where it goes wrong, it's not going wrong. So I'm gonna try I can show some because I I I stacked up a couple if you want to see. Well, let me see if this last one works, and then I can sort of go through what I did that was a rookie mistake.

Let's see. Yeah, it's not really doing anything fun. So let's go back. Let's go to yours. All right, let's see.

It was putting when I did it the first time, it was like adding forks and it was adding food items that weren't on the plate in the first place. Like it was doing all kinds of weird things. I actually did this exercise with uh an older picture of myself and my friends, and there was a stranger in the back of the picture that my friends were like, Well, can you remove this person so it's a good picture for us? And so I selected the person and I gave the prompt, you know, to the generative AI toolbar of remove this person. And it replaced it with a different, scarier looking person.

And I was like, I I don't know if this is better. And so just as an experiment, I selected all of us, and I said, keep these three people and remove the fourth person. And sort of uh went in the direction. And it replaced all of us and created a mariachi band. And I wish I had saved it because it was so weird.

Um, because it was so off base of what I was asking it to do at all. Like it was it was really funny, but not helpful. Right, because it it totally went awry. Uh so this is the same deal, right? This was client, this was a thing that I had done years and years ago where it was family portrait on the beach, and you know, three years later, they're like, Oh yeah, you know, uh so and so is not with the family because they're a jerk.

Can you take them out of the pictures? And I was like, Oh, oh yeah, no problem. I can do that. But my first problem was, okay, I'm can't, I'm gonna not gonna use any, you know, pictures in my library. Let's go make some uh fake beach family portraits.

So from stock photo, I got a beach shot, and my first idea was add a family of six, right? There's the prompt. So we fire that up. And yeah, I get this nightmare of an image that comes up. I don't know what the heck is going on with these five people.

There's five people, not six people. Yeah. And then as you as I zip in here, I mean, I don't know what the faces. It's just like some kind of total uh horror show. Well and and the fact that it's a picture of a beach and they're all wearing sneakers just seems uncomfortable too.

Well, oh, it gets better. So I had three options, right? So then this was the second one. I don't know why they're way the heck down on the beach for some reason. But uh, so that one didn't work.

And then uh the last one, you know, even the same deal, like the faces it just totally could not get, and every the it even went crazier in screwing up the beach with this one. But at least in this one, you technically have six people. Well, there's some weird sort of going on six and a half, maybe. Because this, like, there's maybe sort of like, yeah, I think that's the half person right there. Although you do have an arm above the child's head who's wearing the orange.

So you might that might be the other half of the person of team leatherface here. That's on our thing. So that totally did not work, right? And so then the next thought was like, okay, maybe if I name the Beatles, you know, it will know what the Beatles are supposed to look like. And that actually gives you a pop up that says, hey, no, this is a prohibited search, and all three variants of the Beatles on the beach are just not not a thing.

So that was the uh the start of that. So there was the one area where it actually did win and did well. Uh this is Geraldine DeRoyter. We have an interview coming up with her on marketing over coffee. Um, she's got a new book coming out, and she's just a fantastic author.

Uh, but the classic marketing over coffee is I get a headshot of a speaker, and the masthead for the show is 825 by 250, right? It's like this huge banner. And so I need to kind of come up with something to do. And over the years, I've you know, picked up some tricks as far as like, well, I'd normally just kind of grab one of these colors that are close and make it a background, and that's kind of cool. Or, you know, you can grab a column here and stretch it and that makes it work.

And so that all that kind of stuff works. But so for this one, I just grabbed the whole background and said, put this inside of a cafe. And I was like, whoa, that totally nailed it. Like that is on the mark. And so that was the first one.

Well, I was like, okay, that's a game changer, you know, to be able to kind of make these pictures look, you know, not so random like they fit in. And so this is classic for any kind of image that you do. You I mean, it's just a matter of you grab the crop tool, make the new shape you want, and then you get a prompt and you type in where you want to go. But the same deal, it was not perfect, right? There was when we go up into that layer.

You know, the second one got a little bit weird, and then the third one was just straight up, you know, these cars look like some kind of freakish thing that who knows what the heck those are. Um but I want to point out what I appreciate as a host is that you are actually using the headshot provided. Whereas you know, what happens to me all the time is that rather than asking me for a resized headshot or to do something like this, the person running the social media account will take a really crappy still from the middle of the interview where I look like this and then post it. And then when I say, Hey, do you want my headshot instead? They take the whole thing down all together.

So like I'm sort of in a lose lose. So people who are working with other people's headshots, please take note of this and please do better. Yes. That's it. Have that laid out in your show notes ahead of time.

You know, have people send you headshots and if you need them recut, do that, or better yet, send them back proof to, you know, beforehand. Well, this is all right. So since we're on the subject headshots, I'll jump to a different one because it so this was the deal. I had to let's, you know, grab a head shot and see what the heck this can do as far as resizing. Now, this is something too.

This is a different area. Um all the hype in the past three months has been about generative fill, what we just saw right where it puts it in, and then the ability to remove too. We'll we'll go back and demonstrate that, which is the other prompt-based thing. But actually in Photoshop, when you go into the plugins, and yeah, actually, I hope this see if this shows. Does this come up when I get the no, I don't get the UI.

Okay. When you go into uh the filters in Photoshop, you'll see up in the filters, there's um neural filter and e U R A L neural filter. And there's a bunch of filters in there that those are actually AI-based filters that they've been working on for a couple years prior to the whole generative AI thing. And there's a bunch of stuff in there that you can do. So, you know, right off the gate, the first one was like, okay, can I just swap 25 years off of my age?

There's an age slot. And so basically my hair changes and it cleans up some uh crow's feet around the eyes. And so that's I this one was I was interested in that, you know, this actually does a great job. I mean, I I don't know how accurate really is, but it's definitely like no one would question that and be like, that's not you. And like I see you on camera every single day, and I don't think I would look twice at that edited photo to be like, oh no, that's not what you look like at all.

Like I I would accept that as uh oh, that must just be your headshot. Yep, that that would fly. Now, this one was was interesting. It has an anger or joy slider. You can make it angrier or happier.

And so this is me at plus 35 anger. Which now you kind of look like uh you're on a sports talk show. Well, I like I like to notice the fact that I don't know what is it correlate coral correlation or causation. When you get angry, do your teeth get smaller, or is it that people with smaller teeth are more often angry? I'm not sure, but you know, it's definitely squinched my I feel like that's maybe one of life's good questions.

That's not to be answered here, but so yeah, I thought the angry one that was a little weird. That's starting to like not look like me. I don't well, and you know what's funny is I didn't even notice that your teeth got smaller, it just looked like they opened your mouth more. But you're absolutely right when you flip back and forth, it totally took the liberty to say, This we gotta shrink this dude's teeth to make him look angry. Well, yeah, and even actually now I look at actually it changes like the shape of your nose, it changes the shape of your mouth.

It's a little weird. Yeah, isn't it? It's bizarre how the anger slider and now this one is really interesting to realign. So, like if you have a picture where two people aren't looking at each other and you want them to look at each other, you can actually change where the thing is looking. And then there's some weird ghosting, you know, it's done some stuff, and there's sliders to play around and mess around with that, but I was I was like, that doesn't look unrealistic.

I mean, it's a little weird because of where it's sitting, but it has like you know, pointed my eyes in another direction, and it does look like my attention. But it changed your mouth again. Yeah, it did some weird stuff. It what it closed my mouth a little bit, and it's there's a major mess up with the ears. Yeah.

And so this is just like with all the other AI stuff we see, right? You have to go in there and you play with the slider six to five times. You know what it is though? If you had like the version of you like turned, I would look at that and go, huh, John. There's a guy out there who looks really a lot like you.

You should probably meet him. Because I would look at that and be like, that's not you, because like the nose is different, the mouth is different. And I'd be like, John, I think you have a doppelganger out there. Like someone, someone looks a lot like you. So that one doesn't pass the the sniff test.

No, make me old again. I don't think it does. I think for someone who maybe doesn't know you as well as I do, it would. Uh yeah, you can get it. But I look at that, I'm like, John, you're being scammed.

Someone's impersonating you. Someone is someone's faking. All right. So we didn't because so this is in the neural um edits, and there's also a great one in there for cleaning up old stuff. But let's jump back.

I want to because you talked about removing stuff, and this was an intention. And so again, here's the classic, you know, unfortunately, uh these folks here got divorced, so we need to get rid of this guy. And I was sort of that like did a fantastic job with that, actually. It did. He just vanishes, and even it's funny, the the variations.

Um they're just tweaking. Oh, yeah. See, I see this. You always have to keep track here, layers. I gotta get back to the layer on it, and now I can change these.

So, you know, there it's actually doing some woodwork, right? It like rebuilds the thing. And uh it's making assumptions about what the thing looks like behind him. And so it that may not matter, but you know, for someone maybe who was there, be like, that's not what that looked like. Yeah, right.

Oh, yeah, you could totally be fake. Yeah, because like this one kills me where it like builds more stuff. The one with the flowers is pretty solid though. I mean, that's definitely full scene. Yeah, I wouldn't look at that and go, oh, they've removed someone.

Yeah, right, right. You wouldn't think that that was faked. Um, so now I I tried to take it a step further though, and grabbed these three over here, and my prompt was remove the person in the middle. And that didn't go so well. And so, what are the other variations?

So, with that one, yeah, let me switch to that. Yeah, it just it could not figure out remove the person in the middle. It gave me three options of removing all of them. Huh. And so this is weird, you don't notice it until you get in there.

And this is uh a part of this also. Let's go back to post that. Oh wow, the dress is right though. Oh, that's even weirder. I thought this guy was in front of her because when we looked at the variance, it actually messes with the dress.

Look, the dress actually changes in each variation. Yeah, and if I were the bride, and now this is you know definitely nitpicking, but if I have the bride, I would say, why did my arm suddenly gain 20 pounds? Is that like I would be really upset with that? Why do I have a half poofy dress? Yeah.

Well, because she looks like she has one hulk arm and a really tiny head. That's like, yeah, you're right. It's like Hulk arm, sloppy arm, and that one is that one straight up right? But that one's still not right. It's all for yeah.

So why the question is, why is it changing her arm at all? Probably because her arm overlaps the guy that you're removing. And so the system is saying, okay, but I have to replace it with something you didn't tell me. Because this is something, you know, that I learned uh from Chris is that generative AI, generative AI doesn't see. And so it's not actually looking at this going, okay.

So you're asking her to remove the three people, but there's an arm in front. So let me leave the arm as is. You're saying I selected this whole area, you want me to remove it, but I gotta replace you know what I'm removing with something to make it sort of look so it's trying, but it doesn't actually know what it is that the object is. So you're you know, you could say, you know, fix the arm to the original, and it would say, but there's no original arm. So you'd have to like go all the way back and maybe select around the arm, but then you'd have like a weird half body behind her.

Right. And so you hit one of the things that is critical that you learn then is that when you go down to your base layer, you can select subjects, and so you remove anything that you don't want touched at all. And so that would that was the mistake I made when I removed the person in the middle, is I had a chunk of her arm in the box that AI was being applied to. So the better way to do that is select the subject and create a mask or another layer where she's not in it at all. And then that will keep her immune to the effects of that.

Um so yeah, but you know, I mean, still, I mean, it's not horrible. Let's go up here and just see the variance on this one too. It was kind of funny, it was the same deal. It like uh that one was just kind of a basic one. This one stripped things down and get did more woodwork on the arch.

Um, and then this one went full flowers, which wouldn't look so weird if it was, you know, only half full flowers. Um but also you know, none of them. I mean, if you made them and then you cropped them, you know, this these are pretty solid, like these work. Um, and then it totally did make all of the mistakes though, again, of me not identifying the subject because I was like, oh, hey, let's just put these people on the beach, like let's see if that works. And that totally did not work at all.

I see this is now this is my favorite part is when it's like it totally hallucinates and it's like, okay, I can totally do that. Here's someone who wasn't in the original picture now in the picture. And this is what I was running into previously with my attempts was it was like, oh, okay, here's exactly what you asked for. And you're like, this is not even close to what I asked for. And these weird garbage scows out on the horizon, like, I don't know what any of this is.

And there are, you know, here we go. There's a couple variants on that too, to see if we got any closer. And of course, absolutely not. You know, this is and our third. Not even close.

And so if I were the if I were the bride in that picture, I'd be like, You lost me altogether. Yeah, what do you think? So the question, the big question that I think everybody's wondering is how do you use the generative AI toolbar in Photoshop? Is it akin to the toolbar in Chat GPT where you structure a prompt? Um, and we have a really good format for that.

So we use the race framework, which is roll action context execution. You can get that for free, no download at trustinsights.ai slash prompt sheet. Can you use something like the race framework in Photoshop to actually get, or do you have to know how to use all of the other tools on the left hand side of Photoshop and generative AI is really just a small part of the system. Yeah it it's you definitely need to have your Photoshop chops, right? Because you you've got to be able to and you know AI can help out with this.

I mean we can do one on the fly I always say I never I'm never going to do this and then we always do this and this and then we do it anyway. All right so let's say we can sort just have it sub select the subject straight up. Yep. So I would say select the bride in the middle and try to change the color of her dress. Uh all right.

So just yeah so I would pick the lasso tool. So the lasso tool uh gives you a more accurate selection. Um here let's just for starter let's just try the magic wand here see if that actually works as it's supposed to yeah totally not you know what it is it's because there's shadows in her dress and so it's looking for everything that's all the exact same color. It's weird because all my Photoshop skills are coming back to me. So that's why the magic wand doesn't work if you just click it but it will help you get a little bit more accurate.

And so what John's doing now is he's selecting the bride's dress and so into the generative AI tool we're going to try to change the color. I'll let you pick the color surprise me change the dress to fuchsia and so you can see that it on the right hand side the three little previews are thinking. Now it you know, if you were really taking the time, you use the add and subtract uh selection, you know, to totally get this totally tight to the dress. But we would just love to see if this can even get there. Well, it's like giving her some kind of flower thing.

What the heck? Okay, that's the other option. Oh, so it changed her flowers. That one's isn't that crazy. When it said fuchsia, it was assuming flowers that we wanted flowers.

That's totally bizarre. Okay, well, let's uh grab the dress again then here. Let's see if we can't uh clone that one. And while you're doing that, um zombie boy, I think I got that. Uh you can use the magic wand if you loosen up the color rules and also if you select added contiguous spaces, which you know is really helpful for those of us who aren't uh really great at um Photoshop at this time.

You know, and so I think a lot of us, you know, myself, I'm saying a lot of us, a lot of people know the system. I don't know it that well. So those kind of tips are really helpful. Um so what did you do this time? Okay, so I said just change the dress to pink.

So maybe we don't confuse it with flowers. Hey. Oh. That's oi. That's interesting.

So it gave us a pink dress, not change the dress to pink. Yeah, right. I think exactly. It did not, it did not swap out color. It gave us a whole new dress, which yeah, okay.

Well, that's oh, wait, let's see. What do we get for options? Yeah. Okay, that's interesting. Okay.

So it put a dress on top of the dress. Oh, well, I mean given that we're doing this quickly, it's not the worst results I've seen. But I think the point that we're trying to make here is that using the generative AI tool in Photoshop is not, you can't use it the same way that you would in Chat GPT. You can't just say, I need you to do this thing. There needs to be more thought.

It's not the same kind of a prompt. And the tool just does not work the same way. It's yeah, it's interesting though. You know, so there's obviously there are some things that it can definitely do, you know, and it like removing is straight up any rookie can remove stuff. So that's kind of cool, at least as far as if it's a portrait and very strange.

But like an interesting one too is I had this shot here. I was trying thinking about doing some interesting stuff with it. And it was like when I select the subjects, it just cannot handle the the chairs and things like that. Because then when I select and invert it and we delete it out, you know, there's just like the parts missing, chairs that you know, it's just like a whole huge mess of stuff. So it, you know, in some situations it works well, in others not so much.

But um, yeah, there's you know, at least some things you can do with it, and it's just a matter of getting in there and digging around and hacking away until you you know you get closer to where you want to be, or it gets so destroyed that you have to start over. So are there some tips that you can share for being successful with the generative AI toolbar in Photoshop? Yeah, the you know, work on your prompts. It's just like with all the other generative AI stuff we've played around with. You've got to have accurate prompts, the longer the better.

Um, and yeah, in fact, there's a bunch of other prompts that I've been testing out, but they're not ready for prime time. So that's one definitely use it for removing stuff, definitely play around with it for selections, see if it does a good job for selections for you. And um, yeah, it's interesting. Also play with the neural filters, those are actually road tested real Photoshop functions as opposed to the the generative fill, which is still kind of green, but uh there's plenty of stuff in there to play around with. And yeah, I think that's probably you know, there's a bunch of other stuff I wanted to hit, but I think this is enough for at least our first cut through here.

Well, and you know, Zombie Boy is sort of reiterating that if you don't know Photoshop pretty well, the AI tool isn't going to get you the results you want. I a hundred percent agree. That's exactly what I was running into, is that I was just making the incorrect assumption that oh, there's a generative AI tool built in. That'll just do it all for me. And that's not how this system works.

Um, and exactly, it's still it still has issues. So we're seeing how much it's hallucinating. Um, with you know, when so a really good example was you know, take these people from the photo, put them on the beach, it created a beach and then changed them, or it's changing your mouth altogether, shrinking your teeth, um, you know, changing, you know, your eyes and your nose. And now it's like it's like the uh black mirror version of John Wall. That's right, I have to go back to a good one because I I'm realizing these will get shared on social now.

So that's a couple of the good ones on it. I mean, the one where it sort of lightened up your hair, like that, I think is probably the most successful because it didn't touch your face. Um, so this one again, I wouldn't look at this and go, oh, that's not right. Um that's the other ones I would. Uh for a lot of audio editing and visual, and for every form of editing, there's always this adage that says, grab the slider, move it over to where you think it should be, and then go back it off halfway.

Yeah. You know, because when you go full, there's always a section of the population that's gonna see that it's weird. And so if you dial it back from where it looks okay, you're usually in good shape. So, John, any final thoughts uh as we're wrapping up our quick overview of generative AI and Photoshop. You know, I would just open up to you come hang out with us over in Analytics for Marketers, and feel free to hit me up on social or whatever, because just like every other Adobe user, I am just faking my way through all this stuff, and there's so many tools and so much stuff.

Uh, it doesn't matter what it is. You know, there's something you're doing that somebody else knows a better way to do that's easy, easier, faster, more accurate, whatever. So I'm always up for talking about this stuff. So feel free to link up with us and yes, see you over in A4M. All right.

I think that that is a really good place to wrap up. So we'll see you next week, uh, Thursday at one o'clock, like usual. Thanks for watching today. Be sure to subscribe to our show wherever you're watching it. For more resources and to learn more, check out the Trust Insights Podcast at TrustInsights.ai slash TI podcast.

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