Lessons
Introduction To Adobe Photoshop
04:05 2Bridge vs. Lightroom
06:39 3Tour of Photoshop Interface
18:21 4Overview of Bridge Workspace
07:42 5Overview of Lightroom Workspace
11:21 6Lightroom Preferences - Saving Documents
08:19 7How To Use Camera Raw in Adobe Photoshop 2020
05:10 8Overview of Basic Adjustment Sliders
13:09Developing Raw Images
30:33 10Editing with the Effects and HLS Tabs
09:12 11How to Save Images
03:37 12Using the Transform Tool
04:48 13Making Selections in Adobe Photoshop 2020
06:03 14Selection Tools
05:55 15Combining Selection Tools
07:37 16Using Automated Selection Tools
17:34 17Quick Mask Mode
05:07 18Select Menu Essentials
21:28 19Using Layers in Adobe Photoshop 2020
13:00 20Align Active Layers
07:29 21Creating a New Layer
06:15 22Creating a Clipping Mask
03:02 23Using Effects on Layers
11:24 24Using Adjustment Layers
16:44 25Using the Shape Tool
04:39 26Create a Layer Mask Using the Selection Tool
04:39 27Masking Multiple Images Together
15:15 28Using Layer Masks to Remove People
10:50 29Using Layer Masks to Replace Sky
10:04 30Adding Texture to Images
09:11 31Layering to Create Realistic Depth
05:35 32Adjustment Layers in Adobe Photoshop 2020
05:29 33Optimizing Grayscale with Levels
10:59 34Adjusting Levels with a Histogram
03:37 35Understanding Curves
06:18 36Editing an Image Using Curves
18:41 37Editing with Shadows/Highlights Adjustment
07:19 38Dodge and Burn Using Quick Mask Mode
07:14 39Editing with Blending Modes
08:04 40Color Theory
05:59 41Curves for Color
16:52 42Hue and Saturation Adjustments
08:59 43Isolating Colors Using Hue/Saturation Adjustment
13:33 44Match Colors Using Numbers
16:59 45Adjusting Skin Tones
05:25 46Retouching Essentials In Adobe Camera Raw
10:52 47Retouching with the Spot Healing Brush
07:53 48Retouching with the Clone Stamp
06:51 49Retouching with the Healing Brush
04:34 50Retouching Using Multiple Retouching Tools
13:07 51Extending an Edge with Content Aware
03:42 52Clone Between Documents
13:19 53Crop Tool
10:07 54Frame Tool
02:59 55Eye Dropper and Color Sampler Tools
08:14 56Paint Brush Tools
13:33 57History Brush Tool
06:27 58Eraser and Gradient Tools
03:06 59Brush Flow and Opacity Settings
04:17 60Blur and Shape Tools
11:06 61Dissolve Mode
09:24 62Multiply Mode
15:29 63Screen Mode
14:08 64Hard Light Mode
14:54 65Hue, Saturation, and Color Modes
11:31 66Smart Filters
11:32 67High Pass Filter
13:40 68Blur Filter
05:59 69Filter Gallery
07:42 70Adaptive Wide Angle Filter
04:43 71Combing Filters and Features
04:45 72Select and Mask
20:04 73Manually Select and Mask
08:08 74Creating a Clean Background
21:19 75Changing the Background
13:34 76Smart Object Overview
08:37 77Nested Smart Objects
09:55 78Scale and Warp Smart Objects
09:08 79Replace Contents
06:55 80Raw Smart Objects
10:20 81Multiple Instances of a Smart Object
12:59 82Creating a Mockup Using Smart Objects
05:42 83Panoramas
13:15 84HDR
11:20 85Focus Stacking
04:02 86Time-lapse
11:18 87Light Painting Composite
08:05 88Remove Moire Patterns
06:11 89Remove Similar Objects At Once
09:52 90Remove Objects Across an Entire Image
05:46 91Replace a Repeating Pattern
06:50 92Clone from Multiple Areas Using the Clone Source Panel
10:27 93Remove an Object with a Complex Background
07:49 94Frequency Separation to Remove Staining and Blemishes
12:27 95Warping
11:03 96Liquify
14:02 97Puppet Warp
12:52 98Displacement Map
10:36 99Polar Coordinates
07:19 100Organize Your Layers
11:02 101Layer Styles: Bevel and Emboss
02:59 102Layer Style: Knockout Deep
12:34 103Blending Options: Blend if
13:18 104Blending Options: Colorize Black and White Image
06:27 105Layer Comps
08:30 106Black-Only Shadows
06:07 107Create a Content Aware Fill Action
08:46 108Create a Desaturate Edges Action
07:42 109Create an Antique Color Action
13:52 110Create a Contour Map Action
10:20 111Faux Sunset Action
07:20 112Photo Credit Action
05:54 113Create Sharable Actions
07:31 114Common Troubleshooting Issues Part 1
10:23 115Common Troubleshooting Issues Part 2
07:57 116Image Compatibility with Lightroom
03:29 117Scratch Disk Is Full
06:02 118Preview Thumbnail
02:10Lesson Info
Adding Texture to Images
but then weaken Get fancier if we want, um, I'm going to take this image, and I want to create kind of a creative image out of it. And so I'm going to use this in my mask. If I use this in my mask, I can make it. So the image on Lee shows up where that painting is to do so. I'm gonna select all and I'm gonna copy that. I'll close this document and we'll be working here. I'm gonna add a layer mask to this document to the layer, I should say, And then I'm gonna choose Paste, hoping that what I copied last will be pasted right into the mask. But when I choose paste, it didn't go into the mask. If you look at my layers panel, it became its own layer. So I'm gonna choose undo by typing commands E, which is the shortcut for edit. Undo. I want that to go into the mask. You can get it to go in the mask. You just need to know how in the way you do it is you somehow need the mask to be visible on your main image. There's two ways to make it visible. The first way is what we used in the last imag...
e, which is to show it is an overlay. So if you hit the backslash key, then you'd be able to paste it in. The second way is to view it directly where it's not an overlay. Instead, you just blatantly look at it. The way you do that is you hold on the option key Alton Windows in. Click anywhere within the Mask in your Layers panel that's going to make it visible on the main screen. Then on Lee, when it's visible. Either as an overlay or direct like this, can I choose paste All type Command T command. He is the same as going to the edit menu and choosing free transform and scale this down and reposition it wherever I'd like. Now the only problem is black hides things, so this would create a hole in the middle of the image and actually want the opposite of that so I can choose image adjustments. Invert Invert ends up giving you a negative of what you currently have. So wherever you have black, it's going to become white in whatever its white will become. black. So now that blackness should hide our image. And the only problem is the interior. Here. This is not completely white. You can see some gray and some texture in there. So if I stop viewing this mask, you do that by option, clicking on the mass to get it. So it's hidden again. You can see through that middle portion a bit, so just adjusted. Using any adjustment you can use to force things to black and white in levels. The upper left slider forces areas, two black. So I could use that to get the surroundings to work in the upper right slider forces areas, toe white. Here we go where we can get fancier than this. Let me grab another version. In this case, I'm gonna use this picture, and I'm gonna use this textured paper all select all and copy this just like we did on the other one. Then close it. And here I'm gonna add a layer mask just like we did before to paste it into the layer mask. The mask must be visible. This time, I'll use the back slash I mentioned. That would be another method, since the mask is completely white. Hitting the Backslash key doesn't visibly change the image, but it will still allow me to paste. That's when I'll see it as an overlay. And then I can hit the backslash again to make it so it no longer has an overlay, so it was able to pace it in. It looks a little logs. It's small, but I'll scale it up. I could go to the edit menu and choose free transform. That's how we scale things. And let's get this be large. I'll get rid of my selection because I just don't need it anymore. And up here, I can still see the picture. That's just because the image that we paste it in doesn't extend up that far. So I'm gonna grab my paintbrush tool, and I'm gonna end up painting across the top and bottom of the image to just say I'm painting with black, which means hide those areas now. The middle of this was not completely white in the area out here is not completely black. Let's just go look at the Mass to see that option. Click in the mask. We can see its contents. There it is, and I want to use this in a special way. So I want to copy it because we scaled it. And so the part we copied earlier was smaller. Select all a copy. Then let's adjust it. I'm gonna do image adjustments. Levels should work Fine. And remember, in levels the upper left forces areas the black. So I'll just do that until the surroundings are black. And then the upper right forces areas toe white and I'm gonna bring it up. Not all the way, but enough where it should mainly show up just a few areas we might see through what stopped looking at this. So option. Clicking the mask is how he got to this view. I'm just gonna option click it again. That's all clicking and windows. So there is what we have. Let's put a layer underneath it that's full of white. One way of doing that is to go to the adjustment layer icon and choose solid color that will ask you what color you want to use. And then you can put that underneath. All right. But now I want some of the texture of that paper. Remember, I copied the contents of the mask before we adjusted it, and I'm just gonna paste it in here. And I needed to copy it after I had scaled it up in everything so would line up with its current position. And then I'm gonna use something called a blending mode. We have an entire lesson about blending modes if you end up watching all the lessons related to this class, and I'm just going to slowly go over these and see if I can find one that might put some of that texture into this image, I think, actually, one of the ones up here that one now that's given this a little bit of texture that it wouldn't otherwise have. And I just want to make it so it doesn't fill in the area out here on the edge. Well, when we talked about layers in a different lesson, there was a way to clip one layer to another so this layer would only show up where there's a layer below. You do that by going to the layer menu and choose create clipping mask. Now that texture is only showing up, Um, where the layer is below. So hopefully you're getting a sense for layer mask. There's so much more we can do with them. If I want to take a screen like this and put a different picture in it, all it is is put a picture on top at a layer mask that's the shape of the screen. And then you could have as many pictures that you want to swap out there. Let's see what else we can dio other soap. In example, this is one that you don't actually get. If you purchase the class most the time, you get the images I work on. But this one is just too big because these air a weird way to set up layers. But let me show you what I have here. Here I have two exposures were in Venice, and this is my initial exposure, which is bright enough for the lower portion of this image. But then I don't like the sky. And so I have a second exposure that is darker and has that nice blue sky. And I just want to mask the two together. Well, I could use a layer mask, and when you use a layer mask, you don't always need to get an exact mask all the way around the edge of some area. Instead, oftentimes, I paint with soft edge brushes at low opacity ease, and I build things up in that somewhat of what I did here. If I turn this mask on, you'll see my end result. And if I hide the top layer, there it is without that image blended in here it is with, and if you want to see the mask option, click on it. Seeing see it that was just using a soft edged brush in my opacity might have been at 50%. So when I painted, it allowed 50% of the look of that image to show up and that I could go back and paint again to build up its appearance even more. And so there's obviously some sort of shape right there that I was tracing. So if you watch that shape and I turn this off, that was like this building I was trying to get it into, so I do use it to blend exposures together as well
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Noel Ice
I am an avid reader of photoshop books, and an avid watcher of photoshop tutorials. I have attended (internet) several hundred of presentations. In the course of this endeavor, I have found my own favorite photoshop websites and instructors. Creative Live is probably the bargain out there as well as among the top three internet course sites. I have to say with great enthusiasm that the best Photoshop instructor is Ben Willmore. There are many great ones, but truly, he is the best I have come across, and, as indicated above, I have watched literally 100s of tutorials on Photoshop. I have seen all of Ben's courses, I think, and among them, this one is the best by far, and that is saying a lot, because that makes this course the best course on Photoshop to be found anywhere. I am going back and watching it twice. Not only is it comprehensive, but Ben is so familiar with his subject that he is able to explain it like no other. This is crème de la crème of Photoshop classes. I have been wanting to write this review for some time because I have been so thoroughly impressed with everything about this class!
ford smith
Highly recommended if you want to take your Photoshop skills to the next level. Ben Willmore is clear, concise, and professional. He also has a good speaking voice that is not distracting but also keeps you engaged. Lastly, I would recommend that as you become more advanced, increasing the speed of the video (one of the options given on the menu)...especially if you've gone through the course once before and maybe want to watch it again. The double speed is very efficient as you become more advanced in Photoshop. Thanks for the help Ben!
a Creativelive Student
Wow. I cannot communicate the value of this course!! The true value in this course is how the instructor identifies workflows you'll need before you'll ever realize it, repeats important information without it becoming annoying, and explains the "why" behind the techniques so well that even if you forget the exact method, you can figure it out via the principles learned. Excellent value, excellent material, excellent instructor!!!