Adjustment Layers in Adobe Photoshop 2020
Lesson 32 from: Adobe Photoshop: The Complete Guide BootcampBen Willmore
Adjustment Layers in Adobe Photoshop 2020
Lesson 32 from: Adobe Photoshop: The Complete Guide BootcampBen Willmore
Lesson Info
32. Adjustment Layers in Adobe Photoshop 2020
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
Adjustment Layers in Adobe Photoshop 2020
today, we're gonna talk about tonal adjustments and adjustment layers. What I mean by a tonal adjustment is one that is not designed to a just color instead is designed to adjust the brightness of your picture, so that means you want to brighten it, darken it, add contrast, reduced contrast, were. Do anything that's not related to color. Eso. Let's just don't dive right in and get in a photo shop and do as much as we can. Now the first thing to think about is if you're going to be adjusting the extremes of color, meaning things that are very close toe white or very close to black. And your original image was captured as a raw file, not as a J peg, not as a tiff, not a something else. But it captured the raw data that your camera's sensor collected, and you have all of that data available. Well, then you want to adjust. That image will. It's still a raw file, and that means you should do things in Adobe camera raw. I'm gonna show you an example. Here I have a raw file that I'll double c...
lick on, which brings it into camera and If you see how bright the highlights or bright areas are, it looks like there's pretty much almost no detail down here with just the exception of a few lines. Well, if I take this image all the way into photo shop, but I just choose open image ignoring camera now, there's nowhere nearest much information available here because there's a large number of things that happened to the picture once it gets into photo shop. And it just what happens is, let's say in the highlights. Your images met out of three pieces red, green and blue. Well, if there's only information that your camera captured in one of those three colors, that information doesn't usually make it the Photoshopped camera rocket still use it, but Photoshopped can't. It just wasn't sent there only where we had information and all three colors would get something. And so let's see what happens. We attempt to adjust this. I'm just going to actually use the camera raw filter, and you can get that from the filter menu with. The difference is I'm not working on a raw file because the moment and images all the way open into Photoshopped. It's no longer a raw file. It's only raw before it went through Adobe Camera once it came out the other side. It's a normal image now, so if I do the camera raw filter, I want to get this highlight detail to show up. So I'm gonna bring the highlight slider all the way to the left, and I noticed that it pretty much didn't do anything. Then we learned a trick. If you happen to have watched the class on camera on, that is, if you lower this the highlights all the way down and you wish you could go further, you could take the exposure slider in lower it and see how much you can get. And you can see that there is a little bit of information there in the brightest part of the picture. But by the time I've done, this theme is just starting to look rather dull. Now there's a lot I could do to it, and I'll just move around some sliders to try to brighten up the rest of the picture and tried to adjust it overall. But I don't find this toe Look all that great. Now I'll click OK and I'm gonna open that image a second time. I'm gonna go over here and I'm just so it doesn't complain. The image is already open. Let's go over here and duplicate this image. I'll call it non wrong, and then I'll close the original before I duplicated it. All right, then, let's go back to bridge. Let's open that image one more time. A double clicking since it's a raw file comes into camera and I'm gonna do the same process. I'm gonna bring the highlights down. I'm gonna bring the exposure town and right away. Right now, I can tell that the image looks more normal when I do this. It doesn't look quite as hazy and and just not as it's nice looking. And so I can go over here like, for instance, on the other one. I needed to bring my whites up dramatically to make the rest of the image look normal. Now I don't At this point, I didn't move these anywhere near us far. I did move the highlights as far as I could in the exposure down, But once I've done that, the other sliders I didn't need two minutes later all that much I'll click open image, and now we have two images that we could look at side by side. Then here, I'll tell it to tile them to up so that right next to each other. And so this is adjusting the exact same picture. The image on the right was ignoring camera. The image on the left was taken advantage of all the information that was contained within that raw file, and I dramatically prefer the image on the left. I might adjust the blue sky, little bits, a little overdone for my tastes. But there's a simple control in camera where you could, like, um, bring down the saturation on the blues, and that would be no problem. So I show you this because we're about to get into tonal adjustments and Photoshopped and I want to make sure that you are aware that that doesn't mean that I'm replacing Adobe Camera raw with these features and Futter shop. I try to get as much out of my images as I possibly can in adobe camera or light room. Light Room has the same features as camera when it comes to adjustments, because that's the only time when it can look all the way to the original data the camera captured. Once an image is opened in photo shopped. A lot has happened to it to simplify the data that is there and just make it ready for photo shop. In the process, you lose some and your highlights and shadows that you could have taken advantage of had you adjusted that image in camera raw.
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!!!