Well here another picture. Karen. This time we're in Brazil. And sometimes I end up with a black and white photo that I want to colorize in. In this case, let's see here the color you're seeing and my wife skin is completely fake right now. I made it using these adjustment layers. And if I turn off the adjustment layers, you'll see there's her original skin and here's my fake skin original fake. I'm gonna make it. So it's half and half right now. She split right down the middle right here and half of its fake. Half of its were real. Let me show you how blending sliders are used and how it wouldn't look good had I not used them, I'm gonna turn off the blending sliders with them turned off. Right now I have the color rising, applying to all of Karen. Look into our eye sockets and it doesn't look natural. It shouldn't be that colorful in those areas. I'll click. OK, so this is just what we're applying, and I'll describe what's here, and, uh, we'll see if we can learn how to use it. First,...

let's turn off all adjustment layers and look at the original version of Karen with the original version of Karen. Look at how colorful the dark areas are. The shadowy areas in her eye sockets that's nowhere near its colorful is the cheek that's right out here. If you look at the shadowy area in here, that's nowhere near its colorful is the area that is here. And if you also look at the bright area, look at the highlight on her forehead. That's nowhere near its colorful. Is the area directly below it? If you look at the highlight right there, the highlight coming across here highlight right there. It contains less color than the areas that are not highlights. So what I did here is I'm ask Karen so that I just isolated her skin, and I threw in a black and white adjustment layer to pull all the color out just so I could experiment. Then, above that, I created what's called a solid color layer, which I'll do right now. I go to the adjustment layer icon. I choose solid color, and I can choose any color I want, and for now, I'll choose a terrible color. Then I can change the blending mode of that layer. And if I change the blending Moto a choice called color, it means apply the color from this layer to the brightness that's underneath. And when I do look at how colorful those areas are, I was pointing out the shady areas near her eyes. The shady area down in here. It's got a lot of color in it. Also, if you'll get the bright areas of the picture, thes highlights and thanks, they're very colorful. Well, if you wanted to add color to a black and white picture and you don't want it to look fake, then you need to use the blooding sliders. What you do is you come down here, choose FX blending options, and it doesn't matter which of these two you use, because the brightness of this layer in the brightness of what's underneath or about the same and what you want to do is say, Let's get this color rising off of the darkest part of the picture. And so you pull this in until you see the colorizing effect start to disappear. It might take a little while. They have to pull it over quite a distance, but eventually you should there happen instantaneously? Oh, I thought of something different. I was thinking this was an adjustment layer, and it's not. We can't use that this layer sliders, because this layer contains a single color, it's is if you painted with the paintbrush to it with an exact color. So at a certain point you'll get to the point where it I will just disappear. So I misspoke. We need to use the underlying image sliders, because that's where the image varies in brightness. So now this will work a little better. If I pull this in, watch the dark portion of the image, and eventually the colorizing effect should start disappearing. I see it's starting to go away now, so I'm gonna bring that in, and so it just starts to go away. Then I'll hold on the option key to split the slaughter, and I'll continue pulling it in. I'll pull it in quite a distance, and therefore it's not gonna be anywhere near a strong in the dark part of the picture. Then, in the bright part of the picture, I could start pulling this over until it disappears in the bright areas. But I think I can just start splitting it from the beginning. Pull this over, pull it over. Intel. We've limited it in the dark and the bright portion of the image. Now, the only thing is, we have a terrible color being used its vivid orange, and it should be a better skin tone. So I'm gonna throw that layer away because I already have one below it. That was a better color. And the only thing I need to do is get the blending sliders to be in there. So in order to get him to be in there, I'm actually gonna choose Revert to get me back to the original because I had the sliders applied, and I'll just turn him on. Here, take me just a sec. Okay? There we go. And, uh, let's see where they were. So here we're saying, fade out in the dark part of the picture on Lee, the tiniest bit brighter than black is where we should completely remove it and then fade out. Keep doing it less and less and less until you get to hear and do the same thing near the bright areas. So you could copy my sliders if you want to. I'll put him back to nothing so we can compare before and after. Here's with the sliders. Here's without look at the dark portion of the image and the bright I find that's essential to realistically. Adding color to a black and white image is limited, so you don't get as much color in the highlights. You don't get as much color in the shadows. I mean, just look at the yellow doors that air here and look at how much less colorful it is in the shadowy areas, and as you get towards black, the color pretty much disappears.

Class Materials

Bonus Materials with Purchase

Lessons 1 - 6 - Handbook 1: Introduction to Adobe Photoshop

Lessons 7 - 12 - Handbook 2: How to Use Camera Raw

Lessons 13 - 18 - Handbook 3: Making Selections

Lessons 19 - 24 - Handbook 4: Using Layers

Lessons 25 - 30 - Handbook 5: Using Layer Masks

Lessons 31 - 38 - Handbook 6: Using Adjustment Layers

Lessons 39 - 44 - Handbook 7: Color Theory

Lessons 45 - 51 - Handbook 8: Retouching Essentials

Lessons 52 - 59 - Handbook 9: Tools Panel

Lessons 60 - 64 - Handbook 10: Layer Blending Modes

Lessons 65 - 70 - Handbook 11: How to Use Filters

Lessons 71 - 74 - Handbook 12: Advanced Masks

Lessons 75 - 81 - Handbook 13: Using Smart Objects

Lessons 82 - 86 - Handbook 14: Photography for Photoshop

Lessons 87 - 93 - Handbook 15: Advanced Photo Retouching

Lessons 94 - 98 - Handbook 16: Warp, Blend, Liquify

Lessons 99 - 105 - Handbook 17: Advanced Layers

Lessons 106 - 112 - Handbook 18: Actions

Lessons 113 - 117 - Handbook 19: Troubleshooting Issues

Practice Images 1: Introduction to Adobe Photoshop

Practice Images 2: How to Use Camera Raw

Practice Images 3: Making Selections

Practice Images 4: Using Layers

Practice Images 5: Using Layer Masks

Practice Images 6: Using Adjustment Layers

Practice Images 7: Color Theory

Practice Images 8: Retouching Essentials

Practice Images 9: Tools Panel

Practice Images 10: Layer Blending Modes

Practice Images 11: How to Use Filters

Practice Images 12: Advanced Masks

Practice Images 13: Using Smart Objects

Practice Images 14: Photography for Photoshop

Practice Images 15: Advanced Photo Retouching

Practice Images 16: Warp, Blend, Liquify

Practice Images 17: Advanced Layers

Practice Images 18: Actions

Practice Images 19: Troubleshooting Issues

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Ben Willmore

As a photographer, Ben Willmore has shot in all 50 states and explored over 80 countries. He has been pushing Photoshop and Lightroom Classic to their limits since the beginning.

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topics covered in this class

Adobe Photoshop Beginner Fundamentals Photo Editing

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!!!

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Blending Options: Colorize Black and White Image

Blending Options: Colorize Black and White Image

Lesson Info

104. Blending Options: Colorize Black and White Image

Lessons

Introduction To Adobe Photoshop

Bridge vs. Lightroom

Tour of Photoshop Interface

Overview of Bridge Workspace

Overview of Lightroom Workspace

Lightroom Preferences - Saving Documents

How To Use Camera Raw in Adobe Photoshop 2020

Overview of Basic Adjustment Sliders

Developing Raw Images

Editing with the Effects and HLS Tabs

How to Save Images

Using the Transform Tool

Making Selections in Adobe Photoshop 2020

Selection Tools

Combining Selection Tools

Using Automated Selection Tools

Quick Mask Mode

Select Menu Essentials

Using Layers in Adobe Photoshop 2020

Align Active Layers

Creating a New Layer

Creating a Clipping Mask

Using Effects on Layers

Using Adjustment Layers

Using the Shape Tool

Create a Layer Mask Using the Selection Tool

Masking Multiple Images Together

Using Layer Masks to Remove People

Using Layer Masks to Replace Sky

Adding Texture to Images

Layering to Create Realistic Depth

Adjustment Layers in Adobe Photoshop 2020

Optimizing Grayscale with Levels

Adjusting Levels with a Histogram

Understanding Curves

Editing an Image Using Curves

Editing with Shadows/Highlights Adjustment

Dodge and Burn Using Quick Mask Mode

Editing with Blending Modes

Color Theory

Curves for Color

Hue and Saturation Adjustments

Isolating Colors Using Hue/Saturation Adjustment

Match Colors Using Numbers

Adjusting Skin Tones

Retouching Essentials In Adobe Camera Raw

Retouching with the Spot Healing Brush

Retouching with the Clone Stamp

Retouching with the Healing Brush

Retouching Using Multiple Retouching Tools

Extending an Edge with Content Aware

Clone Between Documents

Crop Tool

Frame Tool

Eye Dropper and Color Sampler Tools

Paint Brush Tools

History Brush Tool

Eraser and Gradient Tools

Brush Flow and Opacity Settings

Blur and Shape Tools

Dissolve Mode

Multiply Mode

Screen Mode

Hard Light Mode

Hue, Saturation, and Color Modes

Smart Filters

High Pass Filter

Blur Filter

Filter Gallery

Adaptive Wide Angle Filter

Combing Filters and Features

Select and Mask

Manually Select and Mask

Creating a Clean Background