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
Blur Filter
All right, then let's take an image here, and I want your attention drawn to just one of thes lines. You've never been Africa before. It's pretty crazy toe to be there and see these lines walking straight for you, but I wanted so I mainly see the guy in the foreground and then the ones in the background there's just a hint of them to do. So I'm gonna first convert this to a smart object. Then I'll go to the filter menu, and I'm gonna come in here in Choose Blur Gallery. And that's where I'm gonna find a choice called Tilt Shift. When I have told Shift, there's this little knob in the middle. I can click on it and drag this up or down, and what this is going to do is end up blurring my picture. You can see down at the bottom of this parts blurry already. Well, where that little dot is in the middle, there's a big ring around it, and if I grab the ring and drag that controls how much blurring is supplying, you bring it way down, they'll be next to none bringing up, and they'll be a lot T...
hen there's a zone that stays sharp, and that's the zone between the line right above this big dial and the one right below it. If I click on the dot in the center, I can move this around and I'm gonna move it. So it's right down here where that guy is. It doesn't matter if you move it horizontally, but I'm moving it there. Just some thinking about that. Then, if I want to make a wider area that is sharp, you can grab these lines. Just don't Graham or the dot is here. There's a blue dot that would allow you to rotate it. Instead. Move further out, and you can grab either line and pull on it to define what range should be. Sharpen your picture. Then, if you look above the upper horizontal line and keep going, you're gonna find a dash line. Will The space between the solid line and the dash line is where the the sharpness is going to start fading out, and once it gets to the dash line, it's going to get the full force of the blurring your requesting so I can click on that dash line and drag it to decide how abruptly should this fade out? And I'm gonna make it fade. So goes right down to about the pause on that second lion that's there. There is also a dash line on the bottom edge to if you had this moved up far enough so you could see it. But I'm just having a little bit of blurring happening there. Then I can dial my big dial here to decide exactly how much blurry now want in that background to really get your attention to come to this area. But you still know there are other lions in the background now when I end up dialing the big dial, all it's really doing is changing a setting that's found on the right side of my screen that is called blur, and so you're more than welcome to change it over there as well. If you ever blur something, you got to be careful because a lot of images will have noise or grain in them. And as you blur something you throw away that grants, it gets blended in to the image. So down here at the bottom, there's a tab. Cold noise in This is going to apply to the area that's been blurred, so you might want to zoom up on your picture. This image, I think, might have been shot at I s 0 800 And that means there's probably a bit of noise in the sharp area of the picture. Well, if I want to add noise back to those areas that's been blurred here, I can adjust the amount. And if you watch the top portion of my screen, I can see it getting noisy. I want to just try to make it look like it blends in with the sharp area. So maybe around there I'm not sure how well you'll see that on video cause videos compressed, and therefore it doesn't always pick up the finest details. Here. We can choose the size of the noise so we have larger pieces or really fine ones. And again, that's trying to match the quality of the rest of the picture and how rough or random those specks of noise are, or how consistent. If you lower it, then also nerds. Two varieties of noise. There's luminess noise, which is a difference in brightness. And then there's also color noise which is where you'll see some variation in color. If the shark party your picture, you can see it various and color in a way that you don't think is part of the original scene that was being photographed. Instead, it's noise. You could bring up this slider for color. Finally, there is a slider for highlights. I don't know if we'll notice it in this particular image, but, um, noises mainly going to be in the darker areas of your picture, especially if you brighten those darker areas. And here I can choose how much of it is applied to the highlights so I could back off on the highlights. Ah, then up here at the top, Uh, all we got to do is click. OK, And now if I turn off the Blur Gallery filter, you can see the sharpness in the background versus that little slice where we're just trying to get your attention on one object. If you do this to what would usually be a huge scene like a city, it actually makes it feel like a miniature set because you usually can't get a soft background like that when you shoot with a wide angle lens in. In order to take a picture of a city, get the whole city in. You usually need a wide angle lens well with wide angle lens. You just not going to get the blurry background. The only time your brain is used to seeing a blurry background in knowing that it's um riel is when you see something under a microscope or a magnifying glass usually get a very limited depth of field. And so when you suddenly see a cityscape and you've applied this to it to get just a narrow range of sharpness it your brain doesn't know why. But it thinks it looks like it's miniature, and that's because you're not used to seeing shallot up the field with a wide angle lens.
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!!!