Common Troubleshooting Issues Part 2
Ben Willmore
Lesson Info
115. Common Troubleshooting Issues Part 2
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
Common Troubleshooting Issues Part 2
uh, if you end up converting an image to see him, why came out because you need it to be printed on a printing press? Then you have to be careful. One of the things that people do when they convert to seem like a mode is they'll have a nice, vivid colors in their picture. They'll go over here and choose image mode. Seemed like a It asked them this question, which is? Do you want to flatten the image or not? They say No, I still want toe might want to tweak my layers so they say, Don't flatten. And then when they complete it, the image looks different. And usually it's where vivid colors fade out to something else. If I choose undo, watch this image. Do you see how vivid the greens were? That's what they look like. An RGB. Once I got to see him, Why can't look like this? Well, what I would say is, if you have a layered document that's an RGB mode. You need to have it end up in seem like a mode, if at all possible. When you go over here and choose image mode seem like a, there's a reason...
why it asked this question. If you want to flatten your image or not, and that's because if it combines the layers together, will the images is still in RGB mode? The quality of the result will usually look better. And if you choose, don't flatten. It's not gonna have is good or smooth transitions where one layer fades out into another. So that's why it always ask you when you convert to see him like a choose the choice called flatten and the end result will usually look better. So this is in C N y que mode. And when flattening the image on the way. If I choose, undo here it was an RGB. I can't see any difference compared to see him like a often times. It has to do with people trying to retain the layers that make up their image, even though they might not end up tweaking them the district minions. But there's a reason why it asks you when you convert to seem like a and if it all practical, flatten your image in that process because oftentimes it will make your end result look better. Uh, other things that can mess you up if you come in here in, certain adjustments are great out, and certain tools just don't seem to work. Oftentimes what happens is you accidentally bumped the letter Q. On your keyboard when you bump the letter Q on your keyboard, then you've turned on quick mask mode. And then whatever it is, you're doing your image like, let's say I click on a layer here and I try to blur that layer. And even if I bring blurring way up, it doesn't do anything to that layer. And I'm like, What the heck it's not. Do anything. Well, the most common reason why it wouldn't do anything is there would be a selection active. I go to the Selectmen. You de select is not available. That means there is no selection on my screen, so let's switch layers back and forth. I want to blur this layer. It's just not doing anything. Well, it's because quick mask modus turned on quick mask mode is where I'll turn it off right now is where If you had a selection like this one and you type a letter Q, it would turned onto a red overlay. And now whatever you're doing involves that read over like So when I come over here and tried to blur something, it's trying to blur that red overlay. It just happened to be. I had nothing selected at the time that I turned quick mask on, and therefore no Red was showing up. Yet it's still trying to change that overlay. It's just that there was no red appearing, so I couldn't tell I was in that mode. And so what I would do is when you find things like filters having no effect whatsoever, it could be the preview check box has not turned on. But the second thing would be just glanced down here and see if that's been pushed in. If it's pushed in like it is right there, it means you have quick mask mode. Turn on either click the icon or typed letter Q a second time to get rid of quick mask mode and then try whatever you were doing again. Sometimes the feature called Auto Select Layers messes me up. In fact, most the time it does the default setting has this setting. If I'm in my move, tool turned on, and sometimes I'm out here, trying to target a layer like here. These leaves and I click on it and just done work, and I try to grab these little feet and in the layers panel. I'm not seeing any of these things getting targeted, and that's because there is a layer that covers your entire picture it like a texture, and it's in a blending mode that happens to make most of it disappear. Or it could be the at. The opacity has turned now, but it just needs. There's a layer that's filling the entirety of your document, and it's most likely in a blending mode that makes it not show up very much. So I would just need to delete this layer were turned off its eyeball, and then I should be able to target other layers. So look at whatever your top most layer is and then turn off its eyeball temporarily. So then you can target other layers to move them, and when you're done moving those layers, feel free to turn that top layer back on. But any time you apply textures, that's gonna max up using the auto select layer feature. Let's see here whenever you stitch a panorama. There is an issue you can encounter and let's see if I can get it to show up. Take me just a moment to find appropriate images for this. But what happens is that the, um, Photoshopped tries to draw your picture very quickly on screen in sometimes in the process of doing so, it makes it so what you see on screen is not as accurate is what is actually in your file here. I'm going to select a series of images, and I'm going to use something here called photo Merge to merge them together into a panorama. And let's see if I happen to get these artifacts and they're not always going to be a parent. So depends on the picture. But let's see if they show up on this particular result. Unfortunately, not. But what will happen on occasion is when you stitch a panorama, you're gonna find what I call worms, which are these little kind of lines that you concede exactly where the edge of one layer ends in the where the next layer begins. And it looks like a little Jaggi line that, um, looks like a low quality and result When you do that after stitching a panorama, it's not truly an issue with your picture. If you were to zoom up on your image to 100% view so you can see the actual fine detail within your image, you would find that those little things after stitching a panorama aren't truly in your picture. Instead, it's just that you have a multi layer document here. If you look in my layers panel, you'll see the multi layer and that it's just trying to very quickly composite these on screen, and in the process, it's not always perfectly precise. All you need to do is go to the layer menu and choose merge visible. And if you ever do see those little almost looks like a crack going through your image after sticking stitching a panorama, it will completely go away if you merge those layers together. And so I wanted to mention that because it's a very common question that I get when people stitch panoramas
Class Materials
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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