This is a technique that I never want to perform manually, and I would only do through inaction because it takes a lot of steps. This is creating a contour map. If you've ever seen an architectural drawing of, ah, piece of land, you know where it's the contours it describes. The various elevations in the land with a line looks a lot like this. Well, I'm creating something like that based on brightness levels were each one of these lines describes where, like 10% gray would be found in the image, and another line might be where 20% gray is and so on. And so this is how there might be a complex technique that you would only dio if you're willing to apply actions. So let's take a look at it. I'm gonna start off with the original color photograph, and the filter I'm gonna end up using to get the effect is filter. Uh, I think it's die allies and then trace contour traced. Contour means trace around where there's a particular shade of gray, and in here there's a choice called level, and you ...

can move it around. It varies from 0 to It'll draw little lines. Well, those lines air, usually in color if you have a color picture and if you want just one line instead of multiple colored ones, what you need to dio is just convert your image to black and white first. So let's look at how we might be able to apply that multiple times and get an interesting look. So I'm gonna go to my actions panel. I'm going to create a new action, and I'm gonna call this contours gonna hit record. And the first thing I want to do is duplicate this layer. So I'm gonna type Command J controlled game windows to get a duplicate. I then want to pull the color out of that duplicate. I'll do it by image adjustments, de saturate. Then I want to simplify this because if I have it truly traced where there's a particular shade of gray in our picture right now, Most of the time those areas are really complex little details. Well, if I simplify the image, it's gonna be a smoother and result one filter that can help me simple find images called median that's filter noise median in the higher I bring it up, the more smooth this end result will be. So it's a matter of figuring out what setting still lets you recognize what's in the picture. And it's kind of go for the highest setting where you can recognize things because the higher the setting, the smoother the end result will look. Now, that's the image I'm going to use multiple times when running the trace contour filter. So what I'm gonna do right now is change the name of that layer because I want to be able to easily switch toe that layer even if we have a whole bunch of layers in this document by just clicking on it. I don't wanna have to use that one keyboard shark it we used earlier. So I'm gonna double click on the layer, and I'm just gonna give it a name that you would never find in another document. Ah, I might call it action. So I know that it's part of an action. I'll call it Action Target Layer number one or something. I doubt I'm gonna open a document that's gonna have a layer called action Target Layer one. I'm just trying to put in a unique name. And therefore it's not gonna matter if I click on that layer with my mouse and in the actions panel. It records the name because I made up the name and I tried to make sure it would be unique or just put a random string of digits. That's long enough, and you probably won't find that in other documents. Now, I'm gonna have to be using that particular information multiple times, So I'm gonna type Command J to duplicate it So I don't mess up the original and then we'll come in here and apply the trace Contour filter, and I'm going to start off with it. Turned down to a relatively low setting like this. I'm gonna click, OK, and then I want to make the layer that's underneath active. Well, I named that layer specifically for this action with a unique name. I don't think it's gonna be found in other documents. I can just click on it and it doesn't matter that here in the layers panel, it has the name of the layer. Well, as long as that layer name is unique, then that should still work. I'm in a type command J and Onion. Apply the filter again, and I'm just gonna turn it up a little bit. Click OK? And then I'm going to repeat that process I'm going to. In fact, there's one other step I should do. And that is I should set each one of these to multiply mode, because multiply mode would have it combined with what's underneath. But I'll do that later. I'm going to click on the layer that's underneath command J to duplicate, And I'm just gonna repeat that process over and over and over again, moving this up a little bit further each time, then clicking the layer that's underneath command J to duplicate and apply the filter again, which the later that's underneath command J to dupe. Okay, just repeat it over and over again, And that's why I never want to do this manually. Or I should say I only want to do this manually once, and this is one of those techniques. I always record its inaction because it's a pain in the butt to do it every time. I'm just repeating the steps, Okay, we'll call that good enough Now what I need to do is get all of those layers that were just created up above. I need to get him all selected now. Those should always have the same names because they're based on that unique name that I signed below. So I could just hold on the shift key and click on, um, those or I could use my keyboard. Remember that doing? I believe it was option in the bracket. Keys would select the layer that is above. And if you have the shift key, it will add it to the what's already selected. So I can type that a few times. There are many different choices we have available there. With all of them selected. I'm gonna change their blending mode to a chase choice called multiply, which will allow them to combine together. And then we don't need them a separate layers. So I'll go the layer menu in just choose merged layers that will combine together the layers that are currently selected. All right, then what I would like to do is to get the color of the original or the lines were currently seen to be the color of the original picture, so I no longer need this grayscale version. it's already served its purpose. It was the source material for each high applied that action or not, the action, the filter And I don't need it anymore. It has a unique name that I made this part of the action so I can just click on it and drag it to the trash. And it's OK that the name of the layers in there next. What I want to do is turn this layer into a selection The way I turn something into a selection if I want to do it based on its brightness is I switched to the channels panel, and if you don't have the channels panel open on your screen, you can find it right up here. And if you go into the channels panel and move your mouse onto the top, most channel the little picture of it, you're gonna hold on the command key and click on it. That's controlling windows that will load the brightness of that image as a selection, yet ends up loading all the areas that are white, which is the exact opposite of what I need. So I'll go to the select menu in Choose Inverse. Now we have a selection of all those little black lines, and all I'm going to do is throw away this layer because it's on Lee Purpose was to create the selection we currently have. So now if I drag it to the trash, we're gonna end up on the layer that contains original picture, not gonna add a layer mask when I add a layer mask on Lee. The areas that I have selected are going to remain visible, so the rest of the picture will go away. And now what we have is all the lines that those filters created are filled with the original color of the picture. Finally, I want to fill in the checkerboard with white, so I'll go to the bottom of my layers panel, click on the Adjustment layer icon and choose solid color. I'm going to choose White, and then I'm gonna move that layer underneath, and I could probably click on it with my mouse to move it underneath. But if I want to be better at it, I could use my keyboard shortcuts and that would be command control on Windows left bracket would move it down. Remember, option changes, which ones active command actually moves a layer. So now I have my end result, and in my actions panel, I can finally hit Stop and now we contested. Let's revert the image. Let's find the top of that action. Let's hit play and you can see our end result. That's an example of a technique where I would never apply that technique without recording an action to create it. But now I can apply that any time. I want Teoh in a matter of seconds, and there are many techniques that are that way that just end up being complex techniques that make it so actions become essential.

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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Create a Contour Map Action

Create a Contour Map Action

Lesson Info

110. Create a Contour Map Action

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