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
Displacement Map
then there's another way of bending things in. This is where we convention things based on the brightness of a picture. If you look at the brightness of a three dimensional object, oftentimes it gives you clues as to its dimensionality, just from the shadows in the highlights. If you look at this particular photograph and you look at one side of my face, you'll notice that the areas their furthest away on the side of my face or darker in as my face gets closer and closer to camera. It's getting brighter and brighter in the very tip of my nose is the brightest on the other side of the face. It's a little different, and that is getting brighter as you go further away. That's because there was a light source over on that side, But still you see this thing where it might be getting darker as it gets closer to camera, because getting further away from the light source will. There's a way to use the brightness of your picture as what you might call a depth map, something that just defines ah...
, three dimensional character of a two dimensional photograph. And if you want to use that to bend something. Then we can do so using something called a displacement map. So let me give you a brief idea of how to think about displacement maps. We can use that flag image because there you can tell if it's been bent. So I'm gonna grab the flag. Image will use my move tool I'll click within the flag image will drag up to the other tab on the drag down into this documents. We put it in here, closed the original flag, zoom out, and I probably want to scale the flag down. But before I scale it down, I think I'm gonna turn it into a smart object. Therefore, everything will be calculated on the original size flag, all type command T that's free. Transform control team windows and I'm gonna scale this down. I'm gonna bend that flag around my face, even get some stars and things in there. But I'm gonna do it based on the brightness of my face. So first I'm going to start off with the base image that's here in what I need to do is simplify it to simplify, just so I don't mess up the original I'll duplicate this layer. It's not that essential that you duplicate the layer where you could do, in fact, is just duplicate the document that be easier. So image duplicate will give you a brand new file so you don't mess up the original and I'm gonna call this the map and then I'll throw away the flag because it's a duplicate document and I just want to simplify what's here. The first thing I'm gonna do to simplify things is take all the color out, an image adjustments. De saturate should do that for me. The next thing I want to dio is get rid of the really fine detail. If you look at the fine detail, what's going to happen is areas that are bright are gonna be thought of as being close to you in areas that are dark. They're going to be thought of being further away. And what that means is where the pores are in my face. It's going to think their little role, little drill holes that they're lower than the rest of my face, and I don't want it to distort the flag with that much detail. I wanted to think about the overall shape of my face, not every little whisker and poor. So what I'm going to do next is blur the image using a filter called Ghazi Ambler. And I'm just gonna blurt enough that the fine detail goes away like the pores on my face. And then I just see the overall brightness of the image, the overall tone, ality and shading. Probably somewhere right around there, All the really fine details, whiskers, pores, all that go away. Then I'm going to save this on my hard drive just to save as put it right on my desktop. And I can use Photoshopped file format. Now we can close that file now. I'm gonna work on the layer that it's on top. That's when it has to fly again. It turn its little eyeball back on, and I wanna bend the flag based on that simplified document that saved on my hard drive. So to accomplish that, I'm gonna choose filter, distort, displace. This comes up and it wants me to type in a number. That number tells you how mountainous theon result will be. If you type in a low number, imagine you're seeing a three dimensional object from the side. You'll get a very slight raised to the image. If you type in a high number, you're going to see a very tall raised to the image. And you don't really know what number to use because it's really based on how high resolution your picture is and how much contrast is in that file. We're going to feed it. How close to white is the bright area? How close to black is the dark? And so I'm really just gonna guess here. And if I don't like my in results, I'll just choose, undo, and I'll try again. Type in either ah, higher or lower number. I always type in the same number for horizontal and vertical, and then we have some options down here, and this really is saying, What should it do? If the image we saved on our hard drive was a different size than this document, it's needs to be the same size, and so to make it the same size if it was smaller, should it stretch it to fit? Or should it Thailand repeat it? Well, that's not gonna matter. It's exactly the same size as this document and then what should it do with the undefined areas? Should it wrap around to the other side will repeat the eggs pickles. We're not going to need to worry about that. All I'm going to do is click OK, and when I do, it's gonna ask me for a file. It's a file that it's just gonna look at the brightness of, and it's gonna think of bright things that's being close to you. And dark things is being far away in white Click open. It should bend our flag. There it is. So if you look at where the edge of my, um, Chin would be and not my when he called this part my jaw line, I can see it's been bent. I can also see it's been bent on the other side. There was some vertical line there. If I were to hide this, I could tell what it is. But what I'm gonna do now just to make it easier to tell how that is conforming to my face is I'm gonna print it on my face like a tattoo, and I could do that by changing the menu at the top of the layers panel known as the blending Mode menu. I'm gonna choose a choice called Multiply, and when I do now, you might be able to see that where my eye is. You can see it's bending down into my eye socket and right here where my skin bulges out to have my cheek, you can see it bending to conform with that. The only other thing I might want to do then is mask it so that it only applies to where my faces and doesn't go beyond. And I might want to mask it so it doesn't print on my eyeball. Uh, otherwise it wouldn't quite be inaccurate Tattoo. Now, what I could do, though, is choose undo with Command Z. And let's say I wanted to bend Mawr. I was using the number of 20. I'm gonna type Command Z one more time so it's no longer applied. Or since I used a smart object, I don't even you do that right here. It says, displaced. Just double click on that. You'd be able to change it when you double click, it will ask you for the settings I was using. 20. Let's try each time you click. OK, though it's gonna ask you for that other file, so make sure you don't throw it away until you're sure that you like the settings. But now we have more of an extreme or mountainous bend. If I said it to multiply, it might be more appropriate. It all depends on the image. But what? This is how you could grab a tube of toothpaste that had no label on it whatsoever. You can put a new label on top of it into a displacement map, because the highlights and shadows that would define the kind of wrinkly character of ah tube of toothpaste could be used to bend the label to make it look like it fits. Or you have a T shirt. He and the T shirt has wrinkles in it. You want to show a design on the T shirt that conforms to those wrinkles, displacement maps, how you do it, where you have the door of a car and you need to put a police logo for a police car design on it. Well, if it has any shading to that door, the card, it's usually going to give it some sense for the dimension and using that to bend Ah, logo that would be printed on the door will usually make it look appropriate. Then you use multiply mode to actually make it look like it's printed on it. And then you can mask it to make sure here, if I add a layer mask that maybe in this case would all do is use the quick selection tool to try to select my sky. I also got a little about my hat in their lips, don't want to take away hat, and then maybe I select inverse to get the opposite. And actually, I don't need inverse. There's already a mask here. All right, I'm gonna fill that part of my mask with black, get it off the background, and I'm gonna come up here in paint with black. Just grab my paintbrush, gotta paint with black, get it off my eyeball, uh, and get it off my hat. But there's all sorts of uses for that. Any time you see those T shirts that have designs that have never been printed on a T shirt before, but they're previewing it, they're using displacement maps to do so. The key is you have a blurry black and white photograph saved on your hard drive that you feed the displaced filter
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!!!