Dodge and Burn Using Quick Mask Mode
Ben Willmore
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
Dodge and Burn Using Quick Mask Mode
Let's fix an issue with this picture, and I will probably end up using curves to do it, cause it's just the thing that gives me the most control. There's a picture of a trailer, and if I zoom up, you notice there's an area here that bright that doesn't look like it belongs. That's a lens flare. It's usually happens when, whatever the light sources in your scene, you end up pointing your camera right at it. In the actual light source itself hits the front element of the lens that's there. That's why you have lens hoods on your camera lenses, and they try to avoid that. But if you take your lens hood off where you point your camera too much straight into a light source, you'll get these to show up, and I want to see if I can reduce or eliminate it now. So far, we've used curves with adjustment layers. We ended up making the adjustment first, and then afterwards we painted with black or white to control where it is applied Well, now what I'd like to do is show you how to choose where it's...
applied first in, then make your adjusted now, you could do that with a selection. If you grab the lasso tool, the marquee tool or any other selection tool, you could make a selection. And then if you end up applying an adjustment layer, it would only affect that area that is selected. The problem is, most selection tools are designed to create hard edged selections, and they're designed to go around the edge of the relatively well defined object. What I have here is not a well defined object. It's not like the doorway where you concede an exact end to it, and it also has a soft edge. So let's figure out how to select it. If you have a selection like this one, I just use the marquee tool. You can either type of letter Q or click on this icon to get to quick mask mode, which I just did. Quick mask mood converts your selection into a red overlay where the red indicates what's not selected. Then you could grab your paint brush tool, and you can modify your selection. But just painting like this, and if you do when you turn quick mask off by typing cube, you just change the shape of that selection. I'll take you once again. When you're using a brush, you have hardness. Setting determines how hard the edge of your brushes, and if you bring it down, you end up with a soft edge brush. If you use a soft edged brush here, you get what's known as a feathered selection, where doesn't abruptly end. Instead, it can softly fade out when I type. Q. You can't tell that that's got a soft edge on it, but it does. If I were to paint in it right now, you can see that part of its hard edged at the top and part of its soft edged choose undo. Well, when you use quick math mode, you don't have to start with a selection. That's just how usually demo it. You can start with no selection whatsoever, so I'm gonna come in here and type the letter. Q. Then I'm just gonna paint with Black right where the area is. I want to adjust, and I have to make sure my brush has just the right softness on it to match the softness of that edge that was there. The only problem is with painting like this is in quick mask mode. The red overlay usually indicates what's not selected, and right now that means that I've selected almost the entire picture except for that area. Well, that's when I can come up here and use the same thing that we used on a layer mask, which is invert gives you the opposite. That should make the red switch. Word shows up. So now if Red indicates not selected in the area that looks normal is selected. When I turned quick mask Modoff by typing letter. Q. We should have a general selection of that area. So that's how I end up selecting things before I go in and use curves. I just type of letter Q for quick mask. And if it's a large area that I want to change, I just paint with Black on the areas that I don't want to change. If, on the other hand, it's a small area that I want to change, I'll paint just where I want to change the happen. And when I'm done, I'll end up choosing Invert, which switches where the red shows up. And that's what we have here. All right, let's go into curbs in curves. I'm gonna just click on this area right here, and I want a dimmer switch for it. I want to darken it Any time you just want to brighten or darken, it's usually one dot you just click, and you don't have to move the dot up and down in curves like in that little part of your screen. You can stay right on top of your picture. And if you just click the mouse, just keep your mouse button held down and drag up if you want to brighten and down. If you want to darken, it'll move that dot for you. So I'm just gonna move that down until it seems to be about the same. Brightness is its surroundings about there, and then the transition doesn't quite look right. So I just grab my paintbrush tool. I probably didn't have a soft enough edge of my brush or I might not have painted far enough out. Well, white is what allows an adjustment to apply when you're working with a layer mask. I just need to make sure I'm painting with White can now extend how far out that goes. It seems to be going out all right, But then I think the frame around the door, it's just a little bit too dark. Well, if it is different in brightness than the screen that we were attempting to adjust, then we can adjust it separately. I just go into curves and make sure that hand tools turned on. I move my mouse on top of the frame for the door, and if I looking curves in the circle that appears is in an open area of the curve, an area where I haven't added a dot yet that means it's different in brightness to the other. Areas have adjusted, so I can easily click, and it's just like having a dimmer switch in my hand. I'm just gonna bring that up until it's about the same brightness as the area above and below it. There we go. I'm not saying my adjustment is perfect here, but if I turn this off and back on again, it ain't bad. That might need to make that, um, area right here just the tiniest bit brighter. I think there, but I think I'm doing all right with that adjustment. It's easy to see when you turn on and off. But if you've never seen it before, I don't think you'd notice that area so much. But it's on Lee with curves that I'm able to do that if I use levels. It only has controls for working with the extremes of brightness. The brightest part of your image in the darkest if I work with brightness and contrast is generically making bright things brighter and dark, things darker when I do contrast. But here I can dial in exactly the brightness level I want to adjust, and therefore I can have precision.
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!!!