so there are all sorts of things Weaken Dio with these features. I want to let you know that there are a few issues you might run into, one of which is if I go in here and do any kind of an adjustment. It's not unique to curves. I just use curves a lot, so you'll notice me using that. It's my default. But if I darkened something, you're gonna find that often times it becomes more colorful. If I turn off this adjustment layer, watch this area. Where's noses? And if this was before and this is after it to me looks more vivid. And so sometimes I'm attempting to simply dark, and something in the fact that it becomes more vivid gets in the way. So you should be aware that whenever you use an adjustment layer and you're attempting to Onley, adjust brightness. Sometimes that'll happen, especially when darkening. The way you can prevent it is with the adjustment layer active. Go to the top your layers panel to this little menu. This is known as the blending mode menu in the blending mode menu ...

is something we have entire lesson on its part of the photo shop complete guide. And if I come down here, one of the choices in there is called luminosity. Luminosity is just another word for brightness. And so this means make this adjustment layer on lee affect the brightness and therefore don't affect the color. So if you watch that same area, I pointed out before, I'm gonna type Commands eat, undo, and I see that the nose becomes more colorful. Then I'll re apply it. And so you can see the difference of using luminosity mode versus not so. Any time you darken an image, if you notice it, become more colorful and you don't like it head straight to luminosity mode. Just make sure that the adjustment layer that was causing it is active and change it. But sometimes you like it. When I came on this image and I added contrast to this bird, it became more colorful, and I liked it, so I didn't need to change it to luminosity mode. Had I, then it wouldn't have become more colorful. Then there's a couple other things you should know about. I'm gonna come in and open a different picture and let's just start adjusting if I look at this area here. To me, it looks almost like there's a dark halo around the skylight that's there, and I'd like to brighten it up, so it's more similar to this. So I'm gonna go in and, of course, use my favorite adjustment of curves. Then I'm gonna move my mouse over to this area right here and click to measure how bright it is an added dimmer switch for it. I would like that area to end up Being approximately as bright is the area my mouse is on right now. Well, I'm not gonna click there. I'm just gonna look in curves. And if I looking curves, I see a circle that's showing me exactly how much light is in the area where my mouse is. That's what the circle is. So now I'm gonna move the dot that I added earlier, up to that height, you can move a dot whichever one is currently active. It's active if it's solid using the arrow keys on your keyboard. So I'm gonna just move that not straight up until it's about the height of that circle. The only problem is that circle moved up as I move the Datta. And that's because if you look at where the circle is that part of the curve moved up. So all I'm gonna do is once I've gotten that to approximately the height I'm thinking of, I'm going to take my mask and inverted with command. I control I am Windows and then paint this in. I need a soft edged brush because I needed to fade out. And I'm gonna now just pain in here and now the area around the skylight looks a lot more like the area over there because I put approximately the same model light and turn that off and on. And you can see it should also know that curves is useful for more than just adjusting brightness. We're gonna have a whole separate lesson on how to adjust color with curves. But here, I'm going to create a brand new curve. Before I do that, I'm gonna isolated area. Do you see the area on the right side over here? This doesn't look as yellow is. It does here in the middle or on the left, and I'd like that to look more yellow. I'm gonna isolate the area first by typing queue for quick mask painting where I want to change the image and red means what you're not gonna change. So I typed command. I control I am Windows to get it in the opposite spot so red means don't change. Well, then, that's what I want. Turn off quick mask with Q. And now let's adjust that with curves in curves. There's a pop up menu at the top. When it's set toe RGB, it means Onley adjust brightness, and if that means only adjust brightness. I'm not gonna be able to get that area to look more yellow if you click there there. There are three choices red, green and blue, and if you choose those you will be able to shift color. You'll learn a lot more about thes three. If you end up watching the lesson that is about color adjustment, that's part of the complete guide. But in that lesson, you'll learn that yellow is the opposite of blue, and so if I use less blue in here, you'll see that area becoming more yellow. Once I do, though, it looks a little too green, so I could go over here and choose green click there and bring that down to so you will be able to adjust color as well. Using curbs in. Once you get the combination of adjusting brightness, contrast and color using curves, you're gonna have dramatically more control over your images. The main thing you need to get used to is the fact that adjustment layers are the best way to apply things because they're not permanent, You could always throw him away Later. We can also use a blending mode, which is the menu found at the top of your screen to limit it so it can affect the color. And we can paint on those masks to control exactly where it affects the image. And where doesn't. Sometimes you want to use the same mask more than once, and that's the last little two bit I'll give you. I had just made the area on the right side more yellow. Now I would like to do something to brighten it or pull out detail, and I'd like to do it with a separate curve, so I'll do a new curves adjustment layer. I'm gonna move my mouse over there and let's just say I wanted to brighten this so I brighten it. But when I do, you notice the entire image changing well. I would now like this adjustment to be limited in the same way that the adjustment below it is limited. You see that this adjustment has a mask in it. This one, it's mask, is white. Well, there's a way to make this mass kind of get stacked on top of that one. And if you do, this mask will apply to it, too. How do you do that at the bottom of your adjustment layer settings for curves. Do you see this little down pointing arrow? If I use that, watch what happens in my layers panel to the layer I'm working on. It just had an arrow pointing down. That means that it's using the mask that is found down here, and I can even paint on this one to further limit it. But if you ever need to have two adjustments that affect the same area, then you could make that adjustment and click the icon that is found right here. That means use the same mask that's on the layer below. Sometimes they do that because I want to use curves in one spot in a different adjustment in that same spot, like a human saturation adjustment or something else. But now that adjustment is only affecting that area on the over on the right, because it's using the same mask. So we've been talking about tonal adjustments and adjustment layers, those air adjustments that only affect brightness and contrast in not color.

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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Editing with Blending Modes

Editing with Blending Modes

Lesson Info

39. Editing with Blending Modes

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