there's a lot more Aiken do. Sometimes I go to these other tabs that are up here. Let's just experiment with one of the tabs. Let's see up here. We got a bunch of tabs. One of them is here called F X. What FX has is one of the options. I could add grain to my picture if I wanted to look grainy, but I don't want to. And here's what's called post crop vignette ing. Just the word vignette ing is what's important Vignette in means darkening the edge of your picture. So I'm gonna take this slider that's called Amount and move it to its the left. Remember, I'm under the tab called F X right here to find this. If I bring that down, it should dark in the edge of my picture. Bring it way down. You'll notice it more. Well, I'm gonna bring it all the way down just to make it obvious. Then we have some settings below it to control what it looks like. We have midpoint, which is how far does that darkening effect extend towards the middle of the picture? Or do you want to limit it to only keep it on...

the very edge we have roundness, roundness, which is sowed. What's the curvature like in this? If you can see if I bring it way down more like a rounded corner rectangle? If I bring it way up, it's more like a circle. And so I have to decide what might be best. And then we have Feather in Feather is house soft is a transition. Is it relatively immediate like that, or is it gonna get softer and softer? I usually have feather turned way up, so I might find, too. In these midpoint bring it out just a little bit. And then I just think it's too obvious, and that's because my amount is turned all the way down. So now that I find Tune the other Settings, who's gonna bring that up and decide how dark? And I think I can make the edge now when I do that, it looks well. It's obvious that I've done it, but mainly to me, because it doesn't make sense. The sky is dark of here. That's where I notice it more so there's a slider here called highlights, and if there's anything extremely bright right around the edge of the picture and I bring up highlights. Watch what happens to that bright area like up in the upper left where the sky is. You see how I can get it to brighten up again, so it won't affect those really bright areas. So now if I turn this little icon off, you know, this I could have been using to show you before and after what it actually does. Is it previews on Lee the tab you're working in. So if I turn that off now, it's on Lee showing me what it looks like when before I did the post crop been getting Then I click it again and it shows me after I've added it. And I like that cause it makes it so I concentrate more in the center of this picture so you can see how this stuff underneath the tabs could be useful. Uh, all right, let's work with some other images. This image feels hazy anytime in image feels hazy, like there's a fog in the distance. That's what I'm going to go for. D. Hayes. What's d hey is gonna do? It's gonna make the darkest portion of the picture even darker, closer to black, that's gonna break through the haze. Because if you look up here at the top of the photograph, is there anything at all in this top portion anywhere near black? No. It's only where it doesn't look so hazy that you have things closer to black. So if I end up coming in here and I bring up Dee Hayes, it'll make the darkest portion of the picture get closer and closer to black. I'm looking at the top portion of the image, deciding when in my breaking through the haze okay, right about there. I've broken through a lot of the haze, and then I'm gonna find Tune the rest of the image A Ziff. I didn't have Hayes, so I noticed there's too much green blue at the top of the picture. I can attempt to move the white balance, but that top of the picture needs a different amount than the bottom of the picture because I get to yellow by the time I get over there. Then I can try Tent A swell Yeah, it helps. It helps it a little, but this is where again, the sliders that are found on the under. These other tabs, I think, will be useful. One of the other tabs that is here is notice the H s L adjustments. And if I click on it, we're gonna have separate adjustments for individual colors so we can tweak what is in our picture that are these colors. And we can tweak either the brightness, which is known as Lou Minutes Weaken treat, tweak how colorful it IHS or what color it is. So in this case, I'm gonna go for saturation. I'm just gonna glance up here and think that looks bluish green. So I'm gonna take the blues and bring the slider down, working on saturation and I'll take the greens and I'll bring the slider down to say Make blue and green things less colorful. I could also go toe luminous that controls brightness and say, Make blue things darker. You see, at the top of the photo, I think that was bluish area that looks a lot less hazy. And if I wanted to, But I rarely need to. I could go to Hugh and let's say the color and the roof tops of these buildings aren't quite what I want Well, I'd say that's orangish so I could go to the oranges and Hugh means basic color. I can say, Well, let's shift them around a little bit. Although it might not be orangish, it might be reddish. And if you're in this area that's called H S L. You can goto a tool at the top of your screen. It's up here. It's a weird looking tool. This thing it's called the targeted adjustment tool. And if you click on it, then when you move your mouse into your image, watch what happens. I'll go to saturation here, so that's controlling how colorful some Penis. Click on this building in the distance, and then I'll drag up and down. Do you notice it's moving sliders? For me? It's figuring out which sliders would affect that color the most, so therefore, I could make it less colorful. Maybe I go up to the trees, okay, it thinks the trees air blue and a little purplish. Then I can decide. Do I want to just the brightness, which is called ruminants. What do I want to just how colorful something is, which is saturation. So now go to the rooftops and say, Do I want it to be less or more colorful? And so you can tweak the individual colors to turn your picture? I want whatever's out here to be less colorful there. Let's see what we've done just with these sliders called HS cell sliders will hit that icon near the lower right. This is before see how blue the top Look, Here's after all, right. Earlier, we worked on this image when I talked about D. Hayes, but we hadn't really worked with the other sliders who were in here. So here, vibrance and saturation, I want toe lower at least one of those to make it less colorful. And then I think it starts to look fine. If I want detail in the sky, wouldn't that be called highlights? Decide how dark I want my sky. I'm limited and how much I can adjust it, though if you want the detail to come out, that's either clarity if you want big detail on texture, if you want the really fine detail, but you won't notice texture unless you're zoomed in. Uh, and then maybe a lower contrast. There's too great of a difference between the bright and dark areas there. Let's see before and after all to click that icon lower right before after I like that a lot more, you just keep adjusting. What don't you like in here? The dark area to dark? OK, that's cold. Shadows Crank it up. Then there's too great of a difference between bright and dark. Well, that's called contrast. Bring it down. I want the detail to pop out. That's clarity. The colors look weird. Well, if it's weird, that's usually temperature intent. But if it's that it's not colorful enough or too colorful, that's vibrance and saturation. I'll hit the icon for before. After now, Once you've adjusted some images, you're gonna find there's buttons here we have done. Cancel an open image. Uh, cancel means you screwed it up and you don't want to save what you did. It's not going to save any of the changes you made since you entered camera, so I only hit Cancel when I really screwed up. Done means save these changes to the image, which does not alter the original file at all, because remember, it's saved only its metadata, which is text. It just gets attached to the image So the next time you open it, these sliders will be in the same position. But you could always tell it to go to default settings in the upper right on the right here. Default settings. It would always bring you back to the original picture because Kamerad does not change the original. It just saves it as metadata. Ah, but done is what means I'm done and save these settings to the file Open image does. The same thing is done. It saves the settings to the to the file, but it also opens it in photo shop because you want to do more to the image.

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 the Effects and HLS Tabs

Editing with the Effects and HLS Tabs

Lesson Info

10. Editing with the Effects and HLS Tabs

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