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
HDR
then a second, more standardized technique is one known as HDR. Your camera can Onley record a certain brightness range, and oftentimes the scenes that you're shooting are going to be on be beyond that range. And when that happens, either the brightest portion, your image will end up solid white with no detail or the darkest portion. Your image will end up solid black with no detail. And so, if you want to look at a example Ah, here I was in Southeast Asia, and I found this scene in This is generally what I captured. When here I'm near Angkor Wat, and if you look in the dark portion of this image, it's really hard to see any detail now. I could have changed my exposure and gone brighter and maybe even brighter, and I didn't go any brighter than this. But if I wanted to see the detail that was actually in this area down here at the bottom, I could have gone even brighter. Maybe two more shots to get brighter in order to see that detail. But when I do look at the sky, we're not getting t...
he detail up there in order to get up the detail in the sky and have to shoot darker, darker. I want to get the detail over here on the edges, maybe darker. If I do that, I do. It's known as bracketing my exposures. Then I can combine together those multiple exposures that vary in brightness into a single file that contains that full brightness range and that's known as high dynamic range HDR. When you shoot that, I'll usually end up, uh, setting my camera toe auto bracketing in the menu system for the camera, and I'm in aperture priority mode. So the aperture setting this consistent between all the shots and so it's only changing my shutter speed. You can do this handheld, although it will be, ah, higher quality result. Usually if you end up doing it with a tripod, I'm gonna take these images, select all of them, and there's two different ways you could merge this into HDR. The first is you go to the Tools menu. You could use Photoshopped, and there's a choice called merged HDR Pro. If I choose that option, it's going to load those files into layers and Photoshopped, and then it's gonna merge them together and it's gonna present me with this list of adjustments to apply in using those sliders you're gonna find some for make rather radical changes to your picture. That don't necessarily always look good like that Looks pretty terrible in other ones will just make radical changes. So you have to be rather subtle with the way you move these. Otherwise, it'll look very much fake. Well, I don't use that very often. I only use that when the feature I'm about to show you fails me and doesn't give me an acceptable result that this is my back up. So let me cancel this and show you the way I would usually do it. I would still select the same images. But this time I would go to the file menu here in bridge and I would choose opening camera raw. When I'm in camera in the upper left, I would go to a side menu and tell it to select all the images. I'd return to the same menu and then choose merge to HDR. Now you can do the same thing in adobe light room. If you select the images and you go to the photo menu, there'll be, ah, choice. I think it's just called merge or might be called photo emerge, and it'll offer you the choice of stitching a panorama or doing hdr, which is what I'm doing here. Now I get a preview in here, and there are some checked boxes on the right, a line images I almost always have turned on. The only time it wouldn't is when I'm on are extremely stable tripod and I'm using a cable release or another method for triggering the camera where I'm not touching the camera. Ah, then I wouldn't have to try to align the images. But you need that on if you're going to shoot handheld because the image won't be in the exact same location and each shot, then at the bottom is a choice. Go d ghost. And if there's any movement in the scene, if there is any wind and let's say there's a flag flapping in the wind or there's Ah River and the water is in a different position and each shot, then you're going to change this D ghost amount. If there's absolutely no motion whatsoever, you could set it off and then it's not gonna look it's not gonna compare the shots and look for motion. But if there's any chance that there was wind in your picture that might be moving things around, I would at least put it on low. There's a little check box called show overlay, and that will cause it to put red and top of the picture where it's compensating for motion. And so if it's obvious where the motion is in, the red is not covering all of the areas of motion, then you could bump this up to medium. The red will expand theory it's covering, or you could bump it up too high and it would work on an even larger area for this particular image. I don't really see any red in it. If I zoomed up, there be a small chance there be some area, so I'm gonna leave it on low because I'm assuming there be some sort of motion in there, and then I'm gonna choose merge, and when I dio, it will ask me where to save the resulting file you save, and then the end result. Lip here at the bottom of the list of thumbnails on the left side of my screen and what's special about this. It's not only is it an HDR image HDR, meaning a wider brightness range than a single shot, uh, it's also still a raw file. And that means changes to things like White Balance are going to give you a higher quality the result than if you used the first technique that I showed you, which is the technique I use as an alternative to this. Only when this technique messes up and can't combine images. So at this point, none of the adjustment sliders have been moved. That's because I did not have the check box turned on that, said Auto in. Now I can optimize this picture just like you would any other most of time with HDR to start off with. I just max out the shadows. As high as it goes. I bring the highlights as low as it goes, and then I just contrast to control. How big of a difference is there between bright and dark? After I do that, I treat it like any other photograph, and it doesn't mean I leave. Highlights is high, there's lows, it goes and shadows as high as it goes I might deviate if I don't need that much shadow detail or to darken the highlights that much. But now I'm going to treat this like any other photograph in when I'm processing it. I'm not going to spend too much time on the image itself, though, because this is more about the process of merging it, then how to process images. We had a separate lesson on his part of the complete guide That was just about camera raw and use all the techniques I discussed there. When you're done, click OK, and then you're gonna end up with your original exposures in somewhere else will be your HDR file. I saved mine on my desktop so that I could throw it away later because it was just for demo purposes. But it will usually have the letters hdr near the end of the file names. So you can tell that it's, uh, that now we can combine those two ideas hdr to get a wider brightness range in, then panorama to get a wider view. So here is an HDR panorama. Ah, there. This is where I took one dark shot, one medium shot, one bright shot, then I panned my camera over. Took another dark, medium bright pan over. Repeat process paying over repeat process pan over. Repeat process. And I probably could have gone even one darker than this, but, um, here they all are. Well, I'm gonna come in here and just select all type command A to do. So I'm gonna go to the file menu and choose opening camera. I'm gonna go to the menu in the upper left, Select. All in this time we have a special command called Merge to HDR Panorama and that's going to end up doing the HD. Ours first left one first next one, the next one, the next one till we have the individual exposures. Then it's going to do the panorama stitch, and it presents me here with the end result, and I can choose which kind of distortion it can use to combine them together. And I have auto crap turned on so I could see if I would like to do a boundary warp. This is an instance when boundary right might be useful because you see how curved these lines are in the building and by doing boundary where it might end up, straighten him out a little bit more. It's a personal preference would be critical right near the corners because sometimes you get odd kinks there, and if they're not usable, then you might not used boundary warp You might in, said Phil Edges, but I think this needs to specific of info. Phil Edges is usually only good. When you have organic material like dirt on the edges, then it works fine. But when you have straight lines like this that need to remain straight, they will not usually do a good job. So in this case, I'm just going to use auto crop in order to get a clean looking result. Then I choose merge in its right then that it asked me for where I should save it and under what file name. And then, of course, it will appear at the bottom of my thumbnail. So this is an HDR panorama, which is pretty interesting. It used to be there was a lot of work to accomplish that, and now it's a single command which could merge it for you and the end result. If you started with raw files, is a raw file and so I find when I do. HDR panorama is very frequently used, a technique that I demonstrated in a difference, um, complete guide class, which is the class that was about smart objects where I can interpret this image more than once. And I might need to do that one for this middle portion that needs a lot more brightness to it, another different setting for the area outside and all that to create an optimal results. All right, so those are the more traditional ideas. Now let's look at what else we can do or we think about photo shop at the time were shooting.
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!!!