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Overview of Basic Adjustment Sliders

Lesson 8 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

Overview of Basic Adjustment Sliders

Lesson 8 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

8. Overview of Basic Adjustment Sliders

Lessons

Class Trailer
1

Introduction To Adobe Photoshop

04:05
2

Bridge vs. Lightroom

06:39
3

Tour of Photoshop Interface

18:21
4

Overview of Bridge Workspace

07:42
5

Overview of Lightroom Workspace

11:21
6

Lightroom Preferences - Saving Documents

08:19
7

How To Use Camera Raw in Adobe Photoshop 2020

05:10
8

Overview of Basic Adjustment Sliders

13:09
9

Developing Raw Images

30:33
10

Editing with the Effects and HLS Tabs

09:12
11

How to Save Images

03:37
12

Using the Transform Tool

04:48
13

Making Selections in Adobe Photoshop 2020

06:03
14

Selection Tools

05:55
15

Combining Selection Tools

07:37
16

Using Automated Selection Tools

17:34
17

Quick Mask Mode

05:07
18

Select Menu Essentials

21:28
19

Using Layers in Adobe Photoshop 2020

13:00
20

Align Active Layers

07:29
21

Creating a New Layer

06:15
22

Creating a Clipping Mask

03:02
23

Using Effects on Layers

11:24
24

Using Adjustment Layers

16:44
25

Using the Shape Tool

04:39
26

Create a Layer Mask Using the Selection Tool

04:39
27

Masking Multiple Images Together

15:15
28

Using Layer Masks to Remove People

10:50
29

Using Layer Masks to Replace Sky

10:04
30

Adding Texture to Images

09:11
31

Layering to Create Realistic Depth

05:35
32

Adjustment Layers in Adobe Photoshop 2020

05:29
33

Optimizing Grayscale with Levels

10:59
34

Adjusting Levels with a Histogram

03:37
35

Understanding Curves

06:18
36

Editing an Image Using Curves

18:41
37

Editing with Shadows/Highlights Adjustment

07:19
38

Dodge and Burn Using Quick Mask Mode

07:14
39

Editing with Blending Modes

08:04
40

Color Theory

05:59
41

Curves for Color

16:52
42

Hue and Saturation Adjustments

08:59
43

Isolating Colors Using Hue/Saturation Adjustment

13:33
44

Match Colors Using Numbers

16:59
45

Adjusting Skin Tones

05:25
46

Retouching Essentials In Adobe Camera Raw

10:52
47

Retouching with the Spot Healing Brush

07:53
48

Retouching with the Clone Stamp

06:51
49

Retouching with the Healing Brush

04:34
50

Retouching Using Multiple Retouching Tools

13:07
51

Extending an Edge with Content Aware

03:42
52

Clone Between Documents

13:19
53

Crop Tool

10:07
54

Frame Tool

02:59
55

Eye Dropper and Color Sampler Tools

08:14
56

Paint Brush Tools

13:33
57

History Brush Tool

06:27
58

Eraser and Gradient Tools

03:06
59

Brush Flow and Opacity Settings

04:17
60

Blur and Shape Tools

11:06
61

Dissolve Mode

09:24
62

Multiply Mode

15:29
63

Screen Mode

14:08
64

Hard Light Mode

14:54
65

Hue, Saturation, and Color Modes

11:31
66

Smart Filters

11:32
67

High Pass Filter

13:40
68

Blur Filter

05:59
69

Filter Gallery

07:42
70

Adaptive Wide Angle Filter

04:43
71

Combing Filters and Features

04:45
72

Select and Mask

20:04
73

Manually Select and Mask

08:08
74

Creating a Clean Background

21:19
75

Changing the Background

13:34
76

Smart Object Overview

08:37
77

Nested Smart Objects

09:55
78

Scale and Warp Smart Objects

09:08
79

Replace Contents

06:55
80

Raw Smart Objects

10:20
81

Multiple Instances of a Smart Object

12:59
82

Creating a Mockup Using Smart Objects

05:42
83

Panoramas

13:15
84

HDR

11:20
85

Focus Stacking

04:02
86

Time-lapse

11:18
87

Light Painting Composite

08:05
88

Remove Moire Patterns

06:11
89

Remove Similar Objects At Once

09:52
90

Remove Objects Across an Entire Image

05:46
91

Replace a Repeating Pattern

06:50
92

Clone from Multiple Areas Using the Clone Source Panel

10:27
93

Remove an Object with a Complex Background

07:49
94

Frequency Separation to Remove Staining and Blemishes

12:27
95

Warping

11:03
96

Liquify

14:02
97

Puppet Warp

12:52
98

Displacement Map

10:36
99

Polar Coordinates

07:19
100

Organize Your Layers

11:02
101

Layer Styles: Bevel and Emboss

02:59
102

Layer Style: Knockout Deep

12:34
103

Blending Options: Blend if

13:18
104

Blending Options: Colorize Black and White Image

06:27
105

Layer Comps

08:30
106

Black-Only Shadows

06:07
107

Create a Content Aware Fill Action

08:46
108

Create a Desaturate Edges Action

07:42
109

Create an Antique Color Action

13:52
110

Create a Contour Map Action

10:20
111

Faux Sunset Action

07:20
112

Photo Credit Action

05:54
113

Create Sharable Actions

07:31
114

Common Troubleshooting Issues Part 1

10:23
115

Common Troubleshooting Issues Part 2

07:57
116

Image Compatibility with Lightroom

03:29
117

Scratch Disk Is Full

06:02
118

Preview Thumbnail

02:10

Lesson Info

Overview of Basic Adjustment Sliders

so I'm gonna get out of that. And let's go to some images that have yet to be adjusted. And before we really get into working on photographic images, much trying to understand some of the adjustments that are available by looking at a simple image, I'm gonna end up opening this, which is generically known as a, um, gray wedge. Now, this is not a raw file. A raw file would end with a file extension of I think CR WRC are two came from a canon camera. It would end in dot and the e f for a Nikon in there are many different file formats. Each camera manufacturer has a different version of a raw file. In what raw means is the raw data that the camera captured without being manipulated at all. It's just with sensor grabbed before anything else has been done, and each manufacturer saves that in a different way, and therefore each one is a different file extension on the end. And so this is not a raw file to tiff because I made it in photo shop, and if you have a tip for a J peg file, you can s...

till adjust them in camera, but you have to go to the file menu and choose opening camera raw to force it to go in there. All right, so this is just gonna represent the general brightness range you might have in a picture, and we'll work with the sliders that are found on the right side of my screen to see how does it adjust this particular simple image? And as I do, I think it will be easier to understand what the's sliders do. Then we'll start applying them to normal pictures and let's take a look at what we can dio. So first off, cameras divided up into various tabs. If you look on the right side of my screen, right here are all the tabs. And if you hover over a tablet, this one, you should see the name of the tab, the detail tab, black and white split toning, lens corrections and so on. We're going to start under the basic tab because just about every image I open gets adjusted with those controls, whereas the others are only used as needed. And not every picture needs what's under the other taps. So down here we have a series of sliders, and we're going to start by working with these settings right in here, which are the tonal sliders. They generally adjust the brightness of the picture, and they can't generally shift color. They're not going to make a blue sky turn red or something like that. These were only, you know, affect how bright or dark something is. Exposure is going to adjust the overall brightness of the picture. So when I move exposure, watch this image and see how much of it changes. The only portion that's not changing when I'm moving. This is black. Black is remaining black, but other than that, everything gets brighter. If I move in the opposite direction, everything is going to get darker. So I adjust exposure when the entire picture has an issue. And so the whole images to dark fine, just exposure. Then I'm gonna skip down to sliders, so we have highlights in shadows and let's see what they do. The highlight slider tries toe, isolate the bright ish shades and your picture and tries not to effect the dark ish areas. So if you look at this image, what might we consider to be bright well, these shades up in this area are definitely bright, and these maybe to a lesser extent. But once I get down into here, I wouldn't consider those to be highlights or bright areas. So let's see what happens when I just my highlight slider. I bring it up and you notice that if I just bring it out, bring it back down and bring it up. If you look at the areas that are changing, it's primarily the really bright stuff that's changing. And then a little bit of the rest of the image is changing, and that's just so it blends in with whatever is left over. Once you get into the darker shades here, I'll bring highlights down, and we can also attempt to darken it. You notice that white stays generally white. It's actually getting the tiniest bit darker, but barely perceivable e darker but is trying to isolate just the bright areas. Shadows does the opposite. It tries to work in the darkish areas of your picture and tries to leave those bright areas alone. So if I go to shadows and I bring it up, let's see what part of the image changes you notice that it's the really dark areas up until about the middle gray that's there. And then next. Nothing happens to the writers moving the other direction, and Aiken darkened things. But again, it's trying to isolate it just into the dark ish portion of the image. Then we have whites and blacks, and a lot of people get confused about what's the difference between whites and highlights because they both work on the bright part of the picture. And what's the difference between blacks and shadows? Because again, they both think about the darkest portion of the picture. Well, when you adjust both whites and blacks, it will generally affect the entire range of your picture. All it's doing is saying How bright should this brightest tone be? Um, it might be easier to see this if I have something that doesn't already have black and white in it. Let me grab this image here, which the brightest shade is nowhere near white. So if I move up, the whites watch what happens, you see that the entire picture is getting brighter. But what's happening is is it's taking whatever the brightest shade is in the picture, and it's making that brighter in taking all the other shades that are darker than that along with it. But it's doing it starting from the brightest shade that's in the picture so I could bring this up and I'm gonna bring it up until that brighter shade looks white. If I bring it further than the I lose detail with the shade next to it. So I think right about there, it turned white. Blacks, on the other hand, thinks about the darkest shade in the entire picture, and it controls how dark should it be. So if I move blacks down, watch the darkest part of the picture. I can come in here and make a darker and eventually get it to be solid Black War. I could bring it up in lighten it. But it's thinking about the extremes of brightness, the absolute brightness and the absolute darkest. Let's tweak how bright those areas are and let the rest of the picture move along with it. I imagine you had a spring in your hand if you were a kid and you had a slinky. When you're a kid, it's like grabbing the ends of the Slinky and just pull it out longer, either side longer and everything else in between moves along with it. Just like a spring. The loops on the spring would move along with it. Now you might be thinking, though, that sounds a bit like shadows and highlights, but it's not right now. If you look at this particular image, what would be considered a highlight? Meaning what is bright right now? And the answer is that not much. This might be the little list, like the absolute edge of being considered a highlight. But if I try to adjust the highlights, it's not going to change this image much right now because there's nothing in this picture that's close toe white, and therefore there's not really any highlights at all. We're just got the areas where it would blend into everything else. If I go to shadows, what in here is close to black? Nothing. So when I just shadows, not much will happen a tiny bit because it would try to blend in with the rest of the image. But there's nothing near black, and therefore shadows will be largely ineffective, but with whites and blacks, since it thinks about whatever the brightest shade is regardless, if that's white, where if it's 50% gray or it's anything else in this means just brightened. The brightest part were dark and the brightest part. Then it's going to be effective and saying, with blacks working on the darkest range, so I often think of whites and blacks is either the first step that I do for an image that looks washed out. If it looks like it's dense fog in a picture, that means you're not gonna have any white in that image. You're not gonna have any black in the You'll see that when I get to foggy looking images, and that's when these two sliders will be useful. But otherwise, on normal looking pictures, I use the whites and blacks. Sliders is what I might call a finishing technique, meaning that when I think I'm done with the image, then all tweak those just to make sure I got the full brightness range I might want, Um, but most the time it's more near the end of adjusting things. Let's go back to that more full range version of the gray wedge that's here and now let's look at what the other sliders do. So remember, exposure controls the overall brightness of the picture. It's gonna pretty much affect everything and highlights is going to isolate bright ish things. Things that are close toe white shadows will isolate darkish things. That means things that are close to black whites controls. How bright is the brightest part of the picture, Blacks is how dark is the darkest part of the picture. These will become much more useful when we start working on normal pictures. But now let's figure out what contrast does contrast is going to control how big of a difference is there between bright and dark things. If you increase contrast, there will be a greater difference between bright and dark stuff in. If you lower contrast, bright and dark things will become more similar to each other. You could in some ways do that with the shadows in the highlight sliders. If I brighten the highlights and I darken the shadows, I'm getting a greater difference between bright and dark things, and that's going to be the equivalent to increasing contrast if I do the opposite. If I take British things and darken them by lowering this and I end up taking the dark stuff and brighten it. They're going to become more similar to each other. That's similar to lowering contrast. But let me get rid of those adjustments and show you just contrast. Just, you know, in here any time you have a slider you're experimenting with, be feel free to double click on it that's going to reset it to it's default setting. So anytime I'm experimenting with a slider and inside, I don't like what it did. A double click on it. It just pops to its default. Alright, let's try contrast and let's see if it does what I said. It does. I bring it up right. Things get brighter and dark. Things get darker at the same time, I lower it, and bright and dark things start looking more similar to each other. And it contrast is something where most of the time adjusting highlights and shadows instead, because that can control the two parts individually, whereas with contrast, it's doing in both at the same time. But it's still a very useful adjustment now, below that, we have three sliders. They're called texture clarity in D. Hayes. What the heck do they do texture, clarity and D. Hayes. Well, in this case, the one I really want to talk about its d. Hayes, because texture and clarity, we need detail in our picture to really see what it does. So it's not gonna do much on here cause I don't see like, texture within my picture. But D. Hayes should end up doing something. De Hayes is going to act much like the blacks slider. Remember when I said that blacks and whites might be useful when I get an image, it looks foggy. Wouldn't that also be known as hazy? Well, let's grab an image one of these simplified ones. This would be the equivalent to a hazy scene where it just looks like dense fog. You and you can't see a lot of detail. That's because bright things and dark things will be very similar to each other. Just look like a gray fog. Let me freshly what blacks would do if I bring blacks down. The darkest part of the picture gets darker and darker, and eventually it turns black. But if I continue pushing it further, watch what happens to the bar that's right next to black do you see how eventually you lose it and it turns solid black. And if I could push this even farther, the next bar over might end up getting to solid black, although I've maxed it out, so I might do exposure instead to see if I could get it. But let's look at how D. Hayes is different. It's gonna act a lot like that black slider. But once that area gets close to being black, it's going to be concentrating them the dark part of the picture in trying to retain detail. So I'm going to bring D haze down. Let's see, I'm sorry. Bring it up, see if that dark area gets darker and darker. But as it nears black, you'll notice that the one right next to it is still very easy to see that it's different. And so D. Hayes. Anytime you have a hazy picture, the darkest part of your picture will not be near black. In to break through the haze, you want to get the darkest party image towards black. But if you did that using the black slider and you went it all too far, you can easily trash the detail on dark part of the picture, but D. Hayes is going to do it and make it so you can still see the separation between all those tones, but that will make more sense when we get Tor normal picture.

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

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!!!

Student Work

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