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
Polar Coordinates
Now let's look at a weird way of bending things. This method is going to create tiny little planets, uh, or tiny little doughnuts. And I'll show you a few examples. If you've ever seen images that looked like this, this that's more the doughnut variety. Those were all created with a filter that is known as polar coordinates. And so I want to show you what you need to do if you want to create one of those little planets. So here, we're going to do it with some lions in order to create something that looks like a planet. We're going to be using the filter called filter distort polar coordinates. And it has two features to us settings when you get into it. Rectangular two, polar in polar to rectangular. I'm gonna use the top option because we're starting out with a rectangular document and it's going to wrap it around now in order to really understand what it's doing. So it's kind of wild what we got here. If you look at it, we now have those lions on the outer edge of this, and we have t...
he trees going in towards the middle, which is pretty crazy, but in order understand it. Let's grab a simple image. Here's my simple image and just noticed that that says top and bottom. And if I choose filter distort polar coordinates and I use that top setting, let's figure out where the top ends up and where the bottom ended up. So you noticed that the top edge of the photograph ended up being the center in the bottom edge of the photograph ended up being the outer edge. And so if we want something to look like a planet, whatever should be out in the atmosphere beyond the planet should be at the bottom of the photograph and whatever should make up. The planet itself should be at the top of the photograph because if you look here, that becomes the center and this needs to be a square in order. Get around planet. If you apply it on a rectangular, eventually get an oval. So if you look at this, didn't I say that I wanted what ever should make up the planet to be at the top of the photograph? So let's go up here and choose image, image, rotation, flip vertical. So now whatever is at the top will become the middle of the planet. Whatever is at the bottom will become the outer edge where it's like the atmosphere around the planet. But if I apply it to this, I can try it real quick. Since it's a rectangular document, we're gonna end up with an oval and I'd rather have it be round. So choose, undo. We just need this document to be around. So I'm gonna go to the image menu and choose image size and usually when you change the width and here the height changes along with it to maintain the aspect ratio original ratio. Well, if you turn off this little link symbol, then it doesn't change in both. So I'm just gonna copy whatever the higher number is. I'm going to paste it with lower number Waas to make this a square. It is going to do that by stretching the image. So if I click OK, now it's stretched. And if I zoom out it's a square document. Then I'm going to apply that filter called polar coordinates. Click OK, and now we have a planet. The only issue with the planet will not the only issue. But the main issue with the planet is there is a seam. Can you see the seam right here? That's where the left edge of the document is touching the right edge of the document. If you want to avoid that scene, choose undo in when you're in. This were about Teoh to apply the filter instead, apply different filter. The filter is called filter other offset Offset is like a conveyor belt. It just means move my picture. Let's say to the right, in whatever part of it goes beyond the edge of the screen haven't wrap around like a conveyor belt. Would is if that was one continuous piece. So when I choose Offset, I just bring up this horizontal setting and it just moves the image to the right. And I'm just exposing the seam right here is the scene. And so at this point, I could come in here and retouch out the seam. I'm not going to spend much time doing that, but I could hear you something like the, um, spot healing brush that's not quite appropriate, but might have to do the top part manually. That looks all right. But now I don't really see a seam in it. And now I could go back and apply the filter. Polar coordinates look OK. And now we have a planet with No, uh, seem. The final thing you might want to do is make around selection in fill the outer area with a solid color, because otherwise, whatever it was right on the edge of the picture right here just gets extended out to the edge of your photograph. And you can fill that in with whatever color you want. Just make a solid ah, round selection. Select inverse to get the opposite see of the corners in fill with whatever you desire. So if you want to see other examples of that same thing, um, let's see this original just flipped and then stretched turns into either this if we put the content at the top of the photograph or if we left it at the bottom of the photograph. You get this instead. But you gotta retouch up the seam. This came from this image here, and this image here produced that. So now you've gotten a pretty good idea of how to warp bend in liquefy images and photo shop and just try to combine these ideas with what we covered in other parts of the ultimate guide. Because I find oftentimes I use a lot of these features when I need to perform complex retouching. Area I copy from in one part of the document doesn't quite fit another and using what was in what's called the Clones source panel to rotate in scale and even flip. Sometimes that isn't enough. And that's when I turned to some of these features in order to really be able to melt my image. And if you watch the advanced retouching lesson, you'll see how I did that using puppet warping. But this is just another installment in Photoshopped. The Complete Guide.
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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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