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
Remove Moire Patterns
in this session, we're gonna cover advanced retouching in a previous lesson. That's part of the complete guide. We covered retouching essentials, and that's not always gonna address everything you got to do. So in this session, we're going to get much more deep into retouching and let's dive right in. The first thing I'm gonna do is show you how to get rid of moray patterns. Moray patterns happened when you photograph something that has a regular pattern to it, like the weave of fabric. You're photographing that with the camera that's using a grid of pixels, and it's kind of like having two grids that don't perfectly align. I don't know if you've ever seen it before, but if you take the screen that you might find in a screen door and take two pieces of it, put it one right on top of the other and then rotate them slightly. A lot of people have seen that effect, but if you do see it, you get a weird interference patterns between the two screens. Well, the same thing happens when you tak...
e a camera that's capturing a grid of pixels, and you pointed out a grid of fabric or something, you can get a pattern. Let me show you what one looks like. If you look closely at this, you see these odd colors that are in here in this pattern well. To avoid that camera manufacturers put a filter in front of the camera sensor that actually softens the image slightly, Uh, and that prevents this from happening. But because it softens the image, oftentimes manufacturers will create two versions of a camera, one that has that filter in front of the sensor and one that does not. So those people that shoot things like landscapes, which you don't find regular patterns and nature. They could use the version without the filter. They'll get a sharper picture. But then those people would do shoot man made objects. Specially fabrics would get the version of the camera with the filter. Sometimes it's called an anti alias ing filter, but there are other names for it. And so this is what it would look like if you might choose one of those cameras without the filter in front of it and use it on fabric. So let's figure out how to fix that. I'm gonna fix it using adobe camera raw. Now this is a J peg file. So fire to just double click on it. It would open it all the way into photo shop, and we can access camera raw from the filter menu in photo shop. But I'm gonna go appear to the file menu in Bridge and choose opening camera. Now, in Kameron, we're not gonna be able to fix us with the normal adjustment sliders that are found in the right side of my screen. Instead, I'll have to go to the top of my screen where I find a bunch of tools up there. You're gonna find two different paintbrush tools we want the one that doesn't have the dots around it. That's the spot removal tool. We want this one. It's called the adjustment brush. When you choose the adjustment brush on the right side of your screen, you're going to get sliders that look a lot like the normal ones you have there when you're just adjusting a picture. But in this case, we're gonna brush these changes into the image. So if I move one of these sliders right now, I'm not going to see any change in the image at all because I need to first paint within the image. Uh, So what I'm gonna deal here is there's a slider called more ray reduction, and that slider is not found in any other areas off camera or and photo shop. And so it's unique to this tool. I'm gonna crank it up a size. It goes just so I can see something when I'm painting on my picture. Then after I'm done painting, we can adjust the amount to make sure it's the lowest amount that really tackles the job. So I'll zoom up here so even more better. See this, and I'm just gonna start painting now. When I do this, I want to make sure that down here near the bottom, the choice called Auto Mask is turned off because auto mask tries to limit where I can paint. And sometimes it might limit me to only painting on these areas that are colorful, and we need that to paint across the whole area. But the thing you want to be careful of is when you're painting here to correct for this more. A pattern is that if the object that has the Marais pattern in it touches another object that is dramatically different in color. That's where you want to paint a minimal amount, because this is blurring the color transitions in a picture. So if I get up here at the top and I see where this outfit stops in the red cherry sitting in begins do you see how the color of the red chair has transferred over to his outfit? And that's because of this choice called the Fringe. Before I fix that, I'm gonna look down here at the main portion of the fabric and I'm gonna adjust the amount setting for more a reduction. I'm gonna bring it all the way down to zero, and then I'll slowly bring it up and try to find the lowest setting that really tackles the job. And I think somewhere right around there is fine, because now I have a more accurate idea of how big of a problem I have up here, where those colors are blending together. If you watch that, I ended up with a setting of, I can't even read that it's either or 66 but if I continue bring it higher, you'd see that that color blends even more shoes undo to get back down. Well, up here at the top above the sliders is a choice called erase E. And if I have that set to erase that probably want feathering turned up a bit so that I get a soft edged brush and I'm just gonna try to get it off of the edge of the fabric so I don't get the color from the chair blending in now we might see some of the more a pattern appear in that area. If I do, I just got to choose a smaller brush and maybe lower the ah slider a bit when I painted in. Ah, but most the time. You can remove it from areas where there's a transition between two distinctly different colors because this moray reduction is gonna blend colors together. And that's how it attempts to get rid of the Moraine. Now, to show a before and after all I'm gonna do is hit the delete key. The delete key is going to remove this little adjustment pin that's here and that all type command Z to undo its controls and windows and so you can see before and after I'm gonna click done there
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!!!
Student Work
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