Lessons
Bootcamp Introduction
16:22 2The Bridge Interface
13:33 3Setting up Bridge
06:55 4Overview of Bridge
11:29 5Practical Application of Bridge
27:56 6Introduction to Raw Editing
11:00 7Setting up ACR Preferences & Interface
07:39 8Global Tools Part 1
16:44Global Tools Part 2
20:01 10Local Tools
22:56 11Introduction to the Photoshop Interface
07:13 12Toolbars, Menus and Windows
25:07 13Setup and Interface
11:48 14Adobe Libraries
05:57 15Saving Files
07:39 16Introduction to Cropping
12:10 17Cropping for Composition in ACR
04:44 18Cropping for Composition in Photoshop
12:40 19Cropping for the Subject in Post
03:25 20Cropping for Print
07:34 21Perspective Cropping in Photoshop
07:11 22Introduction to Layers
08:42 23Vector & Raster Layers Basics
05:05 24Adjustment Layers in Photoshop
27:35 25Organizing and Managing Layers
15:35 26Introduction to Layer Tools and Blend Modes
21:34 27Screen and Multiply and Overlay
09:15 28Soft Light Blend Mode
07:34 29Color and Luminosity Blend Modes
12:47 30Color Burn and Color Dodge Blend Modes
07:43 31Introduction to Layer Styles
11:43 32Practical Application: Layer Tools
13:06 33Introduction to Masks and Brushes
04:43 34Brush Basics
09:22 35Custom Brushes
04:01 36Brush Mask: Vignettes
06:58 37Brush Mask: Curves Dodge & Burn
06:53 38Brush Mask: Hue & Saturation
07:52 39Mask Groups
05:52 40Clipping Masks
04:11 41Masking in Adobe Camera Raw
07:06 42Practical Applications: Masks
14:03 43Introduction to Selections
05:42 44Basic Selection Tools
17:41 45The Pen Tool
11:56 46Masks from Selections
04:22 47Selecting Subjects and Masking
07:11 48Color Range Mask
17:35 49Luminosity Masks Basics
12:00 50Introduction to Cleanup Tools
07:02 51Adobe Camera Raw
10:16 52Healing and Spot Healing Brush
14:56 53The Clone Stamp Tool
10:20 54The Patch Tool
06:38 55Content Aware Move Tool
04:56 56Content Aware Fill
06:46 57Custom Cleanup Selections
15:42 58Introduction to Shapes and Text
13:46 59Text Basics
15:57 60Shape Basics
07:00 61Adding Text to Pictures
09:46 62Custom Water Marks
14:05 63Introduction to Smart Objects
04:37 64Smart Object Basics
09:13 65Smart Objects and Filters
09:05 66Smart Objects and Image Transformation
10:57 67Smart Objects and Album Layouts
11:40 68Smart Objects and Composites
10:47 69Introduction to Image Transforming
04:34 70ACR and Lens Correction
09:45 71Photoshop and Lens Correction
14:26 72The Warp Tool
11:16 73Perspective Transformations
20:33 74Introduction to Actions in Photoshop
09:27 75Introduction to the Actions Panel Interface
05:06 76Making Your First Action
03:49 77Modifying Actions After You Record Them
11:38 78Adding Stops to Actions
04:01 79Conditional Actions
07:36 80Actions that Communicate
25:26 81Introduction to Filters
04:38 82ACR as a Filter
09:20 83Helpful Artistic Filters
17:08 84Helpful Practical Filters
07:08 85Sharpening with Filters
07:32 86Rendering Trees
08:20 87The Oil Paint and Add Noise Filters
15:08 88Introduction to Editing Video
06:20 89Timeline for Video
08:15 90Cropping Video
03:34 91Adjustment Layers and Video
05:25 92Building Lookup Tables
07:00 93Layers, Masking Video & Working with Type
15:11 94ACR to Edit Video
06:10 95Animated Gifs
11:39 96Introduction to Creative Effects
06:08 97Black, White, and Monochrome
18:05 98Matte and Cinematic Effects
08:23 99Gradient Maps and Solid Color Grades
12:20 100Gradients
04:21 101Glow and Haze
10:23 102Introduction to Natural Retouching
05:33 103Brightening Teeth
10:25 104Clean Up with the Clone Stamp Tool
08:07 105Cleaning and Brightening Eyes
16:58 106Advanced Clean Up Techniques
24:47 107Introduction to Portrait Workflow & Bridge Organization
14:47 108ACR for Portraits Pre-Edits
21:27 109Portrait Workflow Techniques
18:46 110Introduction to Landscape Workflow & Bridge Organization
12:17 111Landscape Workflow Techniques
37:36 112Introduction to Compositing & Bridge
06:59 113Composite Workflow Techniques
34:01 114Landscape Composite Projects
24:14 115Bonus: Rothko and Workspace
05:15 116Bonus: Adding Textures to Photos
07:05 117Bonus: The Mask (Extras)
05:18 118Bonus: The Color Range Mask in ACR
04:54Lesson Info
Bonus: Adding Textures to Photos
So the next thing we have in our little grab bag here of bonus stuff is gonna be textures, adding textures to images. I gave you a bunch of textures with this course, but one of the things that I did not show is necessarily how to use them. (laughs) I showed you how to use grunge textures, those grunge layers that we apply with your screen, or with Multiply, but the same kind of thing applies with a regular texture. If we just go back out here, we'll go to our Lessons, and go to our Extras, and go into our Textures. These are all the textures that I have given you with this course. You can see, let's just take, this is one of my favorite ones. Let's open this one up. And I'm gonna apply this texture layer on top of this image here. I'm gonna press V for the Move tool. Just press it and move it. Press and hold Shift. If it's bigger, just press Control+T, and then Control+0, and get it back down to the size that it needs to be. 'Bout right there. We could've gone a little bit smaller, bu...
t that works for me. So a texture by itself is not actually a texture. It's an individual layer, the individual picture that's been taken from something that looks tactile in nature, therefor texture is the word that we use for that. I like to spend a lot of time around dumpsters. They have the best textures on the planet. (audience laughter) So I tend to shoot them with my cellphone, with the flash on, because I want a washed-out look. I don't want to have shadows and depth and stuff inside that texture, because those shadows will apply themselves to the image. I want just a basic color swatch with deteriorated stuff on it. So if we think about a texture, and how we can use it in our photographs, we need to think about that texture in the layer, and think about the layer and those apps. So what can we use? We can use Blend Modes, we can use Blend IF, we can use opacity. We can use all kinds of things to get this texture to blend in with the image. So I could change this mode to Soft Light. And you can see that we have the texture, these little lines kinda rippin' through the image there. If I press Command or Control+I, I get a whole different look for that. They go from being red lines to being blue lines. Command or Control+I on any layer is gonna give you its inversion, it's gonna give you a second option. So if I change that from something like Soft Light to maybe Overlay, again it's gonna give me a different look. Press Command or Control+I, now it's gonna be more powerful and more potent because that's the difference between Overlay and Soft Light. Those two blend modes work really well together on this. Now with those other Grunge layers that we showed before, we used things like Screen, and we used Multiply. You could still use Screen and Multiply with an image that's not black and white, they just tend to work a little bit better with black and white images. So if we change this to Soft Light. Let's do Overlay, actually. We can also use opacity here. Or we could double click inside here and use Blend Modes, and Blend IF. So if I double-click on this, I can press Alt or Option on the dark areas, and let those dark areas shine though this texture, and let the light areas shine through this texture, like they aren't going to be effecting those windows at all. And there we go, K? So there's a series of textures that are included in here, and what I want you to do is I want you to play with them on your photographs using all those different apps. You got your Blend Modes, you got your Blend IF, you got your Overlay, you've got your opacity, and you've got your Fill. All those different things that can be used to modify one layer, and how it applies itself to the layer underneath. Another thing about that too is it not necessarily with textures, but with the painted background. I'm also giving you painted backgrounds here. The painted backgrounds can be used very well on images of people. So this is a perfect example. I photographed my wife on (chuckles) our basement wall. You can even see my lights in the background there. Again, I told you, whatever you have as your studio is good enough, right? Just use that. She needed a quick image to put, I forget what it was for, it was for something. She needed something as like a, it wasn't a profile image, she needed something for her business. So I said OK, just go ahead and set up, and I'll go ahead and shoot it for you. Just a quick little headshot. But I didn't have any good backgrounds to put behind her. So what I did was, I just shot her in the studio, and then I made some painted backgrounds from Textures to make them look like paintings that I could then put behind her to almost look as if I shot and photographed her on a painted backdrop. So I'm gonna go ahead and open up. I've already pre-baked this. I pre-baked it so that she is not there. Her background is not there. So open up this, open up this, open them up in Photoshop. And this will be an example of one of the painted backdrops that I'm giving you. It's not gonna look perfect right out the box. And there's a reason. I want you to be able to do different things to this so that you maybe do different colors with it, or you blur it or you do something, but this is just your base that you can add. So if I press V for my Move tool. Move this behind here. It's kinda like a composite. Press Command or Control+T to get it to fit inside this canvas, and then put it behind her. Doesn't look very good, does it? Nope, not really, but what I can do is the same trick I did before in our compositing trick. Add a new layer, B form my Brush tool, to make it look just like it would look if I were to photograph her on a backdrop that has light on that backdrop, OK? And now, I can change the color and alter this backdrop. I can make a color overlay, and maybe change that to a blueish color, or a cyanish color that'll be nice and attractive towards her skin tone and her shirt. And then change that Blend Mode to color and that will change that painted backdrop's color. Maybe drop the opacity a little bit, let some of that shine through. And, I can go to Filter, Blur, Gaussian Blur, and I can blur that painted backdrop to make it appear like it's disappearing with the bocca there. I need some further work to do on probably her portrait after this, but you can see the difference between something like that, something like that. (laughter) Hey, it's a lot better. So those painted backdrops can be used for just about anything. Don't take them necessarily for face value, 'cause if you do, they're not that pretty. You can also use Curves adjustment layers on them too. So if I were to take a Curve, on that backdrop, could brighten up that backdrop a little bit too. So it's not competing with the foreground elements. It's kinda like using a texture, but here's, it's kinda like the mixture of a composite, and a texture in a way.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Robert Andrews
Blake Rudis is the absolute best in teaching photoshop. His knowledge and how he presents the instruction is clear and concise - there is NO ONE BETTER. Yes, his classes require some basic skills, and maybe I'd organize the order of (or group) the classes in a different order, but, let me be clear - if anyone is to be successful or famous in the Photoshop world, it should be Blake Rudis. I strongly recommend his teaching. I started photography and post processing in 2018, and because of this class, I'm know what Im doing. The energy you get when you create something beautiful is profound, it makes you bounce out of bed (at 4AM) like a 5 year old, to go create. It's a great ride! Thanks Blake, & Thanks Creative live.
a Creativelive Student
Amazing course, but don't be fooled into thinking this is a beginner's course for photographers. The problem isn't Blake's explanations; they're top. The problem is the vast scope of this course and the order in which the topics are presented. Take layers for example. When I was first learning Photoshop (back when we learned from books), I found I learned little or nothing from, for example, books that covered layers before they covered how to improve/process photographs. These books taught me how to organize, move, and link layers before they showed me what a layer was actually for. Those books tended to teach me everything there is to know about layers (types of layers, how to organize them, how to move them, how to move them two at a time, how to move them two at a time even if there are other layers between the two you're interested in, useful troubleshooting tips, etc. ) all before I even know (from a photographer's point of view) what it is the things actually do. The examples of organizing, linking, and moving mean everything for graphic designers from Day One, but for photographers not so much. Blake does the same thing as those books. Topics he covers extremely early demand a lot of theoretical imagination for a photographer who doesn't already know quite a bit about what he is talking about. Learning about abstract things first and concrete things later only makes PS that much harder to understand. If you AREN'T a beginner, however, this course is amazing. I thought it would be like an Army Bootcamp, taking you from zero and building you into a fit, competent Photoshop grunt. Now I think it's more like Army Bootcamp for high school varsity jocks. It isn't going to take you from the beginning, but the amount you'll get out of it is nonetheless more than your brain can imagine. I've been using PS for years to improve my photographs, and even to create the odd artistic composite or two. The amount I've learned in the first week is amazing, and every day I learn something -- more like many things -- which I immediately implement to improve my productivity and/or widen the horizons of what I can achieve. If you ARE a photographer who's a Photoshop beginner, I'd take very seriously the advice Blake gives in the introduction: Watch one lesson, and practice the skills and principles you learn in that one lesson for two weeks. THEN watch the next lesson. You can't do that of course without buying the course, so it's up to you to decide whether you'd like to learn Photoshop and master Photoshop all from the same course. Learning it first and mastering it later will cost more money, but I think you'll understand everything better and have a much more enjoyable ride in the process. As for me? I'm going to have to find the money to buy this course. There is simply way too much content in each lesson for me to try to take on all at once, but on the other hand I don't want to miss anything at all that he has to share.
Esther Gambrell
WOW!!! I've been purchasing CL classes for several years now and have watched HOURS of "How-To Photoshop" classes, but this is the first one I've actually purchased because of the AWESOME BONUS content!!! SERIOUSLY??!!?!? A PLUG-IN??? But not only that, Blake is SO easy to understand, and he breaks down concepts in different ways to connect with different people's learning styles. I REALLY appreciated this approach because I am a LEFT-BRAINED creative that has an engineering background, so I really connected to what Blake was saying. THANK YOU FOR THAT! There are TONS of Photoshop courses out there, but I found this one to be the most helpful in they way Blake teaches concepts so that you know WHY you're doing what your doing. I feel like he taught me how to fish with Photoshop to feed me for a lifetime instead of just giving me a fish to feed me for one day. This is the BEST overall PS course out there!!! Thank you!!!!
Student Work
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