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: Rothko and Workspace
I got a couple extra tidbits here that either you could probably consider bonus content or maybe, I don't know, maybe I wanted to put it in there and I just glanced over it 'cause we had a hundred lessons to go over and it just slipped my mind. (laughs) Either way you look at it, this bonus content is gonna be some tips and tricks that we kinda just missed along the way that I think are really important, that I don't want to leave you with without getting these things and understanding these things. So let's just go ahead and get started. We're gonna jump into Photoshop, and I'm gonna first set this up with talking about the interface of Photoshop. So, let's go all the way back to Lesson Number Three, where we talked about setting up our interface. Photoshop has three, four, four different interfaces that you can choose from as your background or your backdrop to Photoshop. You have white, you have like a medium white between medium gray, a darker medium gray, and then a dark backgroun...
d. Now, what I wanna point out about that is, if you go up to Edit and you go up to Preferences or, what was that keyboard shortcut, Control K, you're gonna see under Interface, here's where you can select what color you want as your background. Now I'm gonna just trip you up a little bit here with some color theory, okay? So what I've done is I've taken all of the different interfaces that you can have for Photoshop and I've done some color theory kind of studies on this. If you wanna look into a painter that does this kind of stuff, his name is Mark Rothko. He's a color field painter more in the modern era of painting, and what Mark Rothko would do is he would takes these giant swatches of color and put them on, put smaller swatches of color on these giant swatches of color, and we're talking like a canvas that might be 15 feet by 30 feet tall, huge canvases. It would just be one color on another color, and you're sitting there thinking to yourself, like, "This is ridiculous, this is really what we call "modern-day painting?" it's not until you experience it, until you see it, that you can actually appreciate what he was going for there, just looking at it on the computer really doesn't help. But all what the color field painters do is they look at how colors interact with other colors. The thing about this is if we look at these two different colors here, this color fill layer that we have on the top of this, and you can play around with this, 'cause I'll leave this as a .PSD document, just like this, so you can experiment with it. This color fill layer right here is the exact same color. It's not changing, you can see that it's a color fill with the masks. If we were to put this into full screen mode and allow you to see this, look at what's happening with this blue color when it's set to gray and look at what happens when it's set to this darker gray. Here it appears more bright, more vibrant, more intense. Here it appears more dull and actually closer to that gray background. Then if we go and do the lightest and darkest interfaces, look at the extreme difference that we have here. Here this gray-blue swatch almost appears like a white color because it's on this black, whereas this grayish-blue swatch appears much darker. It's a big difference that's happening between this color and this color. Now how does this, where am I going with this is what you might be asking, Blake, right? Well, the whole point of this is that the colors that are surrounding your image or the interface that's surrounding your image will have an effect on what you do with your photographs as you edit them, because you have to think about how our eyes get adjusted to things and what we average as we're looking at that. Our eyes are gonna be calculating the darkness of the interface and the image that we're working on. So, play around with this. Double-click on this color a little bit here, change this color to something like an intense blue and see what happens with that intense blue. With that intense blue, on this lightest and darkest Photoshop interface, when it's on white, it almost doesn't appear quite as intense, does it? It looks like it's kinda just fading into that lighter gray background, but here it looks like a really deep, really intense color that's coming through. So now if you can imagine an entire photograph that you're working on now, very colorful photograph that you're working on now, and you're working on that on a light background, it's not gonna be quite as colorful as you would imagine. Looking at it on a darker background, it's gonna appear a lot more colorful, so you will make different decisions with your images based on the interface that you work with. With that being said, which interface is the best? I don't know if there's necessarily a best interface to work with, it's just the interface that works for you. You can see that throughout this entire course I've been using the, not the darkest gray, but the lighter gray and this, all of this stuff is color theory related, so play with this color swatch, change the color on here to see what happens when you use different colors, different variations of colors, look at that right there, that's an interesting one. On the darkest one it almost appears white. Over there it appears almost like a light magenta. Color theory is really important stuff, it's really powerful stuff, it said this is how colors interact. This is a color field-type of assessment of what happens with the interface background that you choose and the colors that you're gonna use on your image.
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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