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
Brush Mask: Hue & Saturation
So let's go ahead and take a look at how we can use this with hue saturation and other different adjustment layers. So in this image I really like the red color on the stairs, but I think with this, I want to change the overall look and feel of the stairs, by changing maybe the colors of the chairs. Of the stairs. So what I'm gonna do, is I'm going to add a hue saturation adjustment layer, and I've got a targeted adjustment tool here, that when I click on this, and then click on that color of red, I can manipulate the hue of that color red to whatever color I want that color to be. So if I move this over, start making it a little bit on the green side, maybe move it this way and start getting it onto the blue side. When you're rotating the hue like this, what you're doing is, you're actually taking that color of red and rotating it around the color wheel in whatever degrees. So notice when you pull this all the way up, it's 180. Not 100, it's 180. Because you're taking that color red, ...
180 degrees around the color wheel. Pull it all the way down, it's taking 180 degrees to the left around the color wheel. So let's make that a little bit more on the blue side. Let's brighten that up a little bit. And then drop that saturation a little bit. And then change this spread down here, so it spreads a little bit more into those magenta areas. (mouse clicks) See how there's a little bit of magenta on those stairs? I wanna get that in there. So let's change that spread a little bit. When I do that, though, what's it doing? It's affecting the entire canvas, and it doesn't look very good. So if I click on this hue saturation adjustment layers mask, again if I press command or control I, it is gonna make sure that hue saturation doesn't affect anything at all in this image. And then what I can do, is I can press B for the brush tool, make sure that I'm painting with white on this mask, and if I zoom in by pressing control and space bar, and get a little bit more control over the area that I wanna paint in ... Just start painting in that color. Start to get some blue in those stairs, instead of making them red. Paint in, I'm just gonna do this a little bit quicker. Boom, boom, boom. I'm gonna do something on purpose here, I'm just gonna go a little bit lighter on my paint here, Show you how you can manipulate this even a little bit more in the mask. So now those stairs are a blueish color. And if we wanted to we could do the same thing with the couch over here, 'cause the couch matched the stairs. So we'll just paint that in a little bit. (brush sounds) Alright, so now, if I look at this mask, you can see that this mask is not 100% white. You see that? It's got some gray in it, it's not 100% white. It's even got a little bit of black in it. Now I could continue to keep trying to build up and build up and build up to make that mask more white, or I can kinda hack that mask a little bit. So if I alt or option click on this mask, you can do things to masks just like you would do to any other photograph. You can blur a mask with a filter, and any of the things that you see in the menus up here on the top of Photoshop, you can use those to adjust the mask. So you're not just restricted to just the pen at this point, you lay down the mask ... If I were to keep painting here, I might accidentally over spray into an area that I didn't want, or I might paint something in that I didn't necessarily want, but I want a full on white mask. Well because I started with my Wacom tablet, it's not that this is the point of no return, I can't necessarily go back, but what I can do is if I go up to image and go to adjustments, I can go to levels or curves. And now I have a curves adjustment layer for that mask, that's not even going into an adjustment layer. So there's the adjustment layer that's curves, that's the calculation that's happening within the stack, and then there's also curves that are by themselves within the menus. So if we look at this mask, and I bring this down to make this look brighter, look at how the density and the intensity of that mask is changing. So if I bring this down, that whole mask is starting to get whiter. So let me go ahead and press okay on this. I'll press alt or option and click away from this, still with this mask selected, go up to image, adjustments, and curves. And if I make this darker, watch the effect. Look at how those stairs are now getting more blue. And the reason why is because that mask that we painted on there before, wasn't necessarily a 100% white mask. It had some feathering in it, it had some opacity changes in it, because we used the Wacom tablet. So, this is a really helpful tool when you make a mask, and you're like, "Man, I wish that was just a full on white mask." Well you can change the contrast of that mask, just by going in to the curves or the levels of that mask. And that's not affecting the layer that's below it, it's just a curves adjustment layer for that mask. Now unlike a regular curves adjustment layer, you can't go back from that. So once you do it, it's pretty much done. You can go into the history and you can back up in the history, but if I were to keep going, I can't necessarily go back. Whereas a curves adjustment layer, you can delete or alter at any time. On that, we also have some things like properties of masks that we haven't even talked about yet. So when we first started this mask, this mask right here, if we look at the properties of this mask, it has properties just like a curves adjustment layer would have properties, or a hue saturation adjustment layer would have properties. It has a density, it has a feather. So you can increase and decrease the density of this mask, using this control panel. However, it starts at 100%. So if your mask is already light and you wanna go higher, you can't increase the density of the mask beyond 100%, but you can always reduce the density of that mask. And by density, if I press alt or option and click on this hue saturation adjustment layer, and drop this density down, you can see that it's changing the density of the mask, or the black area of this mask. Which is allowing more of the underlying area to be revealed through it. If I were to click on this mask, again and go to the properties and bring that back up, so you can see it in real time what's happening, that black area of that mask around it, this is not affecting the white portion at this point, this is affecting the black portion. As I bring this down, that's allowing more of that underlying color to show through. Even though I've masked it out, look at the mask now. The density of that mask is less. So it's not necessarily about black and white, it's also about what happens in between black and white. If you have a variation of the color black in there, so you have maybe some middle grays, that'll basically be, if it's 128 gray, that's a 50% effect of that mask. But because our mask was painted with straight white and black, we bring the density up to 100%, that blacked-out area around it is going to block out this effect completely from what's happening underneath. (mouse clicks) So if we go to the feather, press alt or option on this mask, and increase the feather, (mouse clicks) this will increase the spread of that mask. And this can be very helpful when we're doing things with selections which we'll see in the next course. If you make a mask and it's got very rigid edges on it, it can be very difficult to go through and paint in your edges to make it better. But what you can do is you can just increase that feather a little bit. If we were to press alt or option to click away from this mask, zoom in a little bit, maybe to right here and see what this feather's gonna do as we bring it up ... It's basically gonna increase the spread of that mask. See that, so it's allowing more of that underlying red to kind of feather through. Press alt or option on that. Drop that down a little bit. There you go.
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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