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Introduction to Landscape Workflow & Bridge Organization

Lesson 110 from: Adobe Photoshop CC Bootcamp

Blake Rudis

Introduction to Landscape Workflow & Bridge Organization

Lesson 110 from: Adobe Photoshop CC Bootcamp

Blake Rudis

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Lesson Info

110. Introduction to Landscape Workflow & Bridge Organization

Lessons

Class Trailer
1

Bootcamp Introduction

16:22
2

The Bridge Interface

13:33
3

Setting up Bridge

06:55
4

Overview of Bridge

11:29
5

Practical Application of Bridge

27:56
6

Introduction to Raw Editing

11:00
7

Setting up ACR Preferences & Interface

07:39
8

Global Tools Part 1

16:44
9

Global Tools Part 2

20:01
10

Local Tools

22:56
11

Introduction to the Photoshop Interface

07:13
12

Toolbars, Menus and Windows

25:07
13

Setup and Interface

11:48
14

Adobe Libraries

05:57
15

Saving Files

07:39
16

Introduction to Cropping

12:10
17

Cropping for Composition in ACR

04:44
18

Cropping for Composition in Photoshop

12:40
19

Cropping for the Subject in Post

03:25
20

Cropping for Print

07:34
21

Perspective Cropping in Photoshop

07:11
22

Introduction to Layers

08:42
23

Vector & Raster Layers Basics

05:05
24

Adjustment Layers in Photoshop

27:35
25

Organizing and Managing Layers

15:35
26

Introduction to Layer Tools and Blend Modes

21:34
27

Screen and Multiply and Overlay

09:15
28

Soft Light Blend Mode

07:34
29

Color and Luminosity Blend Modes

12:47
30

Color Burn and Color Dodge Blend Modes

07:43
31

Introduction to Layer Styles

11:43
32

Practical Application: Layer Tools

13:06
33

Introduction to Masks and Brushes

04:43
34

Brush Basics

09:22
35

Custom Brushes

04:01
36

Brush Mask: Vignettes

06:58
37

Brush Mask: Curves Dodge & Burn

06:53
38

Brush Mask: Hue & Saturation

07:52
39

Mask Groups

05:52
40

Clipping Masks

04:11
41

Masking in Adobe Camera Raw

07:06
42

Practical Applications: Masks

14:03
43

Introduction to Selections

05:42
44

Basic Selection Tools

17:41
45

The Pen Tool

11:56
46

Masks from Selections

04:22
47

Selecting Subjects and Masking

07:11
48

Color Range Mask

17:35
49

Luminosity Masks Basics

12:00
50

Introduction to Cleanup Tools

07:02
51

Adobe Camera Raw

10:16
52

Healing and Spot Healing Brush

14:56
53

The Clone Stamp Tool

10:20
54

The Patch Tool

06:38
55

Content Aware Move Tool

04:56
56

Content Aware Fill

06:46
57

Custom Cleanup Selections

15:42
58

Introduction to Shapes and Text

13:46
59

Text Basics

15:57
60

Shape Basics

07:00
61

Adding Text to Pictures

09:46
62

Custom Water Marks

14:05
63

Introduction to Smart Objects

04:37
64

Smart Object Basics

09:13
65

Smart Objects and Filters

09:05
66

Smart Objects and Image Transformation

10:57
67

Smart Objects and Album Layouts

11:40
68

Smart Objects and Composites

10:47
69

Introduction to Image Transforming

04:34
70

ACR and Lens Correction

09:45
71

Photoshop and Lens Correction

14:26
72

The Warp Tool

11:16
73

Perspective Transformations

20:33
74

Introduction to Actions in Photoshop

09:27
75

Introduction to the Actions Panel Interface

05:06
76

Making Your First Action

03:49
77

Modifying Actions After You Record Them

11:38
78

Adding Stops to Actions

04:01
79

Conditional Actions

07:36
80

Actions that Communicate

25:26
81

Introduction to Filters

04:38
82

ACR as a Filter

09:20
83

Helpful Artistic Filters

17:08
84

Helpful Practical Filters

07:08
85

Sharpening with Filters

07:32
86

Rendering Trees

08:20
87

The Oil Paint and Add Noise Filters

15:08
88

Introduction to Editing Video

06:20
89

Timeline for Video

08:15
90

Cropping Video

03:34
91

Adjustment Layers and Video

05:25
92

Building Lookup Tables

07:00
93

Layers, Masking Video & Working with Type

15:11
94

ACR to Edit Video

06:10
95

Animated Gifs

11:39
96

Introduction to Creative Effects

06:08
97

Black, White, and Monochrome

18:05
98

Matte and Cinematic Effects

08:23
99

Gradient Maps and Solid Color Grades

12:20
100

Gradients

04:21
101

Glow and Haze

10:23
102

Introduction to Natural Retouching

05:33
103

Brightening Teeth

10:25
104

Clean Up with the Clone Stamp Tool

08:07
105

Cleaning and Brightening Eyes

16:58
106

Advanced Clean Up Techniques

24:47
107

Introduction to Portrait Workflow & Bridge Organization

14:47
108

ACR for Portraits Pre-Edits

21:27
109

Portrait Workflow Techniques

18:46
110

Introduction to Landscape Workflow & Bridge Organization

12:17
111

Landscape Workflow Techniques

37:36
112

Introduction to Compositing & Bridge

06:59
113

Composite Workflow Techniques

34:01
114

Landscape Composite Projects

24:14
115

Bonus: Rothko and Workspace

05:15
116

Bonus: Adding Textures to Photos

07:05
117

Bonus: The Mask (Extras)

05:18
118

Bonus: The Color Range Mask in ACR

04:54

Lesson Info

Introduction to Landscape Workflow & Bridge Organization

Landscape Workflow Lot of this is going to seem pretty similar to what we talked about with the Portra Workflow only we're going to spend a little bit more time on the editing side because I love landscapes. (laughing) No, there's a lot that we can do with it, so. The Workflow, let's just keep that in mind. Bridge, cataloging, organizing, prioritizing. Adobe Camera Raw, basic adjustments, chromatic aberration, reduction, noise reduction, mild sharpening and then Photoshop for advanced things like color grading and our personal effects. Things that we're considering there are going to be tone, color, and effects. Now if you use Lightroom, you can supplement these with Lightroom, I won't hold it against you. (laughing) I need to show you some before and after examples of this and how Workflow can be pretty powerful. This was from the Notre Dam. Beautiful ten millimeter spread. Both of these here is one shot, one take. This would be what I would consider probably where most people would s...

top. You got the tone right, you got the color right but it's the artistic effect that takes a little bit further. It's subtle but it's important. Notice that we also did here with this images there's even a little bit of perspective correction that's happened here, some of that custom perspective correction, that warping that happened in this image that needed to happen to make the symmetry just fit and feel a little bit better. This the delicate arch in Moab. Beautiful sunset. You don't see the other 400 people behind me that were trying to take pictures either. But again this is where most people would stop, but that's not where we stop. We get the tone, we get the color, we push that image to its extremes, to its maximum. Here's another example. I was going to throw this image away. It's a complete accident this photo. This ended up being my favorite photo from Second Beach when I went to Olympic National Park. Took this shot. If you see the whole which one of these is not like the others, you look at my contact sheet from this, this image is blue and all the rest have perfect white balance. I have no idea what happened. I can't explain it to you. For some reason this one didn't turn out right. I had to scramble to put my camera down to find this spot. I think it had something to do with the neutral density filter that I was using as I put it on as I was basically setting up. It looked horrible. But of all the shots I took of Second Beach this was the one shot that was the best. It just needed to be rotated a little bit, add a little bit of headroom for it so that after I straightened it I didn't lose the top of this image, fixed the white balance, add my effects to it and it was cream of the crop. This one I printed 24 by 36 onto a canvas and it sits in my office. Beautiful shot that I would of thrown away if I didn't know anything about Workflow. If I didn't know anything about Photoshop or what I could do in Photoshop, this is a perfect example of something I would of just dumped and there was no other images that were like this and if you see what makes it so unique is that as right when I took the shot, longer exposure, you can see some of the reflections of the water pools that were there and then there's a wave coming up over within the last five or six seconds that makes it feel kind of eerie and like there's a haze going on between these rocks with the water underneath. So let's go ahead and jump in. We're going to first go through Bridge again as we did before, go through Bridge, then go to Adobe Camera Raw, and then go into Photoshop so I can show you how to push and pull some of these landscape images to make them absolutely brilliant. So here we are in Bridge. This is a landscape shoot that I did in Olympic National Park. What you're going to see is a major difference between a landscape photographer and a portrait photographer is happening right now between this lesson and the last lesson. In this lesson, when you look at these images you see a lot of the exact same shot of the exact same thing. This tree, I shot so many photographs of this tree just to get that one perfect shot that was right. Looking at this waterfall, how many different angles do I need to take of that same waterfall? Now the difference between this and that portrait shoot that I showed in the last lesson was that those kids run around like crazy. You know you get that one shot, that's all you get. Here you take a ton of shots to get that one shot, that's all you get. So, just to start this out, if I was going to go ahead and keyword this out, I would go under places and I would add not to them, going to my places, and add a new sub keyword and that sub keyword would be Olympic National Park and I'd probably even sub keyword that to say Marymere and Sol Duc or I could even go even further and just make it Marymere and then another one that's Sol Duc. So I'm going to go ahead and click all of these images here, shift click and call this Olympic National Park. These are all from Marymere and Sol Duc so I can go ahead and click that one as well. Now they're all tagged with Marymere and Sol Duc. So let's go ahead and look at the film strip view so we can see these. You know, as landscape photographer you take a lot of the same, a lot of shots of the same exact thing making sure that the light is right, your exposure is perfect and you have the time to do that. It's not like a portrait photographer where the portrait photographer you don't always have the time to get, I should say the movement just perfect because this landscape doesn't move, the water moves but the landscape itself kind of just stays the same, so as long as I sit there, as long as I stand there to take those pictures, I can take many different shots of that exact same scene and just wait for the light to change and wait for the light to get better or the light to get worse. What I do on sunsets and sunrises, I show up probably about two hours before the sun is stated to set, I stay until probably about two hours after the sunsets just to get different examples of everything in between. I've been known to even stay in the exact same spot. Once I get that one shot that's dialed in, and it's like a form of insanity too because I'll sit there and every five minutes I'll take a picture of the exact same thing. It's like nothings really changing here man, why do you keep doing this? And then once you get to the very end though then you see all those pictures and how the light has changed over the course of time and then you get to pick the one shot that looks perfect. This isn't a sunset or a sunrise, this is just walking through Olympic National Park but what I really wanted to talk about is this tree. You know, photography, especially when we talk about landscape photography, we have to think about things in the round, we have to think about things in the 360. This tree on the way to the Marymere Falls is absolutely gorgeous. It's one of the most beautiful trees I've ever seen in my entire life. I had about a one hour moment with this tree where I just, I shot the living junk out of this thing. So I shot it from the front. I shot it all around that tree. The thing about this tree is that right here, this is 101. People are driving by just oblivious that this is the most beautiful tree that some Podunk guy form Missouri has ever seen. So I went all the way around that tree. I shot it with a 16 millimeter lens, I shot it with different varying millimeters and then I went down to a 10 millimeter lens to really get as much of this tree as I could get until I got the one shot that was just perfect for me, which the one that I processed is this one right here. And you can see the difference between this. It took all that time for me to walk up to this tree to get that one shot that would just bring the whole thing all together. And this was the one shot from that day, this is the one that I processed of it. So here's the before, here's the after. You can see the difference between some of the cloning that's happened there and everything. So while I'm there, I'm thinking about what's gonna happen and then I do things like this too where sometimes I just do some wild things with my lenses or maybe I was just walking by and I'm telling you that I do some wild things but it was clearly an accident. (laughing) But I'm thinking about the post production of the image while I'm on the scene. I'm looking at the area around it. Here I'm bracketing, I'm bracketing because I want to make sure that I get a good photo. I might not actually do the HDR process on this image but I'm bracketing because I want to make sure I get a good image that I can use afterwards. So let's go ahead and go more over towards Sol Duc. So here's Sol Duc, we'll just go through here and here I'd be going through and calling these images in control one, control two, control three, again the ones I want set up. But typically what I'm doing here with landscape which is a little bit different than the one I do with portrait photography is I'll go through here and sometimes I just see that one where I'm like, yep, that's it, boom. Control three like that. And then one of my favorites was on the way to Sol Duc which is this little stream set of falls that's just absolutely awesome I think. So I'll just go through and we're going to process one of these ones. Let's process, let's do this one. Or let's do one of the side ones that way I can give it away cause this one's one of my portfolio ones. This one, I'll use this one that way you can work along with me. (laughing) So, I'm going to get one that has a good longer exposure on it, like this, right there. That's a little over exposed. How bout that one? SO looking at these two, this one's a little bit over exposed. Looking at this image I can see this one's a little overexposed cause the whites here are kind of blowing out, so I'm going to go with something that's a little bit darker so I'll use this one. And I'm just going to open this up. Landscape processing and how I landscape process and how I portrait process are two very different things. A lot of times I go through and I call these things and I just very seriously look at the image and I say, that's the one. And I don't really need to worry about the rest. I don't delete the rest, I just hold 'em like they're my little precious little things that are mine and only mine. But I will only process one image from that entire thing, of this whole series of shots that you see here. Two of what I would consider portfolio images came out of three to 500 photographs from that one thing. And of those, are they really that great of portfolio images or do I just still have some emotional attachment to them. Sometimes we have to separate ourselves from the emotional attachment and what's actually good. Some of these images, I'm really emotionally attached to. So I'll just go ahead and open this up. And we're going to start in Adobe Camera Raw. I'll always start in Adobe Camera Raw and a lot of times what I'm doing for my landscape work which is a little bit different from my portrait work is I want to get a good quality baseline image. I don't want it to be perfect in Adobe Camera Raw, I want to fix minor blemishes, I want to fix minor problems, I want to straighten horizons. But I'm not trying to make something amazing here. I want to use Photoshop and all that Photoshop entails and gives to me to really exploit this image. So what I'm going to do, is I'm going to start by pressing auto. And auto in Adobe Camera Raw now or Lightroom gives you a really good bad looking HDR image. (laughing) Right but that's what I want to start with. Believe it or not, this is something that I would want to start with going into Photoshop and the reason why is this gives me, if you look at the history it's just a very basic image, there's no really high highlights, there's no really deep shadows. I don't want to make those decisions right now, because I'd rather make those decisions with highlights that I know are highlights, shadows that I know are shadows and mid tones that I know are mid tones. You can say, well you have these sliders here Blake, well you're right, but I can't click on any of them to see where my highlights are and I can't individually go in and add mass to those things to really fine tune that highlight or that mid tone or that shadow. So I actually do appreciate the way this came out pretty well, it looks pretty good. So you know what I'm going to do? First of all I'm going to drop down my saturation and my vibrance and I'm just going to open this up Photoshop. I could open it up as a smart object if I want, press shift and open it up as an object. So if I ever need to go back to this in Adobe Camera Raw I can.

Class Materials

Bonus Materials with Purchase

Photoshop Bootcamp Plug-In
Textures
Clouds
Painted Backgrounds
1 – Intro to Photoshop Bootcamp
6 – Intro to Raw Editing.zip
11 – Interface and Setup
16 – Intro to Cropping and Composition.zip
22 – Intro to Layers.zip
26 – Intro to Layer Tools.zip
43 – Intro to Selections.zip
50 – Intro to Cleanup Tools.zip
58 – Intro to Shapes and Text.zip
63 – Intro to Smart Objects.zip
69 – Intro to Image Transforming.zip
74 – Intro to Actions.zip
81 – Filters.zip
88 – Intro to Editing Video.zip
96 – Custom Effects.zip
102 – Natural Retouching.zip
107 – Intro to Portrait Workflow.pdf
110 – Intro to Landscape Workflow.zip
112 – Intro to Compositing.zip
115 – Rothko and Interfaces (Bonus Video).zip
33 – Intro to Masks and Brushes.zip
106 - Frequency Separation.zip

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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