Practical Applications: Masks
Blake Rudis
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
Practical Applications: Masks
So let's take one last practical look at how we can use masks to build up an image. So let's look at this photograph, let's use a couple different things that we haven't used yet. Let's use more of the gradients here. So what I'm gonna do is I'm gonna add a gradient adjustment layer here. I'm gonna go up to my gradients. And we haven't really talked about this adjustment layer yet, so this is a great time to talk about this adjustment layer. The gradient adjustment layer, as you can see in this image, it's all right, but we can do something better with this, I know we can do something better with this. So I'm gonna add a gradient, and I'm gonna make this gradient, if we look at the gradient here, this is whatever gradient I want to fill this image with, what color do I want this to fill this with. Currently, it's being filled with blue transitioning into a transparent gradient. So that looks pretty good, we'll go ahead and press OK on there. If we need to change this, though, we can ch...
ange this to whatever gradient settings we have, and we can even make our own gradients for our own workflow, which is a great way to work with gradients. As you build these gradients, you can make your own. So if we were to select this one, let's go ahead and build our own real quick. We'll just change this to... an orange color, on this side. And on this side, we'll use, let's use like a cyan-ish blue color, like that. Press OK. That right there is a gradient that I've just built. I just click on the color that I want to change, then I click down here on the color and change that color, and now I've built a gradient. I can adjust this gradient as to what part of that gradient is more blue or more orange by moving this to the left, or moving this to the right, and you can see where that gradient is gonna start favoring more of the orange before it starts going into the blues. Here we have a perfect, if we go get this location and set this to 50%, that's the location of where this gradient is gonna weigh more heavily on. So 50%, it's a perfectly even blue transitioning into orange gradient. If I wanted to save this, I could just call it blue orange. And then... New. And you see how I have a new gradient there now. Very similar to that one. If I want to change this again, I could change this color to another one that I really like, building up this gradient palette to a green, or a tan, I should say, moving into a deep blue. That's a really good gradient to use. Just say new. I don't have to name it if I don't want to, and press OK. We will go back to this blue into the orange, press OK. So we can't see what's happening underneath our image at this point, because we haven't added any blend modes, we haven't added any opacity, it's just a solid gradient fill. So we'll hop back into this gradient in a second, let's go ahead and press OK, and then we'll change this blend mode to soft light, and drop that opacity a little bit. So what we see in this gradient now is that the blue is affecting the top of the image, transitioning down into orange at the bottom of the image, and giving the whole image this more orange kind of glow as it transitions into the bottom. If we wanted to alter this gradient again, we could double-click inside this gradient fill, and change this gradient from linear to radial, to angled, which I don't really see a point using. (chuckles) Reflected, or even something like diamond. And reflected is cool, because what reflected does, is if we change the scale of this really far down, to something like this, it's gonna start with orange in the middle, and boost blue to the top and to the bottom, which is a great use on something like a sunset like this. Let's try something like diamond. Diamond is also really good in this instance, because you can see that, in the back, we have an orange sun. And the sun does tend to spray out color across the canvas when we do that, so if we change the scale of this a little bit higher, something like there, put this right here. Now look at how we have this nice, beautiful, radiating glow from orange into blue. This is all editable at any time, too. If we click on this gradient, we can click on this color, maybe we don't want a blue now. Maybe after taking a second look at this, we want something that's more of like maybe magenta color. Put that magenta in there. Really get that nice, robust sunset, or even a red. Something right in between red-magenta, press OK. Nice, beautiful, radiating glow. Very simple, very quick, very easy effect. But it's spraying all over the place. So if I wanted to mask a certain area out, which would maybe be the backside of this barn, I would go ahead and click on that mask, just paint away on that barn. Made my brush a little bit smaller, paint away, paint away. And I'm gonna push a little bit harder here. So just to show you the properties of this mask, this mask is a very dark color. So if I look at the properties of that, and I see that it's not a very good spread, it's not a very good, it's not working out very well for me, I can drop that density a little bit to start bringing back some of that other area. Now, that's gonna restrict the density of this mask, so that even if black was on there, it would only be that color. And I could also feather this out a little bit more to make it appear more of a natural effect. Press alt or option, that feathering is feathered out. It smooths everything out and actually makes it look like a more natural effect than what we had before. So I can go ahead and just start painting a little bit more on this mask now that I have that feather set up a little bit, and just paint this out around here. Paint this out down here a little bit. Beautiful little setup. And this is more, we aren't getting into selections yet. Notice how I haven't done anything with any selections. Selections will be in the next lesson. What I want to show you here is how you can really hand paint these effects in, and we have an image that was just kind of, eh, it's a good shot, not the most beautiful sunset in the world. Look what happens with one very simple adjustment with a gradient map. So if we were to add another layer to this, maybe let's add a curves adjustment layer. Deepen it down a little bit. Brighten it up a little bit. Really like the way that looks with the sun, and maybe with the light coming in the foreground here. Turn that on and off. But again, if I don't want this to affect anything that's happening on the outside 'cause it's too contrasty, I can just start painting in with black around those areas in the back. Start pushing and pulling the viewer's eye very quickly and very easily with masking. And this is all, you know, hand painted masking, we're not doing anything with selections at this point. It really just boosts up that light selection that's happening there. Now you can justify anything, 'cause the viewer doesn't know how good this sunset looked. (chuckles) Alt or option, click on this mask. That's what we're affecting. Before, after. Before, after. Turn them off. Zip 'em. Looks pretty good. But let's say, as we're working on this mask, we're not necessarily liking too much of what's happening with some of the other area that's happening within this curve. When we use this curve, it's a big blanket curve, the mask is affecting just that one area that we've selected, but we can still fine-tune that a little bit more, so I don't want you to think that it's just about the mask. We also still have opacity, we still have blend modes, and we still have blend if. So let's go ahead and double-click on this curve. We have blend if set up right here. Let's turn on that color overlay again to make this a lot easier for us. Let's go ahead and go into our blending options, and let's say we don't want it to affect any of the dark areas within that area that we've selected, we really just want that robust color to affect those lighter areas. So I'll move this over, and start protecting all of those shadow areas. Alt or option, split and feather. There we go. So now we're compounding things. We've got the layer, we've got the layer mask, we've got blend if, and if we press OK on this, we see exactly what that's affecting, and we can turn that layer on and off, that color overlay on and off. And we also have our blend modes. I can change that to something like soft light, or something like color. If we change it to color, it's not gonna allow that luminance setting to come through, it's only allowing the color to apply itself to the image. Let's just leave it at normal, that was pretty good. If, by chance, I've made an adjustment to, let's say, this one right here, I like the way this looked, and I like that mask there, and I want to use that for something else. Maybe I want a curves adjustment layer on that one, but I don't want to necessarily have to mask it all again. Make that curves adjustment layer right above it. Press alt or option, and steal the mask from below, and now I can start using that curves adjustment layer on what's already below there, stealing the mask from what's already happening underneath and borrowing all of it's properties. But again, it also has a mask. So I still get the capability of painting on that if I want to. So I've got compounded abilities with just three different layers here, and I'm not going too far outside of this. We don't want this to affect this area here at all. There we go. So now, if I were to go ahead and grab a group here, I'll grab the top layer, press and hold shift, click the bottom layer, press Ctrl + G, they're now in a group. There's the before, there's the after. Maybe after realizing that, I say you know what, let me go ahead and add a layer mask here. I'm just gonna start painting out some of this area. So this area, 'cause I liked how white that snow was there, and that's all coming through from the underlying layer, and using this mask here as the primary mask for all of the masks that are contained within that group. Open this up. It's not allowing any of those layers to affect that masked area that I've selected in this grouping. So do you have any questions on masking? I have two questions. In camera raw, can you split that mask? Like what you do with your-- Blend if. Blend if, can you split that. Absolutely, great question. So the question was, in camera raw, can you split and feather the mask with those, with the luminance range mask? And the answer is yes, but not the exact same way on blend if. So what you noticed is we used the black and white slider to delineate where we were allowing that mask to apply itself to. The smoothing is the same thing as pressing alt or option and feathering. [Audience Member 1] Okay. So yes, yeah. And my other question is when you click and you have a menu drop down onto the picture, is there a way to change that size so you can see more? Sometimes it's so big you can't see what you're... Oh right, yeah, so what's happening now is that our monitor here is in, this is in 720, rather than 1080, so the higher the resolution of your screen, the more real estate you're gonna get on your images. So if you're using 1920 x 1080, then you're gonna be able to see more real estate within Photoshop, and those windows will appear smaller. So yeah, that'll give you real estate. It just looks a little bit different when we're broadcasting in 720. I have a couple questions. One is, earlier you were mentioning a blue color on the left, and I was wondering, I didn't quite understand how you were getting the blue color on that little square down on the left. That blue color from the color palette was basically because my brush was already set up for the color blue, and all you do to change your brush color is you click on that palette, and now I can change the color to blue, and now I'd be with blue. But because I'm on a mask, it's not gonna allow me to do that. It's gonna be black or white on a mask. But on a regular layer, it'll allow me to go blue. [Audience Member 2] And the other question is, how do you delete in camera raw? You said you deleted something. Oh yes, to delete in camera raw, you just click on the little pin, and when you click on the pin, you can just press the delete key and it'll delete that pin. [Audience Member 2] Okay, thank you. Yes. Um, I had a clarifying question when we were talking about mask groups. Is that how, if you were dodging and burning, and you liked your overall effect, but one area you really didn't like how much you dodged, or something like that, is that where you would go in and bring back the original aspects of the picture and take out that dodge that you don't like there? Yes. So the question was, with a mask group, if you were doing a curves dodge and burn, and you didn't like some area that you dodged or burned, and you wanted to bring back the underlying layer, there's two ways that you can do that. You can use the mask group to bring back that underlying layer, or you can switch from black to white, and just paint back on white on that mask to bring that back, also. So the mask group is kind of like the overall, overarching mask that will protect your underlying layers from everything going on inside of it, or you can even go into the individual masks. But if you really liked what you did with the curves, dodge and burn, and you just want to see what it would look like as a difference, then put them into a group, then brush it out, and that would be your temporary state, and then you could say, I don't like that, I kind of did like my original curves, dodge and burn. That way you're not constantly going over and over on your steps. All right, so that concludes our lesson on masking. If you want to learn more about what I do and follow me, you can go to f64.co/cl to go to f64 Academy and follow along with my adventures in Photoshop. In the next lesson, we're gonna be talking about selections.
Class Materials
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!!!!