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
Saving Files
So along with interfacing and talking about the interface and talking about this Creative Cloud, dig into this and just see what's offered to you. You have this capability, you can dive into this, you can take a look at this, you also have this ability to save some of your files there, But one thing that we do need to talk about also while we're in this interface is saving files and file saving and methods for saving files. So the big question usually comes up, okay you got this layered document now, this layered document that you see here, what do we save it as? Do we save it as a TIFF, do we save it as a JPEG. Do we save it as a PNG, what do we wanna save this as? Well, the big thing to think about is what are you gonna do with it? So, not just what am I gonna save it as, but what is the intended purpose for that when I'm done? If it's, you want to maintain all of the layered document data, I recommend doing what's called a PSD file. So if I were to go up to File, on this image speci...
fically, and say Save As, and look down here at Save As type, you see all the different types that I can save this as. If I save this as a PSD, it will save all of the layered content within that file in that PSD file. It won't save the history states but it will save all that layered data. So if I do any color-grading, if I do any curves or adjustment layers, all that is saved in that, even masking, no matter what I'm saving, it's saved in that PSD file. Like-wise you can do the same thing with a TIFF. A TIFF is a lossless compression way of saving your images. But if I save this as a TIFF, not only is it going to save all those layers, it's gonna make it huge. So if we had a 150 megabyte PSD file, depending on how much content is in each one of those layers and it's all dependent on the content, that TIFF could be 300 megabytes. So if you are doing layered work, I highly suggest saving it as a PSD because that is Photoshop's primary, what do you call it, it's their primary, I'm losing it, it's their primary, proprietary, it's their proprietary file for saving images, to have layers in them. If you save it as a JPEG, if anything was done in 16 bits, so if you went from 16 bits in Adobe Camera Roll over to Photoshop and you're working in 16 bit in Photoshop and save it as a JPEG, it's automatically gonna be saved as 8 bit, so you're gonna lose all of that other data, because it is a, it's not a lossless compression. It is a compressed file. Now, that doesn't necessarily mean that JPEGs are bad. It just means that JPEGs have a certain purpose, and that purpose is typically, you're done, you're good, you're finalized, right? This is beautiful, it's perfect, send it off to the printer. A JPEG can be good for that. Also, sharing your documents with clients, do you wanna give them your RAW files? No. One, copyright purposes. Two, they wouldn't know what to do with the RAW file, because a RAW file in and of itself is just a collection of data that isn't actually an image. You have to think of a RAW file as a negative. That is a digital negative. If you were to do portrait work in the analog days and someone said "Can I see that picture?", you say yeah sure, and you give them the negative, that's not the picture. So you don't wanna share those RAW files, you would save that out as a JPEG. The other one that we commonly will see is a PNG file. Which typically, a PNG is something that you will do if you're working with transparencies and you wanna maintain those transparencies. So, with this image for instance, if I were, see how that has the checkerboard block in the back, and you can still see some of that checkerboard block underneath? That's essentially telling it me that that is transparent data. So if I were to save this as a JPEG, that transparent data would be flattened down and turned into a white background. If I were to save it as a PNG, all of that transparency data remains the same. So, logos for instance, if you're doing a logo for a company and you send them the logo and it's on a white background, they're not gonna want it on a white background, they're more than likely gonna want it in a PNG form. So you have to the difference between PNG, JPG, TIFF. If you want lossless, so that image doesn't lose a whole lot of quality, you can use a TIFF, save it out as a TIFF, some printers, depending on the printer, might want a TIFF, that's where you would save it as a TIFF. So a RAW file, what do you save a RAW file as? Well most RAW files haves something, an identifier that identifies them as a Sony RAW file, Canon RAW File, Olympus RAW file, Sony's ARW, CR2 for Canon, you can't really actually save the RAW file. But you can save it as Adobe's proprietary DNG file. And a DNG is a digital negative, and that's a proprietary thing that works on all things. So if I have a Sony A7R3 and I give someone that RAW file, they haven't updated some of their software in a long time, they might see a pink screen because there RAW editor that they're using doesn't allow them to see that RAW data. So if I saved it as a DNG first, and then sent it to them, they'd be able to see it because DNG is like a JPEG. Think of DNG as the universal RAW file save, just like JPEG, with the universal flattened image state. So I know in this lesson we covered quite a bit, we covered setting up our interface from scratch, setting it up from zero. And the reason why I really wanted you to get that, is just, not only for your knowledge of where to find these things, but also setting this up to make you the most efficient you possibly can. Another kind of trick there is, if you accidentally nub the tab key everything disappears, and I need you to know that, because this happened to me the other day, I accidentally pressed tab and didn't realize what I had done, I was like "oh my god, where my windows go? Where did everything go?" Well, tab, and it's all back. But what I ended up doing was, instead of pressing tab, I went up to window and I turned everything back on. So that's a good tip to know, I should've added that in the very beginning there, but we talked about windows, we talked about toolbars, we talked about the menus, setting up your preferences, saving all of this out so that you a saved workspace that you can always go back to and we even touched on libraries that we have with our Creative Cloud subscription, and we also talked about saving files. So do I have any questions on this topic? So, I had a question about saving, when we're saving something in a PSD or in a TIFF, you said that, so it saves the layers, so does that mean you can then open that TIFF and it'll show all of the layers if you're not opening it from your CC? Yes Okay. Absolutely Okay So the question was does a TIFF open up with layers if you've saved it from one version to another, yes. So if you had a TIFF file of a PSD file, those are universal files that contain that data, so it's not just for your computer, that would be for any one of them, so if you had a PSD file, had layers in it and you shot it over to me with a thumb drive, I could plug that in, I could open it up and I'd see all your layered work. I wouldn't see your history states obviously but I'd see all your layered work. Okay, and you could then go in and edit those, Absolutely Layers yourself. Absolutely, that's why you wouldn't give a PSD or a TIFF file to a client. Right. You would reserve that for yourself and you would give them something like a JPEG.
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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