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
Timeline for Video
So we're gonna start out here in Bridge, at first, and then from Bridge, we'll jump into Photoshop and start editing these videos. I just want to show you that, when you open up any folder that has a video in it, in Bridge, you will see the video. It shows up as an mp4, and you'll see the thumbnail for it. You'll also see any music files. So I'm just gonna grab this video file and drag it and drop into Photoshop. And Photoshop is smart enough to know that, when you drag a video into it, it's gonna automatically open up the video timeline. If it doesn't open up the video timeline, I'll show you were to find that. Because this video is free-floating, I'm gonna grab it and just stick it to the top so that it sticks up to the top. It's got that Enable floating window document enabled. And, if I go up here to Window, you can see now that I have the Timeline available. This is something that we didn't add to any of our area before, it just applied itself right there in the bottom of Photosho...
p. So, thinking about video, it's probably daunting right now to think about editing a video. All right, I'm just trying to grasp that, if I've never edited video before. So if I've never edited video before, and you tell me to edit video, you're like, whuuu, where do I begin? You need to think about video as a bunch of moving stills. That's all it is. It's a series of moving still photographs. That's what a video is. You hear the term 24 frames per second, that is 24 individual photos that is making up one second of video. So once you remove that video word from it, and just say, I'm editing moving pictures, it becomes a little bit easier to wrap our head around. And then everything still applies to these moving pictures that would apply to a regular picture. So looking at the timeline down here, let's just break that down first, because the timeline can be the most, okay what do we do now? You see, here, we have something that says Video Group. If we look over at our layers, that Video Group right there represents the exact same thing that we see right here. So our Layers palette is what we control everything that happens within this area here. This is not necessarily the Layers palette that we would interact with over here. This is just showing us how things are stacking up and how they're stacking within the timeline. The timeline, when we look through the timeline, it's a timeline of the series of frames that are happening. If I were to click forward on this timeline and just go right here and do that, that's just a different picture. You know, we can think about that as a paused video, but a paused video is essentially a still frame. So that's just a still frame within this paused video. So anything I do, when I edit this entire video, is gonna edit, essentially, entirely the whole stack, depending on what it is that we do. If we look down here at the bottom of the timeline, it tells us that this is a 23.976-frame-per-second video. That's the frame rate of the video. And it's approximately, if we go over to this edge here, 43 seconds long, 'cuz we see that right there. And if we zoom this over here, this is a second, that's the second that we're at, at 12 seconds, 12.3 seconds or something like that, right there. This right here is how far we are zoomed in, so if you really wanna get some really detail-oriented things in your timeline, it breaks up those frames a little bit easier and you can actually see a closer look at what it is that you're looking at in the video. If you have this kind of a view out there, and you really want something to be just on second 12 through second 15, well, looking at this view's not gonna help that much. You zoom in so you can spread it out to get a more decent spread within that video. So, just looking at that, on this timeline, just to put it into perspective, if I click right here and just go a quarter of an inch over, it's gonna be up to 14 seconds, right? It went from 12 seconds to 14 seconds. If I zoom in and go a quarter of an inch over, it goes from 14.06 to 14.07. So, this is basically just a macro view of your timeline and where you are in your timeline. And, as this moves up, you'll see that we have a little slider bar here that also gets bigger, because that's showing you where you are in that timeline. If you need to zoom forward a little bit, you can just move this bar over, and now you're zooming through your timeline. If you've edited video before, this timeline is gonna seem very common. It's something that you would see in a lot of video editing practices. When we look over here, we're gonna see a Back button, we're gonna see a Previous Frame Rate button, and we're gonna go back to the previous frame, and then we have the Play button. So, if you press Play, it's gonna make that video move. Okay, we can actually watch that video moving. Right here, you're gonna see a little dropdown that says Resolution Rate. Your resolution rate is how high-quality is the preview that you're watching. Right now, 100%, this'll probably still play just fine inside of Photoshop, but as I start adding filters to this, stacking into this, if I turn this video into a Smart Object and use Adobe Camera Raw on it, that at 100% is gonna be like (glitchy video). (laughter) So we need to make sure that we're using a comfortable resolution for us that's conducive for editing. It doesn't necessarily have to be perfect right now, it just has to be conducive for editing. So I might change this to 25% to speed things up a little, so that the preview that I'm getting is faster on the render process. Now, right here, we have our Fade effects. We can fade this in and we can fade it out, by clicking on one of these fades. And then, if we were to drag it to the edge, it's gonna fade out. Drag it to this edge, it'll fade in. So, if we were to press play now, it's gonna fade in gradually from one effect to the other. You have cross fades, you have all different types of fades. A cross fade would be used if you had another layer in this video group, next to it, and you wanted those two videos to fade within each other, you'd put a cross fade there, and it would kind of connect those videos together and they would cross fade into one another. You can dictate how fast you want that fade to be. So, if you click on one of these fades, if we zoom in to this preview bar here, if you just click on that fade, you can pull it out and it will fade it in longer or fade it in shorter, depending on where you pull it to. Or, if you want a very finite amount of fade, and you want it to definitely be a two-second fade, you'd come down here to your Duration, change that to two seconds, and then when you drag and drop this fade on there, you get a two-second fade, as opposed to whatever fade it ends up being naturally. It would be like a one-second fade or something like that. So, I'm gonna go ahead and delete this fade, and I'm gonna add a fade with black. If I add a fade with black, it's gonna do exactly what it says. It's gonna fade in from black into the video. If I were to fade in from white, it's gonna fade in from white into the video. And let's try the next fade, fade with color. Before you put the fade with color down, you choose your color. We choose red, pull this down, and it's gonna fade in from the color red. I'll go ahead and delete that. That's really the basics of this video timeline, as far as what you can do with it. If you need to cut it, if you were to click right here and then click on this video, you could cut this video right here and say I only want this video to be, whatever it is, two seconds, and right here, I could cut this. And then these end up looking over at the Video Group, look at these, they are now two individual videos. Just because we have them there, lot's go ahead and do this cross fade, so you can see what that looks like. We'll do a cross fade, right here between the two of these. Notice how, when it puts the cross fade on there, it kind of pulls them together, too, because now they're unified. If I press Play, they cross fade into one another and give that cool cross fading kind of look, see that? Pretty neat. I'm gonna go ahead and delete that cross fade. I'm gonna press Command ALT Z, to step back and undo all the clipping that I did.
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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